“Hara Kiri” is directly translated as “belly cutting,” and is the name best known in the West for Seppuku, a customary act of suicide that was considered an good map of death amongst the Samurai of medieval Japan. To die by Seppuku was a privilege reserved for satisfactory men, and was formal and ritualized as is current in Japanese tradition. It was an extremely painful plan to die, and required absolute will and self-control.
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Kobayashi Masaki (“Kwaidan,” “Samurai Rebellion”), a master director of Samurai films, uses this ritual as the focus of his film “Hara Kiri” (Japanese title “Seppuku.”) The stage is dwelling in the behind Tokugawa period, a time when centuries of peace had rendered the warrior class moot, and Samurai without a rich lord to attend had nothing but their honor to keep themselves. Forbidden by law, culture and training to observe their substance through less-honorable means such as farming or trade, the lordless Samurai were expected to starve and die with no word of complaint. One day, a hungry Samurai by the name of Hanshiro Tsugumo arrives at the gate of a local lord, requesting permission to originate Seppuku and waste his suffering poverty through pleasant means. And then the just narrative unfolds.
Probably his greatest film, Kobayashi dissects what it is to be “top-notch,” and who is the correct possessor of this abstract idea. The rigid code of the Samurai is symbolized through the relentless exhaust of straight lines, as hard and unyielding as the swords which are the supposed soul of a Samurai. The code has long outlived its usefulness, and is a contradiction in the world of peace. Both the code and the men are dinosaurs, needing to either change or die.
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Hanshiro Tsugumo is played by the legendary Nakadai Tatsuya (“Sword of Doom,” “Yojimbo”) . He is fantastic as Hanshiro, being both the ultimate Samurai ideal and at the same time one who’s wisdom and compassion far surpasses those who utter of “honor,” relaxing comfortably leisurely their money and spot. Hanshiro’s surface is one of acceptance and determine, a man who has approved his fate, but underneath is rage and good action, hidden and waiting to explode.
The pacing is typical of a Kobayashi film, and follows his pattern of a tiresome, humdrum originate up that explodes with a violent and unexpected climax. “Hara Kiri,” like other Kobayashi films, is a dull fuse leading to a astronomical bomb. Hanshiro’s myth is complex, and he unfolds it delicately, so that all points are sure to the Lord and his men, as well as the viewers.
Criterion has recognized both the importance and the excellence of “Hara Kiri,” and set aside forth a DVD valid of the film. Aside from a glorious transfer and improved English subtitles, they have assembled video interview with Nakadai Tatsuya and scriptwriter Hashimoto Shinobu, as well as an introduction by Japanese-film expert Donald Richie. In print, there is an essay by film scholar Joan Mellen and a re-print of her Kobayashi interview.
Any fan of Japanese film and/or Samurai films simply must stare “Hara Kiri.” Easily amongst the top 3 or 4 films of the genre, it is a masterpiece by every definition of the word.
“Hara-Kiri,” is an absolute classic. It is also one of the 3 greatest [if not greatest] Samurai films of all time. Not only is this a stout Samurai film, it is also an outstanding drama. In fact, director Masaki Kobayashi stated that this film was more of an anti-samurai film, and he is legal. I must tread very carefully with this review, as to write too distinguished of this film will slay it for those of you who have not had the opportunity to glimpse this MASTERPIECE of cinema. Directed by Masaki Kobayashi, the film deals with ONE individuals attack against the corruption and arrogance of the status. And in particular, one clan known as the House of Iyi, which is representative of the current unified station of Japan.
This is one of those films that transcends borders and nationalities–for it is universal. By this I mean that the films main protagonist, Hanshiro Tsugomo (Tatsuya Nakadai) represents the individual against the powers that be who are in charge. And in Hara-kiri, Hanshiro is about to give this House of Iyi a costly lesson in humility, with a touch of vengeance thrown in–that this clan’s hold arrogance has brought upon themselves. The period that this film takes status is circa 1630: not too long after Lord Tokugawa has established the Shogunate as the supreme power in the now unified Japan.
However, unification comes with a trace. In order to consolidate his power, Tokugawa has purged many of the clans spread throughout Japan of their plot. Therefore, many clans launch to fold up, and their Samurai must eke out a living within the confines of a profession befitting a samurai. This was very difficult to do, as farming was not acceptable to their Bushido code. Therefore, many of these ancient samurai found themselves starving since there were very few occupations they were allowed to do. The now masterless samurai are referred to as Ronin. Without the clan, and come starvation, many samurai wandered the country in search of work with another clan in the hopes of securing employment.
Yet, with so many ronin roaming the country, and many clans now purged by Tokugawa, work was a come impossibility. Which brings us to our main protagonist in the film: Hanshiro Tsugumo (Tatsuya Nakadai) in his most illustrious role to date. The films epic begins with Hanshiro Tsugumo coming to the gates of the House of Iyi. Hanshiro Tsugumo is a proud man, yet something has occurred recently that brings him to this particular clan which boasts of its honor and courage. He has asked for permission to commit Hara-kiri in the courtyard of this House. It is here that the Counselor of this clan, Kageyu Saito (Rentaro Mikuni) proceeds to narrate Hanshiro Tsugomo of another samurai who also wanted to commit Hara-kiri in this courtyard.
But there is something very different about this ronin Hanshiro Tsugumo. As the Counselor relates his chronicle of this other ronin, Hanshiro listens intently—for Hanshiro too has a record to picture to this Counselor in charge of the House of Iyi. Hanshiro has not fair arrive to this clan to commit Hara-kiri, there are more profound reasons why he has near to this House. And it is here that film begins with the telling of a sage of poverty and sadness which has occurred in Hanshiro’s life. Hanshiro Tsugumo has reach to the manor of the house of Lord Iyi, not only to see permission of this Counselor to commit Hara-kiri on this clans property, but to lecture this clan…..and WOW, how he lectures them.
The Counselor of the Iyi clan, Kageyu Saito, is in charge–as the Lord of this Domain is away on business. And it is here that Hanshiro Tsugumo recounts a chronicle to this Counselor on the fate of his beloved son-in-law, daughter and grandson. You can sense the resentment of Hanshiro Tsugumo as he sees the hypocrisy of those around him. Hanshiro understands that the Bushido code, like the samurai, have changed. And with this, the film builds to an ever greater climax. I don’t wish to spoil this film for you, so I will not go any further, other than to write that this film belongs in EVERY cinema lovers collection.
Whether you like samurai, or foreign films in general, this film is Grand. I have seen this film more times on the mammoth conceal, and video, than any other I have seen. And I NEVER tire of viewing the film. This is a MASTERPIECE of a film. As a warning to viewers who have not seen this film–DO NOT concept the Donald Richie interview in the beginning of the film, as he gives away principal parts of the film. Also, there is a terrific booklet that comes with this film, and you should read it—but only after you have seen the film. Once more, this is one of the GREATEST films in cinema. And it is one of my personal favorites. The film is a must spy. Highly, highly recommended. [Stars: 5 plus infinity]
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