Login
17th Century Samurai story told through clever flashbacks and storytelling thus capturing a fiery tale of revenge, deception and malice.
Tatsuya Nakadai: Hanshiro Tsugumo
Director Masaki Kobayashi, whom also conjured the masterful horror Kwaidan and epic Samurai Rebellion has yet again created another film of note. He has captured a story so great and immense, in such a way, that can only be described as simply mind-blowing. The piece in the lime light is Harakiri or Seppuku.
An effort and work that deserves praise and then yet even more. For 1962 the whole affair has a timeless feel and quality which easily surpasses and rivals any film maker in the present.
The story consists of being told through a multitude of flashbacks and clever narration. Harakiri is essentially a story within a story.
So in 17th Century Japan, we find the wars are over, it is a peaceful time where Samurai are finding it hard to attain work and funding. Many Samurai are succumbing to poverty and a grim fate. The only honourable alternative for some, is to commit harakiri or seppuku (Ritual suicide although Seppuku is death by disembowelment of the intestines) in certain feudal houses.
We the audience are shown elder warrior, Hanshiro Tsugumo, played magnificently by legendary favourite Tatsuya Nakadai, Hanshiro visits a Feudal Lord's house and asks to commit the act of seppuku.
There at the abode, he learns the fate regarding his son-in-law, a young samurai who had previously sought work at the house but was instead barbarically forced to commit traditional harakiri in an excruciating manner with a dull, blunt bamboo blade.
In flashbacks the samurai tells the tragic story of his son-in-law, and how he was forced to sell his real sword to support his sick wife and child.
Hanshiro Tsugumo thus sets in motion a tense showdown of revenge against the house...
''Swordsmanship untested in battle is like the art of swimming mastered on land.''
Harakiri profoundly entices audiences with expertly executed cinematography, close up shots, authentic costumes and locations, and expertly synchronized sounds, effects and music which compliment the frantic action played upon the contrasts that are the ambient scenes of tragedy and decaying struggle.
Masaki Kobayashi professionally lays a masterpiece at our feet that dazzles and dances before our eyes, that has the characters which make us angry or sad and that play upon our emotions by their consecutive acts.
Whether he shows us Hanshiro battling upon a windy plain with long grass, displayed with cinematography which holds no faults but stands as a beacon to the greatest art and beauty within the medium of film.
Whether he shows the tragic demise of Hanshiro's brother in law and he makes us feel his pain, and makes us feel fury and then sadness for the tragedy and death befalling the family.
The exchange of blades between our hero Hanshiro against many opponents is breath taking to behold and we cheer for him, we follow his movements in precise detail, just like we had followed his story being told throughout the film.
Kobayashi plays upon the audience with every slippery trick and spidery tendril at his disposal.
It all successfully solidifies, both, equaling an affirmed vengeance story laced with those old Greek tragedies from long ago, and also dually captures an age old problem which is poverty. Questions directed at tradition and lack of wealth in times of desperation for warriors with no purpose for their skills. Questions about honour and tradition, about respect and humility: A study which touches upon cruelty, about suspicion and doubt, and how plans can backfire when faced with unforeseen consequences.
Harakiri shows us a modern masterpiece from Japanese cinema which captures 17th Century Japan from the very pages of history. It has the revenge story and Samurai film with an alternative twisting and mutation towards the warped code of honour and then towards lies and secrecy. The samurai are shown to what lengths a feudal house will go to cover up its haunting mistakes, using a shroud of lies and deception to conceal the truth.
Some aspects of life require bravery and strength, while also holding a sense of honour and conduct higher than anything else. Harakiri or Seppuku shows the strength and bravery of one man fighting against many foes in the pursuit of truth and redemption for a lost loved one.
''What befalls others today, may be your own fate tomorrow.''
10/10
