By Paco McCullough
Masaki Kobayashi’s (Kwaidan, The Human Condition) Harakiri (1962) is one of the best films I have seen in a long time. In May of 1630, Japan has been at peace for nearly twenty years. For the samurai class that have made warfare their livelihood, this is a disaster. Many houses of samurai have collapsed and the streets are now flooded with ronin, masterless samurai. Desperate ronin have been going from feudal estate to feudal estate, asking to perform harakiri--suicide by disembowelment. The film begins with a ronin (Tatsuya Nakadai) making this request. To elaborate on the plot would detract from your enjoyment of the film, as one of the film’s greatest strength is its unexpected twists.
Harakiri uses feudal Japan as a backdrop to tell a story about power, honor, and desperation. It skillfully discusses the inability of the successful to empathize with the less fortunate while also entertaining. Though it is a samurai film, there are no action scenes until almost two hours into the film. This film is frequently compared to some of Kurosawa’s work. If so, I would compare this more to Ikiru then Seven Samurai or Yojimbo. Because of this, we get to know the characters and care about them. Just don’t expect a action-filled adventure.
Every single element of this film was incredibly well done. Tatsuya Nakadai and Akira Ishihama give incredible performances. One of Ishihama’s scenes was devastating to watch and will probably stick with most viewers for years to come. Beyond this, the cinematography is consistently beautiful. The score is also quite incredible. It’s minimalism only heightens its unsettling qualities.
I cannot praise this film highly enough. It is unquestionably a masterpiece and deserves multiple viewings. Get off your computer and go watch it.
5 out of 5
(c) Tanner McCullough, 2011
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