Retrospective: Hara-Kiri (or Seppuku - 1962)
Director: Masaki Kobayashi
Screenplay: Shinobu Hashimoto
Photography: Yoshio Miyajima (Shichiku GrandScope)
Starring: Tatsuya Nakadai (Hanshiro Tsugumo)
Rentaro Mikuni (Kageyu Saito)
Tetsura Tamba (Kikokuri Omodaka)
Time: 135 Mins.
Rating: Watch it or die Alternate Rating: **** or A+
This film, based on a novel by Yauhiko Takiguchi, starts with a striking visual: the ancestoral shrine of the Iyi Clan is shown in a close shot. The camera pulls slowly backwards and the narration begins in a dead voice, "Date, 13th of May, 1630. Weather, fair. The heat of the day rises hourly... No incident of note." Of course, we find out this is not the case. The movie starts in the earlier part of the Tokugawa Era where peace reigned and the samurai class has disposed mainly of its martial status. The sword is used no more in battle, and many of its rituals are made light. Hara-kiri, or seppuku, is not an exception. It has turned into a farce where one does not even touch one's self with a dagger; one can just reach for the weapon and the honorable second would swiftly be-head the dishonored. It is in this social atmosphere we find our protagonist, Hanshiro Tsugumo. He enters the screen with a heavy presence, dressed in black. He requests to the chamberlain of the Iyi family to let him use their ground to commit seppuku, for he cannot bear living as a destitute ronin (literally meaning, "wave-rider" - a former samurai without a master). The chamberlain listens to his request, and proceeds to tell a story of a different ronin with the same request, with a gruesome outcome. The chamberlain tests Tsugumo's resolve and honor again and again, for he does not want the same situation to repeat itself in his clan grounds. Tsugumo gives a simple answer, telling him that he has nothing in life to hold on to and he is resolved to commit seppuku.
This movie was Kobayashi's first, yet I feel this movie is one of his strongest. He worked with screenplay writer Shinobu Hashimoto, who also wrote 'Seven Samurai', and other famous 'chambara'(or sword play) films. It is directed with a firm hand. Every shot is well crafted and his grasp of mise en scene is well represented in many scenes, especially, the confrontations between the protagonist and the chamberlain. The cinematography is incredibly detailed and clear in black and white. The contrasts of the linear elements to human movement in frame are incredible (note: the same cinematographer worked with Kobayashi in "Kwaidan" also). In every way, the technical aspects of this film reinforce the story in a quiet yet powerful way. This film shows Kobayashi's full understanding of the medium and how to incorporate his techniques without it becoming burdensome.
Not only is the technical outstanding, but the acting is superb also. If it sounds like I am gushing about this film, well, I am! Tatsuya Nakadai is, perhaps, the most well recognized tragic hero in japanese film. While Toshiro Mifune is the Hero in Japanese film, one can state that Tatsuya Nakadai is the Anti-Hero. His gaunt, hollow face is easily recognized in films such as "Goyo-Kin", "Sword of Doom", and others. His acting ability is quite good and he is exceptionally good in this film. Tetsuro Tamba also gives a very good performance as the best swordsman of the Iyi clan.
This film, although is incredible, does have some flaws. Although quite well executed and comprised, it is a bit long. Some of the dialogue seem out of place and could have used a bit more editing. May be it is my American short attention span, but I can think of at least 10 minutes that could have been left out. Other than that, the film ranks with or surpasses the best of Akira Kurosawa.
This film is also one of my personal favorites.
The movie overall is not an action movie. If you are a fan of "Lone Wolf and Cub" and expect hundreds of people dying and spurting blood, rent something else. This movie, rather, is a social commentary on what is considered important in Japanese culture. Is human life more worthwhile than an intangible thing called honor? It is a question that will haunt you by the end of the film and leave you with a sense of devastation. You will not be able to agree that "no incident of note" has occured.
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If you wish to strive for peace of soul \ D Joon H. Bae
and pleasure, then believe; if you wish to IL]-- Temple University
be a devotee of truth, then inquire... / ) Computer Science
-Nietzsche
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