Metacritic-Rezensionen

Harakiri is a film reflecting situational ethics, in which the better you know a man the more deeply you understand his motives.

Kobayashi unfolds the grim, cynical tale in layers, climaxing in a brilliant, beautiful swordfight on a wind-swept plain. [05 Dec 2003, p.C1]

Kobayashi's great, laceratingly exciting 1962 Japanese samurai revenge saga, once voted by Japanese critics their country's all-time best film. [03 Mar 2006, p.C5]

Whilst there is plenty of swordplay involved, it's the war of words and ideals that really captures the imagination here.

Few swords clash until the 100-minute mark of Harakiri, making it one of the most patient action films ever, but also one of the most beautifully composed. [24 Mar 2006, p.R13]

The film has a steady, hypnotic momentum; the director, Masaki Kobayashi, wrings as much drama out of facial twitches as he does out of sword fights. He’s helped immensely by Nakadai’s molten performance and Toru Takemitsu’s spare, disquieting music.

This stunning film is a sombre tragedy [from Yasuhiko Takiguchi's novel] giving off deep rage against militarism, political systems and beliefs that do not allow for a rational human outlook or future change.

Structured with intricacy and precision, the storyline alternates between present and past, using its extended flashback sequences to delay and then detonate narrative revelations like so many time bombs.

You may not get much satisfaction from the tortured human drama in this film, but you should get an eyeful graphic exercise.