Eine Geschichte über Rache, Ehre und Schande, in deren Zentrum ein Samurai steht, der das Schicksal seines Ronin-Schwiegersohns entdeckt und damit einen spannungsgeladenen Showdown der Rache... Alles lesenEine Geschichte über Rache, Ehre und Schande, in deren Zentrum ein Samurai steht, der das Schicksal seines Ronin-Schwiegersohns entdeckt und damit einen spannungsgeladenen Showdown der Rache gegen das Haus eines Feudalherrn in Gang setzt.Eine Geschichte über Rache, Ehre und Schande, in deren Zentrum ein Samurai steht, der das Schicksal seines Ronin-Schwiegersohns entdeckt und damit einen spannungsgeladenen Showdown der Rache gegen das Haus eines Feudalherrn in Gang setzt.
- Regie
- Drehbuch
- Hauptbesetzung
- Auszeichnungen
- 6 Nominierungen insgesamt
- Motome Chijiiwa
- (as Eita)
- Priest
- (as Goro Daimon)
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Kobayashi's hard hitting "Harakiri" is a masterpiece. It's one of the great pieces of not only Japanese cinema, but also one of the best movies of the 20th century. While I'm disappointed the film was remade at all, and surprised it came from Miike, there are still good things to be found here. To my surprise, for the most part, this is a good movie and in very small quantities, there are some true moments of greatness. Even if they are very short.
A good deal of the original film's grit is lost for most of this go around. The cinematography is over-lit and the pacing falls into lulls. But survive to the end and you will be rewarded as the final irony is quite powerful. I mean, no spoilers from me, but even with the cheesy fake snow, I have to say, Ebizô Ichikawa's powerful presence won me over and he truly wins the day when the time calls for it.
I was never too crazy about all the Kurosawa remakes of the 60s and 70s. Fistful of Dollars always felt like a cheap knock-off, because it is. The Magnificent Seven was sort of a tolerable chuckle. Kurosawa's films were so human, almost populist, because of their themes, his work was ripe for remake, reboot or even plagiarism. Only Star Wars seemed to get the joke and succeed in being something different than a pure Hidden Fortress copy. Kobayashi's Harakiri seemed to escape the trend for so long because of the subject matter - even the title! But here we are. There is still something not right about this "remake," but MIike gets it right in the end, even if never needed to be done in the first place.
You have to learn a word to understand the movie completely. 'Seppuku' - which means ritual suicide committed by a samurai. So that is why it's called 'Hara-kiri: death of a samurai'. You must have patience during opening sequences, without character and story development you will be in a tough position to understand about what's going on. While the story and character progress with the development you will start to get and you may fall for the emotion parts if you are a tenderhearted. And also you will be uncomfortable during 'seppuku' scene.
Takashi Miike's career best, this is what already everyone saying about it. But Its to hard to say which was his best, I like many of his works. I might be overwhelmed by the watch but will be happy to recommend it to others. I was very little unhappy for the ending scene otherwise I could have said it is the best of Takashi's work.
I am so curious about Takashi Miike's upcoming and Hollywood debutante project 'The outside' with Tom Hardy. Expecting it would be another 'The last samurai', I wish a good luck to the team.
This remake really follows the original perhaps a little too closely. I think it's just a few minutes shorter, and I can really only think of one scene that was in the original that wasn't in this. Visually, it replicates Masaki Kobayashi's style really well, but maybe part of me was hoping that Takashi Miike would do something a little more out-there or unexpected. Instead, he chose to be reverent to the original, but then again, it is a classic film that deserves reverence.
There's one infamous scene from the original that feels even harder to watch here, and I think the climax shakes things up a little too, to mixed effect (the final fight is fairly different). Otherwise, the story and all the characters are near-identical, and anyone familiar with the 1962 version is unlikely to find too many surprises here.
It's strange to try and review this, because it is a high-quality film... yet it's based on a high-quality classic that still holds up extremely well, so I'm not entirely sure what the rationale was behind this. For those who want to see a more modern-looking version of Harakiri in colour instead of black and white, this is very well-made and watchable, but I feel like the original is still more worthy of being watched first, for anyone unfamiliar with either film.
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- WissenswertesThe first 3D title ever to be shown in official selection at the Cannes Film Festival.
- PatzerAs the wooden wakizashi is pushed into the stomach (after the tip snapped off), you can see that the blade is sliding into the handle.
- Zitate
Hanshirô Tsugumo: A warrior's honor is not something simply worn for show!
- VerbindungenFeatured in At the Movies: Cannes Film Festival 2011 (2011)
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Box Office
- Bruttoertrag in den USA und Kanada
- 75.688 $
- Eröffnungswochenende in den USA und in Kanada
- 10.920 $
- 22. Juli 2012
- Weltweiter Bruttoertrag
- 5.435.358 $
- Laufzeit
- 2 Std. 8 Min.(128 min)
- Farbe
- Sound-Mix
- Seitenverhältnis
- 2.35 : 1