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Hara-Kiri - Tod eines Samurai

Originaltitel: Ichimei
  • 2011
  • 16
  • 2 Std. 8 Min.
IMDb-BEWERTUNG
7,3/10
9845
IHRE BEWERTUNG
Hara-Kiri - Tod eines Samurai (2011)
An tale of revenge, honor and disgrace, centering on a poverty-stricken samurai who discovers the fate of his ronin son-in-law, setting in motion a tense showdown of vengeance against the house of a feudal lord.
trailer wiedergeben2:25
2 Videos
42 Fotos
Drama

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
    • Takashi Miike
  • Drehbuch
    • Kikumi Yamagishi
    • Yasuhiko Takiguchi
  • Hauptbesetzung
    • Kôji Yakusho
    • Munetaka Aoki
    • Naoto Takenaka
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    7,3/10
    9845
    IHRE BEWERTUNG
    • Regie
      • Takashi Miike
    • Drehbuch
      • Kikumi Yamagishi
      • Yasuhiko Takiguchi
    • Hauptbesetzung
      • Kôji Yakusho
      • Munetaka Aoki
      • Naoto Takenaka
    • 42Benutzerrezensionen
    • 126Kritische Rezensionen
    • 76Metascore
  • Siehe Produktionsinformationen bei IMDbPro
    • Auszeichnungen
      • 6 Nominierungen insgesamt

    Videos2

    Theatrical Version
    Trailer 2:25
    Theatrical Version
    Ichimei
    Clip 2:01
    Ichimei
    Ichimei
    Clip 2:01
    Ichimei

    Fotos42

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    Topbesetzung15

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    Kôji Yakusho
    Kôji Yakusho
    • Kageyu Saito
    Munetaka Aoki
    Munetaka Aoki
    • Hikokuro Omodaka
    Naoto Takenaka
    Naoto Takenaka
    • Tajiri
    Hikari Mitsushima
    Hikari Mitsushima
    • Miho
    Eita Nagayama
    Eita Nagayama
    • Motome Chijiiwa
    • (as Eita)
    Ebizô Ichikawa
    Ebizô Ichikawa
    • Hanshirô Tsugumo
    Hirofumi Arai
    Hirofumi Arai
    • Hayatonosho Matsuzaki
    Kazuki Namioka
    • Umanosuke Kawabe
    Takashi Sasano
    • Sousuke priest
    Ayumu Saitô
    • Fujita
    Gorô Daimon
    Gorô Daimon
    • Priest
    • (as Goro Daimon)
    Takehiro Hira
    Takehiro Hira
    • Naotaka Ii
    Baijaku Nakamura
    • Jinnai Chijiiwa
    Yoshihisa Amano
    • Sasaki
    Ippei Takahashi
    • Naito
    • Regie
      • Takashi Miike
    • Drehbuch
      • Kikumi Yamagishi
      • Yasuhiko Takiguchi
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen42

    7,39.8K
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    Empfohlene Bewertungen

    7adrongardner

    Unnecessary, but comes with a few slices of power

    Let's get this out of the way.

    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.
    7franklindf

    Mostly a successful effort

    It's a good film. I didn't see the original and so I wasn't tainted by how they compare, or the book either. It probably made this film a little hard to understand because the chronology jumps around and there are a lot of flashbacks - but I stuck with it and it did begin to make sense. The movie is a basically a tragedy that also dissects the samurai code and provides some thought provoking material to consider. The movie is reasonably well paced and for a Japanophile the set design and costumes are very well done. I don't know if Japan was that squeaky clean and tidy 400 years ago, but it seemed well considered and accurate. The movie was a little slow but portrayed a sort of Zen tranquility, so it worked for the mood or atmosphere. You could pick apart this movie, and it may not stand up to the original but if you're a fan of Japanese cinema it's definitely worth seeing.
    9Cactus737

    Great movie

    I thought they did a wonderful job with this movie. They didn't sell out by making it all in English with American actors. They didn't go crazy making it a bloodbath just to get the younger viewers. The movie really gives you an insight into Japan's history and what life was like for these people. The atmosphere and story telling really draws you in. The acting is great especially one scene that had me cringing. There were a lot of parts where I was like whoa I didn't see that coming. I can understand those out there loyal to the original but you at least have to give the film makers of this remake credit. They stayed true to Japanese culture, they didn't get tom cruise or Keanu reeves to star in it. They didn't write it for the newer younger audience and make all the characters smart mouth kids. Unfortunately I haven't seen the original yet and I understand how those people might not like this one. I don't know how I would feel about a seven samurai remake? I think this movie was well done. It succeeded in telling a truly gripping story without going all modern on it and ruining it. I enjoyed it.
    8wandereramor

    On the deficiencies of wooden swords

    Takashi Miike's second straight tribute to the samurai genre is a well-crafted and finely honed object. It's more consistent than Miike's previous samurai film, 13 Assassins, although that also means it lacks anything as great as that film's final battle. But what sets Hara-Kiri apart is its willingness to not just offer a pastiche of these films but genuinely question their values in a way that is still challenging to the contemporary viewer.

    Through a series of events told partially in flashbacks, Hara-Kiri poses the question of how relevant our values are -- whether they be highly codified values like honour or the more nebulous instincts that guide us today -- in the face of human suffering. The ronin that we see humiliated and killed in the first act is not guilty of breaking some arcane samurai bylaw but of doing something most of us would find disgraceful. But as the film goes on it argues that we should hold compassion even for people such as this, and that honour is ultimately irrelevant in the face of social suffering. In an age of recession and austerity, where so many try to cling to their ideas of what they or other people "deserve", this is an important message.

    It's an easy film to appreciate and a difficult one to love -- there's a kind of coldness to this set of Miike's movies that seems out of place with the gonzo enthusiasm of his earlier work. And doubtlessly it will be too slow and cerebral for some. But its critique of not just a canonized genre but the way in which we view ethics makes it well worth seeing.
    6Chris Knipp

    In this one, Miike doesn't stand up against Kobayashi

    Anyone with a more than passing interest in Japanese movies ought to watch Kobayashi's 1962 version of Takaiguchi's novel that this also is based on, and watch the intro by the Japanese film authority Donald Ritchie on the Criterion edition. Ritchie makes fully clear how Kobayashi here, as in other films, is talking through the historical tale about current issues he was passionate about, in this case lingering post-WWII authoritarianism in Japan and hollow bureaucracies, in his day as in the time of the early Tokugawa government; Miike doesn't seem to have anything particularly urgent to say. Look at what Ritchie points out that Kobayashi's version offers: the script by ace screenwriter Shinobu Hashimoto who wrote Akira Kurosawa's Seven Samurai; the score by bold, influential experimentalist Toru Takemitsu; the strong and unifying symbolic use of empty samurai armor throughout; the career-defining lead performance by Tatsuya Nakadai; and the elegantly austere use of black and white cinematography.

    Ironically Miike's film also carries over Kobayashi's one serious flaw - - an overindulgence in sentimentality and pathos in the flashback love story.

    Miike, apparently seeking 'respectability' after all his entertaining ultra-violence with this staid remake/adaptation, also overdoes everything. He makes every scene too drawn-out and talky. He further overdoes the sentimentality, to the point that in his version becomes unbearably cloying, virtually unwatchable. Once again, 3D adds nothing; black and white was just what was needed. Less was and is more.

    Whenever a filmmaker goes over familiar ground, adapting a book that has been adapted (and very well) before, he exposes himself to comparisons to the book and to the previous adaptation. Don't get me wrong. Miike has plenty of skill. It is not that his 'Hara- Kiri' is a washout. It's just that Kobayashi's version is a true work of art, a film classic, in fact; and in comparison Miike's is merely a competent effort and a pointless bid for respectability that was not needed. He is a master in his own realm. Surprisingly his last film before this, the juicy, action-historical blockbuster 13 Assassins, which I thoroughly enjoyed, also was an adaptation -- of Eiichi Kudo's little known samurai film of the same name. Thanks to 'Wildgrounds' (who compare the two Hara- Kiri films) for this info. Thanks also to Ben Parker on 'CapitalNewYork' for his detailed comparison of the two films; and to the Criterion Collection, for its print of Kobayashi's 'Hara-Kiri' and Donald Ritchie's informed introduction to it.

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    • Wissenswertes
      The first 3D title ever to be shown in official selection at the Cannes Film Festival.
    • Patzer
      As 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!

    • Verbindungen
      Featured in At the Movies: Cannes Film Festival 2011 (2011)

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    FAQ17

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    Details

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    • Erscheinungsdatum
      • 15. Oktober 2011 (Japan)
    • Herkunftsländer
      • Japan
      • Vereinigtes Königreich
    • Offizielle Standorte
      • Official Facebook
      • Official site (Japan)
    • Sprache
      • Japanisch
    • Auch bekannt als
      • Hara-Kiri: Death of a Samurai
    • Produktionsfirmen
      • Recorded Picture Company (RPC)
      • Sedic International
      • Amuse Soft
    • Weitere beteiligte Unternehmen bei IMDbPro anzeigen

    Box Office

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    • 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 $
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

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    • Laufzeit
      • 2 Std. 8 Min.(128 min)
    • Farbe
      • Color
    • Sound-Mix
      • Dolby Digital
    • Seitenverhältnis
      • 2.35 : 1

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