Sekigahara

One can't say that filmmaker Harada Masato lacked ambition. Whether working exclusively from historical records of a few hundred years ago or from a historical novel as is the case here, the Battle of Sekigahara is a pivotal moment in Japanese history with many complicated people, many pertinent underlying and subsequent issues, and countless schemes, machinations, and moving parts that fed into the turmoil. However his cinematic treatment of that event and of Shiba Ryotaro's novel might turn out, the idea alone catches one's attention, not least given the long list of celebrated jidaigeki that Japan has turned out over the past several decades. Based on all such factors one may well have high expectations of a picture that would bring this drama to life. I know I did. And I therefore find myself sadly disappointed that the result is marked with substantial flaws and shortcomings that reduce its lasting value. I expected much of 'Sekigahara,' and in all honesty it's not the movie that I believe it should have ideally been.

I don't mind that in a runtime of two and one-half hours, the vast majority of the length is devoted to the escalating politicking, manipulations, small engagements, and meetings behind proverbial closed doors that characterized the build to the major conflict as side were chosen and alliances made. These are most certainly worth exploring. However, I do mind embellishments of editing, computer-generated imagery, and sped-up footage, and disconcertingly curt, brusque editing generally. I do mind the heedlessly swift pacing in plot development and direction that disallows beats, scenes, and ideas from manifesting, breathing, and resolving of their own accord, and from therefore bearing the weight and import that they should given the unfolding drama. I do mind the unnecessary framing, and narration that seems judicious and useful only about half the time. I do absolutely mind confused scene writing and dialogue that often poorly identify characters, make it difficult to track the figures involved and their relationships, the matters that inform those relationships, and the progression of the narrative - a weakness that is especially unfortunate since the anticipated action, the one aspect of the plot that does not necessarily require careful writing, is pushed to a much smaller portion of the duration. And I do absolutely mind that for as fascinating and absorbing as the drama is on paper of the course of events that culminated in the Battle of Sekigahara, in execution they are diminished not only by all these indicated troubles, but also by this: the fact that said drama and the subsequent epic battle should surely have been rendered as at least two separate features, or one that was itself far, far longer to meaningfully accommodate the two unequal halves, rather than to have been inelegantly smashed together into 150 minutes total.

For the record, it's not until we're within about the last forty-five minutes that text on-screen informs the arrival of the plot to the day of the titular battle. Even setting aside the fraction of the runtime that the battle itself fills - we can generously say it's approximately one-fifth, give or take, depending on how we deign to measure - I don't think the violence is treated well, neither in how scenes were written nor in how the material was choreographed, shot, cut, or sequenced. Given the woeful deficiencies that defined too much of the preceding drama, that the action of battle should also be plagued with faults of its own is taxing.

All this is hardly to say that there is no value in 'Sekigahara,' for that couldn't be further from the truth. The filming locations are gorgeous, and the sets are beautiful and rich in detail. So too is the costume design, hair, and makeup. Beyond the tawdry embellishments, the film overflows with practical effects, stunts, and plenty of fight choreography and otherwise action sequences that are indeed effective and worthy. We're treated to a huge cast, many extras, many horses, and many props and weapons as befits the saga on hand. Say what one will about the specifics of how it was employed, Shibanushi Takahide's cinematography is crisp and vivid; for all the concerns I have with regards to Harada's direction, when he is at his best, the outcome actually is quite excellent. Only, would that Harada's screenplay received anything near the same level of care, that his direction were far more consistent, that his editing were more mindful, that the action sequences were approached more thoughtfully, that the embellishments were declined altogether - and so on, and so on. In turn, some of the acting is just fine, and some of it is overbearing; Fuuki Harumi's score is a nice complement, but all told, I never particularly even took note of it until the denouement of the last several minutes. For all the immense gravity that this picture should have had, it never actually comes across at any point throughout the runtime. If that doesn't speak to the grave problems that drag 'Sekigahara' down, I don't know what does.

Factor in some shots or scenes that were intended to infuse a jolt of tension or thrills, but which instead only serve to tiresomely accentuate the artificiality as if this were a Hollywood blockbuster, and I earnestly wonder if I'm not being too kind in my assessment. This isn't a bad movie. It's no more than half the movie it should have been however, and by some accounts, probably less than half. Those facets that were honestly well done just represent too little of the whole to amount to anything, and I will not think on this 2017 release hereafter except to remark on how unsatisfactory it was. I had high hopes, and they were not met. I suppose I'm glad for those who get more out of 'Sekigahara' than I did, but whatever it is you want out of it, as far as I'm concerned there are many other flicks that are far more worth your time, and the reasons for checking this out are ultimately all too few.

The Battle of Sekigahara in 1600 was one of the pivotal moments in Japanese history. Although the battle itself only lasted 6 hours, the events which led up to it were years in the making. This was effectively the battle where the Tokugawa clan began the usurpation of the power base of the Toyotomi clan put in place by the regent Hideyoshi. This film is the story of the political maneuvering and events which led up to the clash at Sekigahara where the Western forces organised by Ishida Mitsunari were pitted against the Tokugawa in the East. I really liked this film because of the way Ishida Mitsunari was portrayed by Junichi Okada. In many of the Taiga dramas which deal with the backdrop to Sekigahara, Mitsunari is portrayed as an indecisive un-charismatic coward with his own lack of leadership, personality and battle nous being responsible for the result of the battle. Here he is portrayed as competent and intelligent and it is a refreshing change. The film is quite slow to start with but that is a simple reflection of the reality of the build-up to Sekigahara with the Tokugawa playing the long game before making their move. The film is beautifully shot with lavish backdrops and excellent costumes. The acting is also excellent. I can see why anyone without a bit of knowledge of Japanese history would be bamboozled by the plethora of characters presented here and that may spoil some people's enjoyment of the film

What we saw in this film is a guy, Sakichi, who put righteousness, justice, morality and fairness before everything else. A dreamer, a very unpractical person tried so hard to be politically correct in the chaotic Japanese feudal period. A guy with conscience and loyalty to his master, with a bigger heart and love of Japan, an idealist. But he was also so stubborn and arrogant, could never hide his despise to those who were ambitious and not loyal to their master. Such person was doomed to be a loser. His old friend reminded him: "There's no justice or righteousness once you are dead."

To the film itself which was adapted from the famous Japanese author, it was not well crafted, so sometimes it just looked vague and awkward. The cinematography was good though, the mountains, the field and the lake....all of them looked just so beautiful.

I want to see much more from this title and finally i was a little bit dissapointed. We view the movie by Mitsunari view and see almost nothing about the character and thinking of Ieyasu. I also want to see more of Kobayakawa personallity and how he was thinking. The battle was nicely filmed but it started after two hours from the beginning of the film!

Well, this film hardly feel realistic historically, because it clearly choses a side from a battle 400 years ago, and yeah, Troy of course tell his story from the side of the achaeans, but both sides fight for good reasons

This is literally pro-ishida from start to finish, he is the hero, young, handsome, competent, fair in justice, a men with valor, honor, respect an love, yes, he form a bond with the most awesome women ninja warrior. Ieyasu is the polar oposite to that, you will feel disgust when you see him.

You have to love Ishida and also to hate nasty Ieyasu.

I'am no japanese expert, but is difficult to explain both men actions if not for ambition and also competency in both sides.

Long movie but watchable, because Japan is beautiful, but the story is kind of a fairy tale of the hero Ishida, and that becomes a little stale and boring kind of fast, because Ishida is just too perfect, and is not an interesting character.