Rébellion

Samurai Rebellion is one of the best films I've ever seen. Masaki Kobayashi is my favorite Japanese director next to Kurosawa, at times even surpassing the latter. Samurai Rebellion is a well-acted, brilliantly directed film about standing up against injustice that manages to tug firmly on one's heart strings without ever being cloying. Mifune shows the full extent of his acting abilities by not having to play the sort of macho character that he came quite close to being typecast as, and Yôko Tsukasa is no less remarkable. The soundtrack by Toru Takemitsu is also wonderful, serving to add another layer to the film's narrative and emotional impact rather than merely emphasizing it. Another remarkable aspect of the film is the use of violence: Although the fight scenes near the end are brilliantly choreographed and filmed, they're not in the least glamourous, depicting the desperation, sadness and anger of Mifune's character. It's a terrible shame that most people will never see this film, one that most likely deserves to be considered a classic of world cinema, just because it isn't directed by Kurosawa.

Musaki Kobayashi may be one of the lesser known names in Japanese film making, but this is no minor movie (I haven't seen his better known movies, Hari-Kiri or Kwaidan yet). For those seeing it without knowing a little about it, it will be a very surprising samurai flick - no action until the end, no real sub-plots - a script that is more like a domestic drama in its entire focus on a small group of people - a noble (if relatively low born) Samurai, his son and his daughter in law, formerly the mistress of the Clan Lord. The family are pushed to destruction as the pride of the three refuse to allow them to accept the unreasonable demands of their Lord and his scheming right hand men.

While the movie doesn't have quite the flawless pacing, flowing editing and perfect black and white photography of some of the very best movies of the period, this is more than made up by the fantastic acting and gripping story. As always, Toshiro Mifune is magnetic in the lead, but all the parts are well filled. Kobayashi keeps a firm focus on the key story and admirably avoided the temptation to add the sort of sentimental sub plot that so many of this type of movie uses. The final scenes are magnificent.

Kobayashi was something of a rebel himself - he refused promotion when a soldier in the war, and continually fought his studios so he could make movies on his favored theme - the injustice of the feudal system of Japan and the corruption of modern japan. The Japanese studio system has frequently been criticized for the way it tried to turn great film makers into hacks - but when so many great movies how can we complain? The sad thing is that this movie seems to have been one of the last of the great samurai films - after this the genre degenerated to simplistic chop-em-ups, with only a brief recent revival in movies like Twilight Samurai (which I suspect may have been influenced by this movie).

SAMURAI REBELLION is not one of the best known Japanese films, although it deserves to be. It is very in theme to the masterful HARAKIRI from the same director, and with this film he matches that film's raw emotional power. It's a must for Toshiro Mifune fans.... he delivers one of his finest performances as a jaded elder samurai. He once again gets to share screen time with Tatsuya Nakadai, who has a small but memorable supporting role. The always reliable Toru Takemitsu delivers a fine score made up mostly of Japanese instruments, and Kobayashi's direction is flawless.... this film is filled with memorable set pieces, and it's just the sword fight scenes, although those are pretty incredible too. This is one of about six Kobayashi films available in the west (HARAKIRI, KWAIDAN, and the HUMAN CONDITION trilogy make up the rest)... that's a shame because, based on the quality of these works, he clearly stands among the greats of Japanese cinema.

Those of us who are really into cinema know that Japanese cinema in general and samurai cinema of the 60's in particular is a genre not to be overlookedOne of the most popular Japanese directors who has contributed to this genre ('Yojimbo', 'Sanjuro', 'Kagemusha' etc) is Akira Kurosawa (and I myself appreciate Mr. Kurosawa a lot). However he has over-shadowed (at least for the occidental movie fan) a lot of other Japanese directors from this period of the 60's. One of this director is Masaki Kobayashi and one of his movie that has been forgotten is 'Joi-uchi: Hairyo tsuma shimatsu' (AKA 'Samurai Rebellion').

'Samurai Rebellion' - 1967 is in fact a great movie, a masterpiece. It tells the story of an aging swordsman named Isaburo Sasahara (Toshiro Mifune) who during a time of peace (1725 - 1727) decide to retire and leaves the command of the family to his elder son, Suga. Unfortunately when his clan lord request that Isaburo's son marry the lord's mistress the henpecked life that Isaburo was living changed to the worst and split his family into two. This movie is irreproachable; the filming was mastered by Mr. Kobayashi and the acting outstanding. Indeed not only Toshiro Mifune but also the beautiful Yoko Tsukasa (as Ichi Sasahara) the bride of Isaburo's son are a good example of how temperance can trigger emotions on screen. The photography has been done by the book, every panoramic, close-up, etc are perfect and very Japanese (meaning very geometrical). The pacing is also a perfect mix of slow pace scenes that provide character's depth and fast pace scenes for breathless action and sword duels. In short the movie is technically perfect. However what seduced me in this movie is not so much the perfection of the film from a technique point of view but more the originality and the modernity of the story. The rebellion from this master swordsman (Isaburo Sasahara) who is ready to fight for the happiness of both his son and his son's bride is profoundly humanist. Mr. Kobayashi demonstrates with brio that the notion of Justice transcends Cultures and that there is no code of honor that is above the human code

In a world where apathy rules 'Samurai Rebellion' is definitely a modern testimony and shows that Revolt can also be a path to follow.

Masaki Kobayashi more than proves his worth as a filmmaker here (though he more than proved his worth with The Human Condition and Harakiri, this is the one most seen abroad), in this tragic, technically amazing film Samurai Rebellion. It's got a misleading cover, however, with Toshirio Mifune's face mad as hell all covered in blood. True, the last quarter of the picture does have a kind of cathartic release of swordplay action and (more than usual for the period) bloodshed. But for the most part this is really a film squarely about its characters, and an incredibly interesting one on both thematic and pure cinematic scales.

It's got an excellent, subtle screenplay by Kurosawa regular Hashimoto, and it could be said that that last quarter, of which is one of the most violent I have seen from various 60s black & white samurai movies, is 2nd only to Kurosawa in this regard. Samurai Rebellion stands on its own as a great film in that it gives Mifune, as well as actors Tatsuya Nakadai, Takeshi Kato, and especially Yoko Tsukasa as Ichi, very memorable parts. It's got even an existential side to it that reminds one of Kurosawa as well, though it fits into a mode that is both formal, but also breaking a mold as well. By the time Samurai Rebellion came out, films like this in black and white were on their way out.

With this Kobayashi and his DP Kazuo Yamada create countlessly indelible images in the jidai-geki genre (or Chambara film). One I still remember is when Ichi is describing what happened for her to have to leave the Lord at the start, when she had her fight with another mistress and even slapped around the Lord. The close-ups close in with a true intensity, and the editing adds a kind of uniqueness in a flashback that adds to it being such a rotten memory. Overall, it is both Kobayashi's skills with the lens, that lending itself to his gifts as a storyteller, and allowing people like Mifune and Nakadai to really give it all to these characters that makes it stand apart from the countless other films.

Mifune in-particular here is at the top of his game; here is a character that isn't as immediately humorous or wild as in some of Kurosawa's films. Here is more reserved at first, more in line with someone in his position at his middle age. But the character of Isaburo Sasahara also speaks to his real gifts at hitting the nerves of the one he's inhabiting, and with this one it's a character who's been too stuffed away, too "henpecked" as some characters observe. It's not too surprising then that his sort of eruption late in the film (not only the inspiration for the cover, but also for Paul Schrader's climax for Taxi Driver) after other tragedies have occurred adds to it all. It's really one of his very best performances.

Samurai Rebellion also tries to look deeper into something that must have been common as day in Japan, though here in America it seems like its so unnerving. The power of the Lord over the vassals, and how the powerless seem to stay so until there's something to push them over the edge. It's theme of love's strengths and real connection over dominant rule- and really deeper choice over un-wavering rule- guides through the film as it seems to start out fairly simply. This might all sound a little preachy for a film that should just be, to some, a spectacle of swords being brandished for terms of loyalty and revenge and such.

It's that, too, but it's more if you get into the psychology of this assorted lot of characters, and the style compliments that completely. It's not a color film, but it still feels incredibly contemporary in a way, and as someone watching the film almost forty years after it was released it doesn't feel hokey or stilted like some other older samurai movies. It's touching, creative, and quite the excellent show if you know what you're getting.