Rébellion

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.

Brilliant direction, excellent writing and superb acting make for one of the most intelligent and entertaining films to come out of Japan! Mifune is magnificent as the samurai who is forced to choose between family and duty. Scathing in its portrayal of feudal Japanese society this film works as both exciting historical drama and heart breaking melodrama. Mifune's stand against social injustice is presented in a totally believable yet poignantly touching manner. His scenes with his baby granddaughter are absolutely beautiful! The end of the film is both ferociously brutal and incredibly tender. What a combination! "Rebellion" leaves you emotionally drained yet asking for more!

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.

"During the powerful Tokugano Regime in Edo (presently Tokyo), there were 264 lords or "daimyo". These feudal lords ruled their clan and the people under them".

In 1725, the henpecked samurai Isaburo Sasahara (Toshirô Mifune) and his friend Tatewaki Asano (Tatsuya Nakadai) are the best swordsmen of their clan. Isaburo regrets his arranged marriage with the dominator Suga (Michiko Otsuka) and expects to give a good marriage to his son Yogoro (Go Kato). However, their Lord Masakata Matsudaira (Tatsuo Matsumura) orders Yogoro to marry his mistress Ichi (Yôko Tsukasa), who has a bad fame in the clan since she slapped the lord's face and torn his clothes apart. The Sasahara family objects but Yogoro accepts to marry Ichi for the good of his family. Instead of a pampered woman, Ichi proves to be a good wife and discloses the reason of her reaction to Yogoro, when she surprised him with a mistress after bearing their son. Ichi delivers the baby girl Tomi and is loved by Yogoro. When the lord's son dies, he orders Ichi to return to the castle to legitimate their son and successor of his clan. Yogoro does not accept the order under the protest of his family, and his brother Bunzo (Tatsuyoshi Ehara) lures and kidnaps Ichi, bringing her back to the castle. Isaburo and Yogoro decide to request the return of Ichi and have to face the wraith of their lord and clan.

"Samurai Rebellion" is another Japanese masterpiece, with a beautiful and engaging romance in the period of Tokugano Regime in Edo and comparable to Romeo and Juliette. Further, this is also a cruel story of attitude against tyrannical governments and I loved the line "We All Have Our Own Way of Living". I am fascinated by the rich Japanese history, despite my knowledge be limited to the movies I see, and I found "Samurai Rebellion" wonderful also in this regard. The direction and acting are awesome, and the stunning Toshirô Mifune has another fantastic performance. The black and white cinematography associated to the magnificent camera work, settings and scenarios gives an intense reconstitution of Japan lifestyle in the Eighteenth Century. My vote is ten.

Title (Brazil): Not Available

Note: On 18 April 2024, I saw this film again.

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.