Harakiri

"Harakiri" ("Seppuku") (Japanese, 1962): It is the 17th century. A young Samurai warrior arrives at a mansion, asking to perform his ritual death there. In a series of flashbacks, we learn who he is, why he came, and what has occurred since. Although quietly told by another ex-warrior (about whom we also learn more), this is an interesting story that builds in complexity and tension. Debates about rituals and appearances may at first seem to hold more significance in old Japan than in the contemporary United States, but it is not difficult to translate and implement such thoughts. Love, honor, duty, family, children, saving "face", determination, desperation…they all exist in OUR everyday lives. Dramatically photographed in beautiful black & white, given a strong Japanese score, and paced so that even the mildly patient will be glad they saw it, "Harakiri" is epically huge, and a must-see for story & film lovers.

Well what can I say.. this 1962 movie directed by Masaki Kobayashi is one of the MOST powerful movies I have ever seen in my life! It is really a tremendous example of outstanding film making! The cinematography is absolutely exceptional! However it is the haunting plot of a samurai explaining the meaningless and worthless flawed belief of the samurai spirit which grips the viewer.

Tatsuya Nakadais mighty performance in Harakiri further proves for me, that he is without a doubt one of best actors in the history of film. This man takes on his roles with such prowess that it is easy for the viewer to forget that you have seen him play a different role in another movie.

By the way - The Criterion 2 disk DVD version is mint! An a MUST HAVE in any fans collection.

Seven Samurai is pretty great, but I think Harakiri is even better. This tale of a ronin seeking revenge and exposing the flawed samurai code is so close to perfection. The story is engrossing and despite the slow pacing it's never boring. What the production lacks in scale it makes up for with emotional intensity. The sparse, ominous score is perfect for this film. The direction and cinematography are masterful and the camera's slow pans and zooms really butter my croissant. The editing is great and purposeful too. There's not a single weak performance but Tatsuya Nakadai in the leading role steals the show.

My only complaints are with some of the pacing and fight choreography. There's a standoff scene in the middle that could have been cut (since it felt like a cheap way to build tension and it wouldn't make sense for them to continue waiting afterward) and the long flashback could have also been trimmed. The film is 2 hours 13 minutes but I think exactly 2 hours would have been perfect. From a fight choreography standpoint the one-on-one fight scenes were well done but climax was shaky. There were many interesting ideas and moments in there, but also several points where I was like "okay, how did they not strike him there?"

Harakiri is an outstanding film that deserves more attention. If you haven't seen this film check it out. The Criterion restoration is absolutely beautiful. I intentionally kept this review vague since it's best to go into it knowing as little as possible. With a few thousand more ratings, this film would be pretty high up on the IMDb Top 250, and I'd be delighted to see it there.

The story of a Samurai, who requests to commit harakiri.

I have read many of the reviews with a great deal of respect, many have such an understanding of the culture, and a very deep understanding of the content of the film, for my ignorance I come here as a novice, with no understanding, so from my viewpoint, I'm watching a film I've been told I'd love. I've seen one samurai film prior to this.

First off, I had to check it was actually made in 1962, it felt way more advanced than that, the concepts and production.

I thoroughly engaged with it, the story was fascinating, and where I expected it to tell a general story, the focus was pretty much on one single character, Hanshiro Tsugumo.

Some of the pacing me be hard for some, the long drawn out scenes, I find very purposeful. The music is engaging, the acting terrific.

I wasn't surprised to learn that the swords and multitude of blades used in this movie were real, and that I think is one of the film's most successfully aspects, its authentic, a story presented in a very real fashion.

It's a powerful story, 9/10.

The generation that came after the renown Japanese directors Kurosawa, Ozu and Mizoguchi is generally regarded as less talented. The main representatives of this generation are Kaneto Shindo, Kon Ichikawa en Masaki Kobayshi. Personally I would like to make an exception for Masaki Kobayashi, who is in my opinion the equal of Kurosawa, Ozu and Muzoguchi.

Kobayashi is best known in the West for his ghost stories "Kwaidan" (1964). The rest of his repertoire, among which the samurai movie "Harakiri" (1962), is not to be sneezed at either.

A samurai movie is usually seen as a sort of Western of the East. Main ingredients of the Western genre are action and the battle beween the law (good) and the villains (bad).

In "Harakiri" (which literal translation is: hara = belly , kiri = cutting) in stead of the law there is the samurai code of honor (Bushido in Japanese). But this code of honor is not the good element of the film. Rather it is revealed as a force of ruthlessness and hypocrisy. In the film the Bushido is represented by the Li clan.

In "Harakiri" there is also little action. Only towards the end there is something that can be seen as a "shoot out". But in this shoot out the evil is not overcome, but only revealed as shallow (the idol of the Li clan is shown to be an empty armor).

Translated in Western movie genres "Harakiri" is therefore no Western. Maybe it can be categorised as a Court room drama. The heart of the film consists of main character Hanshiro Tsugumo (Tatsuya Nakadai) telling his sad story. This story is in essence a requisitor against the Bushido. The performance of Nakadai as a broken Tsugumo is brilliant. His requisitor is not only aimed at the Li clan, but also against his own past. Once Tsugumo also was a samurai.

Kobayashi was a convinced humanist all his life. Apart from "Harakiri" he also made the 9,5 hours epos "The human condition" (1959-1961). This epos is situated in World War II. For Kobayashi kamikaze was just another form of Harakiri and thus just another utterance of the old Bushido.