L'ultimo samurai

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.

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.

Isaburo Sasahara is a former samurai warrior and master swordsman who now lives a quiet life as head of his family, he has been continually henpecked by his wife for all their married life, so its his ambition to have his eldest son Yogoro married to a woman who will respect him. Isaburo's plan is thrown into disarray however, when he receives a notification from the Lord of the Aizu clan, that he would like Yogoro to marry Lady Ichi, a mistress of his who has fallen out of favour. This in itself seems rather insulting to Isaburo, as Lady Ichi he learns has a reputation of being violent towards his lordship and added to that she has an illegitimate child by him. After much family discussion they all agree that to refuse his lordship's offer would mean certain ruin for the Sasahara family, so they agree. Much to their surprise Lady Ichi is a kind, affectionate, helpful and thoroughly pleasant woman. She regales them with tales of his lordships cruelty and adulteress behaviour, the family are pleased she has finally found happiness with Yogoro.

Yogoro and Ichi are blessed with a child, that helps Ichi forget she had to give up her first child, as it was second in line to his lordships domain. However after the heir dies, Yogoro now head of the family receives another request, that Ichi should return again, as her son is now heir and it wouldn't be fitting for the mother of an heir not to be with her child.This however is the final straw and Isaburo and Yogoro set out to defy their lord and fight for their rights.

Samurai Rebellion was Masaki Kobayashi's first foray into the field of independent films and he returned to a familiar theme (previously used in Harakiri,1962) of injustice perpetrated by a tyrannical authority figure. Kobayashi teamed up with legendary Toho studios and Mifune Productions to recreate the literary vision of Yasuhiko Takiguchi's "Hairyo tsuma shiatsu" in a script by Shinobu Hashimoto. The films original title literally translated as Rebellion: Receive the Wife was changed for western audiences at the request of Toho, as they didn't believe it sounded manly enough for a Western audience that were very keen on Samurai films. Despite its more familiar title, this is very much a family drama, that wonderfully builds up its characters and to label it as a Samurai or action film would be erroneous, the rebellion scenes occurring only as we near the finale. Kobayashi's also uses Japanese architecture and symmetry to further the mood, using pillars, castle walls, doors, protective eaves and endless straight lines to promote stability, when the Sasahara family are having a less than unified debate on their predicament, the members are all stationed at unusual differing distances from the camera making the harmonious composition appear unsymmetrical when a member leaves the room and also towards the end of the film Isaburo and Yogoro remove all elements of geometric stability from their home as they await the arrival of their feudal lords men, their act seemingly to once and for all end their association with their restraining dogmatic social structures.

The performances are all superb, Mifune giving us one of his more retrained performances with only glimpses of his more familiar gusto as he emotes and reflects on the tragedy of the situation his family is in. The great Tatsuya Nadakai is restricted to a few brief scenes, but his power still shines through. Yôko Tsukasa and Go Kato also produce memorable performances as the loving couple willing to die to retain their partnership. Samurai Rebellion is a powerful film that reflects its directors concerns with the abuse of authority, it exudes class and visual style and its attention to detail is second to none. As a film it can't be faulted.

If there is one thing to be said about this film, it is excellent in every detail - story, direction, cinematography, music, action, I could go on and on. There are few film makers who can turn a simple tale of feudal injustice into such a moving drama.

As the movie progresses, Toshiro Mifune's character slowly transforms into an epic hero - for his sense of honour and his love for his Son for which he is ready to defy his own honour-bound Samurai's oath, to rebel against the very world he lives in. The heroism and integrity of his sacrifice are presented in exquisite detail with poignant dialogue (even in subtitles). This in itself is an amazing achievement when the compared to the trend nowadays is to try to impress the viewer with visual trickery or mind-numbing fight sequences with excessive violence.

I truly appreciate Masaki Kobayashi for the respect he shows to his viewer's intelligence, for intelligently presenting the true heroism of a human standing up against impossible odds.As an exercise, you may compare this movie with the over-budgeted disaster of a Hollywood movie called "The Last Samurai" to know what I am talking about. With an excellent story and great characters with potential for true heroism, "The Last Samurai" is one of the dumbest movies ever made.

This is also no dumb "You killed my master so I will kill you" Hong Kong movie or a "Lone Wolf" movie with it's absurd and senseless blood-spilling. All of you Action movie fans, this is also not a beat-each-other-to-pulp or chop-you-up-like-a-fish movie.

The fight sequences are excellently executed and are almost the best that I have seen so far (The fight sequences in Harakiri must be THE BEST ever).The character of Tatsuya Nakadai is interesting as well in that it is not really clear what his true intentions are - he seems torn between his selfish desire to better Mifune's character in a duel bound up with his loyalty to his clan against his honour as a friend. Warning: So watch it if you enjoy an excellently told social drama and you will see what makes a masterly piece of art.

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.