L'ultimo samurai

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.

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.

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.