Harakiri

回想シーンは作品の流れを止めてしまうことがままあり、独白は説明的に過ぎて退屈するものですが、この映画は回想と独白が無駄どころか、全体の物語を支配する、数ある橋本忍の脚本の中でも斬新な出色の出来です。 動きの少ない舞台にあって、影の移動のみで時間の経過を表す小林正樹の細心の演出、仲代達矢、三國連太郎の若くして円熟を見せる演技、武満徹のオリジナリティあふれる音楽。映画が総合芸術であることを証明した邦画界屈指の傑作。 公開当時から異色作扱いされていたためか、一般の知名度が低いのが残念な名作です。

This has got to be one of the greatest artistic illustrations of rebellion against an oppressive and cunning authority. A timeless ordeal that has marred humanity since our infancy is brought here (in HARA KIRI) to the most stunning, effective and thought-provoking representation I've ever witnessed on film. The premise and the narrative are simple enough for anyone to comprehend, yet wrought with limitless subtlety to keep the thinker thinking for a very long time. This film will infinitely test the Draconian thinker as it's difficult for the rationalist to bend under passionate distress. But when humanity presents itself naked and powerless, even Samurai code is put to the test. This film is a terrific representation of both sides of a uniquely human equation. On one hand, we are bound to the authorities which we invent. On the other, we are bound to the humanity with which we are born. As honorable as it is to remain tenacious for a belief, it's just as honorable to fight relentlessly for survival. It's just plain wrong, however, for authority to manipulate the very honor for which it is regarded in order to spite or punish those who struggle to live. I can understand and respect punishment, but I will never respect or agree with punishment that is handed out fraudulently. An early character is this film commits hara kiri, believing that given his present circumstances, hara kiri is the most honorable and respectable way die. Unbeknownst to him, however, his superiors are using hara kiri as a means of punishment, made all the more brutal and inhumane through the use of a bamboo blade. Had the character committing hara kiri disclosed his situation to his superiors, or had his superiors asked the character to disclose his situation, the hara kiri and ensuing revenge plot might have been avoided entirely. But unfortunately, our unwavering fortitude under invented systems of belief and authority can and will inevitably lead to tragic ends. As far as the picture is concerned, Criterion nails it. Unless you're a raging cinephile, ignore the cropping criticisms. The experts at Criterion wouldn't crop unless it were absolutely necessary to improve the overall aesthetic virtues of the transfer. Regardless, the cropping is insignificant; the cinematography remains among the best ever. I was floored by some of the close-ups; they're really shocking. It's obvious after seeing this film where modern Japanese filmmakers find their inspiration. This is about as beautiful as black and white gets, the most beautiful b&w film I've seen being THE WHITE RIBBON on BD. This transfer comes pretty darn close to that, and this film is how old again? Criterion are good at respectfully handling grain. So, no issues there. There are spots and scratches every now and then, but they're extremely few and insignificant. If it weren't for their occasional appearance, it would be difficult to discern the age of this movie. The audio is mono. What more can be said about it? Yes, it's as true to the source as you're going to get, and it's extremely clean, but it's still mono. I hope you enjoy this film as much as I did :)

Criterion does such an excellent job of getting films to look their best as when they were released. They did again with this samurai classic for sure! When it comes to top samurai films this one belongs in the top three. Story, action, sets, and acting all hit there marks in this one. Think of what Altman's McCabe and mrs. miller did for the western Harakiri does for the Samurai genre.

日本が誇る時代劇の名作、何度見ても素晴らしい映画であることを確信、小林監督の黒澤監督のダイナミックさとは異なる精緻なリアリズムに圧倒される。現在の邦画は、作品同様、監督・役者ともにうすっぺらで、テレビドラマの延長のようなレベルにあり、残念至極である。 過去の映画を学び、役者を育て、是非とも本物の映画を製作してもらいたい。

Good movie, but the white subtitles, often on a light background, were too difficult to read.