I like Takashi Miike, this film reveals his limitless talent. Unhurried narrative, chic plans make time to stop and swim with the flow of the plot of the film.
Poverty pushes to desperate acts and the main character is no exception. For the sake of food and treatment of the son, you can cross the line - go to the samurai and make harakiri in the hope of begging for those very pennies.
Yes, he knew where he was going and why, but the cruelty and sadism of the samurai plunges into shock, all their honor is stored only in lats.
What are the shots where Motome tortures himself with a bamboo sword, in agony watching the samurai of the Li clan.
Revenge is a cold dish. A well-thought-out plan of retaliation makes you lie in front of the screen and wait for what happens next.
Anyone who has seen the movie will tell you exactly what the scene is in the movie. Revenge for Motoma, the ruined family puts Hashiro in front of a crowd of samurai (and are they really?). And the same bamboo sword.
Operating at the highest level. The battle and the combination of unhurried frames give the style and the very handwriting of the author.
The film tastes, I recommend who has long wanted to see the paintings of Takashi Miike.
Harakiri 3D — The Lawful Outcome of Takashi Miike's Search
The samurai element is war. It is in war that a samurai can bring maximum benefit to his master. To die in battle is a great honor. However, the inevitable consequence of battles is not only heroic deaths. They are accompanied by the fall of entire clans and, as a result, the emergence of a large number of ronin samurai without a master, who do not have a constant monetary allowance and are often forced to drag on a miserable existence.
In the film “Harakiri 3D” Takashi Miike shows one of these postwar periods in the life of Japan. Events develop in the 30s of the XVII century. This is the background, and in the center of the story is the story of Ronin Tsukumo Hanshiro and his family.
One day, Tsukumo comes to the castle of the Li clan, whose samurai guard the local territory, and asks permission to commit ritual suicide. What is behind this request: a sincere reluctance to continue to be poor, banal blackmail in order to receive alms from the clan or something more significant? To find out, the viewer will have to listen to the dramatic story of the protagonist about his life.
Harakiri 3D is a film about honor and dishonor. Where is the boundary between these concepts? Is the honor of the samurai an unyielding desire to preserve face everywhere and always, or are there situations where a “face” can be sacrificed? Is there a higher purpose that enlightens the concept of honor? Or is honor always closed on its carrier and in this sense akin to well-polished armor, which is pleasant to look at from the outside?
Takashi Miike has a clear position on all these issues. Like any outstanding director, he conveys it to the viewer at once on several levels: plot (through specific situations), verbal (through dialogues of characters) and symbolic (through metaphorical images).
It seems that Harakiri 3D was included in the program of the Cannes Festival precisely because all these levels are perfectly worked out. And I understand how Mika did it.
The director was simply sincerely interested in the metaphysics and pragmatism of honor issues throughout his work. Let in his other famous films ("Crows, 13 Killers), these questions are not plot-forming, but they are also not secondary.
In general, Harakiri 3D is to some extent the result. That's why the movie is worth seeing. By the way, it looks quite easy, despite the genre. And quite suitable for repeated viewing, thanks to the imagery and ascetic beauty of a number of scenes.
I advise everyone, especially those whose spiritual search is in contact with the director’s.
Harakiri is a film that touches the soul and leaves a strong impression after watching. While I am not an expert in the history and culture of Japan, nor an advocate of suicide in any form, sense, or purpose, I have always looked with admiration and interest at the Asian world as a whole.
This picture just conveys what makes me so delighted, touching on topics such as honor, respect, valor, courage, devotion to family, traditions, and myself. The main character, living according to the principles of bushido (samurai code), namely: modesty and politeness; patience, lack of envy and evil; the ability to control yourself and manage your feelings; awareness of self-esteem.
When watching this film, I think not the last role will play, the mood of the viewer, his worldview, age and other factors up to the time of day ... because the overall impression of the picture will be formed based on what you put in it, because the picture is really serious.
A warrior who loses a master becomes a ronin. The warrior who betrayed the master is called Uragiri. But there can be many masters, and there is always one true master. A warrior who killed his Master not in battle has no name. He just stopped being a warrior.
Uragiri (Japanese: "the one who betrayed the debt") Traitor.
A parable of military honor, pride, pride, love and poverty.
Very beautiful, but insanely slow movie. I am very attracted to films about the East and its culture, because for me it remains behind a translucent veil of mystery, for which I do not want to look, but do not mind peeping. It is very interesting for me to observe their foundations, traditions and way of life through the prism of cinema.
This film was no exception, I really liked the cultural component, but the slow storytelling was sometimes tiresome. Although the plot is very clever and interesting, and the story itself is very catchy, impressive and terrifying. From a technical point of view, everything is done very well, the film looks on one, albeit long, breath. The acting is great, from the very beginning it was exciting and amazing. The ending was a little disappointing for its improbability and amusing footsteps of the army of samurai, but nevertheless, the drama came out beautiful. I would even say legendary.
It was completely incomprehensible to me why such a movie should be made in 3D format, because in 3D there was nothing to watch, maybe only 5 minutes out of the whole film deserved it, otherwise it was only confusing. Oh, come on. In 2D, the film did not lose anything.
7 out of 10
Takashi Miike has become interested in the subject of samurai in recent years. Having shot a remake of the painting by Masaki Kobayashi, he took a great risk - such a classic should be treated with care. Even the most loyal fans of Miike, in the case of a cheerful banter, would not forgive him.
However, everything turned out as it should – dark, theatrical and academic. Most of the film captures the boring joyless existence of one family. Perhaps Miike is right in portraying the lifelessness he created on screen. The dynamics took place only in the castle of the Ii clan.
Most likely, Miike strove for the contrast - a joyless boring existence and a majestic death (which is associated with the famous castle). But if the topic of “bleak” existence would not be so long. Maybe the movie would have looked more interesting.
The plot is simple: two ronin come to this house at different times asking for harakiri. Everyone has bamboo swords. The head of the house may benefit the applicant, or may not object to his will. In both cases, the clan will try not to notice that the former samurai will come to them with wooden swords. But is it possible to carry out a famous ceremony with a wooden sword? Is it possible to make a claim against the clan of Iya because of such a death?
The final twenty minutes look fantastic. The question immediately arises – and who is this Shinosuke Ichikawa, issuing such a benefit. There is something to think about, and I would not like to anticipate hints.
However, the film as a whole does not give the impression of a masterpiece. Against the background, in general, very modest on the masterpieces of 2011, this picture may well be considered worthy of special attention. I think that with such an “explosive” scenario, it was possible to make a much brighter film. However, minimalism in most of the staged scenes Mika need to accept – a meaningful author’s choice of the Director.
6 out of 10
This movie is about the fact that even if you have only a wooden sword, you still have to soak yourself when you realize that nothing useful will come out of your family.
Tons of people produce each other, prolonging offspring. This is a common practice and its own prevalence is justified. "Everybody has children." But no one asks, “Is there any point?” or “Is my genes worth continuing?” or “Is it possible for me to raise offspring that can benefit the world?” No one gets it. Well, almost no one. And those who do not have enough are few. There are so few of them that the questions I have listed are more likely to be perceived as sarcasm, although they are questions of sanity.
Taking responsibility for the offspring left on Earth after death is truly noble. Given this fact, it is clear why the director chose the samurai. They are all right with the legend (in reality, they are still chmyrs). But you look like this: They catch fish, they bargain, they slob. What samurai? But the dude decides to kill himself with a wooden sword and everything is OK: Samurai.
Because he managed to overcome the stupid, lifeless instinct of procreation. Who makes you produce your own kind. This instinct by default does not include the thought “Is it worth it?”. He's just demanding. Given that personality size is measured by how much you can control your instincts, the ability to ask and answer that question honestly also speaks to the size of your personality.
Taking responsibility for every action is nobility. When you just indulge your instincts, nothing distinguishes you from an animal. Whatever excuses you provide for this process.
It is desirable to include this film in the school education program so that the cattle would look at and at least a little brainwashed on the topic: “Is it worth ending up in each other at all?” Is it worthwhile to continue the branch of the genus, which by default will not lead to anything? In which each knee will be no smarter than the previous one, and all that it can offer the world is the inept plowing of an equally worthless but already alien garden. Should I? Nope. Kill yourself, be noble in something.
P.S. In fact, the typical "poor" may seem that the movie touches the theme of compassion, which would be necessary, but it does not. The “poor” are like the poor and soon fly to paradise. The director uses this technique especially for the public visiting cinemas. And it's really great. The ability to satisfy the bottom along with the ability to convey meaning that reflects the real state of affairs. And to put in all this a non-trivial and very useful idea.
“The honor of a samurai is not what is put on display.”
Harakiri is the ritual dissection of the belly with a short sword (kusungobu). The samurai performed it to atone for their guilt and preserve the honor of the warrior. The procedure is extremely painful, but thereby proving the perseverance of the spirit.
After the most famous shogun in history Tokugawa united Japan mired in feudal wars with fire and sword, a huge number of soldiers remained. In peacetime, samurai had nowhere to use themselves, it was difficult to find work, so those who remained “out of the game” took up any business. These former warriors were called ronin, a declassed samurai without a master. The situation was very humiliating, and most committed suicide, unable to bear the shame of poverty.
The film "Harakiri" begins with one day at the estate of a famous clan comes beggar Ronin Hanshiro Tsugumo with a request to provide a place for ritual suicide. In those days, it was a common practice to die in a respected place honorably, but sometimes such appeals ended with an offer to join the service or the issuance of a cash allowance. However, the head of the clan warns the former samurai, telling him a terrible story about a similar request of another warrior, which ended in terrible agony when committing seppuki with a reed sword, as a punishment for selling his katana (selling weapons by a samurai was a terrible sin). But Ronin remained adamant in his decision and told his story.
Japanese filmmaker Takashi Miike’s film about the samurai era has an incredibly powerful emotional effect. Full of harsh drama and hopelessness, doom and longing, but not a broken spirit. Shot as modest and compact as possible, with a minimum of film sets, without any special effects - the film looks flawless. Impressive climax scene: on a white tatami in the middle of the courtyard of the estate sits completely calm samurai in a worn kimono, around with naked katanas stands a whole detachment of ministers, snow falls from the sky with flakes - a picture fascinating, anticipating a knowingly unequal duel ...
Despite the fact that Miike often shoots three films a year, Harakiri stands alone, being the only film director in 2011 (and to this day the last work). And not characteristic of his creativity. With scrupulous recreated harsh, ascetic and heavy life of the “ownless” samurai is absolutely tragic. The film is full of details-symbols, allowing you to understand the picture even more through associative thinking - the white cat (symbol of purity and beauty) in the ronin house is strikingly different from what lives in the clan estate; the absence of flowering plants, only autumn cold, and falling snow like the apogee of drama; bamboo sword against steel katanas.
From “Harakiri” you should not expect a film in the spirit of Tarantino and the effect of 3D here is exclusively artistic in nature (creating depth of the frame). Obviously, the cinema is designed for a narrow audience – fans of Asian cinema, lovers of history and practicing martial arts (especially aikido, which implies possession of traditional Japanese cold weapons). But at the same time, I recommend watching the movie for everyone. Because it is imbued with the spirit of valor, honor, it brilliantly plays the main role of Shinosuke Ichikawa (who almost for the first and last time starred in a movie), and because it is just a great art-house movie, shot in Japanese succinctly and tastefully.
P.S. This film is a remake of the film of the same name, shot by Japanese director Masaki Kobayashi in 1962 (honored the "Golden Palm" of the Cannes Film Festival).
Having watched two Harakiri films in a row: the original from 1962 and a remake shot half a century later, I can confidently say that the second one is better. Miike significantly improved the plot, deprived it of logical failures and simplified, leading to a truly Japanese simplicity, conciseness and grace. Of course, one could say that it was easier for him to work after an artist like Kobayashi and 50 years later – and that’s true. Therefore, connoisseurs of the old Japanese cinema: with mandatory samurai fights in a clean field, long pathetic introductions to them, etc. - must watch. For those who want to enjoy the most tragic story about the two ronin who came to the Ii clan at intervals of several days and with the same request: let them perform in the courtyard of the harakiri clan, I recommend you to stop at the version of Miike.
In general, Miike follows Kobayashi's film quite accurately, only making some edits. For example, in Kobayashi, the samurai Tsugumo tells his daughter that he has saved a lot of money, not to take them to the grave, but in the next frame, when his grandson falls ill, laments that he cannot help him. Miike is more consistent: his heroes are overtaken by poverty long before the illness of the child. Kobayashi has two climactic peaks: the battle of Tsugumo with Omodaka and the final battle of Tsugumo with the Ii clan. However, Miike correctly notes that the first battle does little for the main drama of the film and looks like a tribute to the traditions of classic samurai fighters, where the two strongest samurai are obliged to meet face to face. Instead, he makes the film’s first compositional center the tragic end of the Motome Chijiwa family, thereby amplifying the film’s entire nerve. True, sometimes it even seems that he oversteps the stick with drama, which turns him into the melodramatism of the Brazilian spill, but, according to common sense, it is still better than the fuzzy structure of the film Kobayashi.
Finally, the undoubted findings of Miike, which Kobayashi did not have. This is a bamboo sword Tsugumo, which immediately raises to another level the tragedy of the final battle, and a brilliant solution with ceremonial samurai armor. Where Kobayashi Tsugumo simply does not understand why he has enough armor, whether defending himself, or wanting to wear it, Miike creates a powerful scene of denunciation of the entire clan. In fact, this is the main motif of the film: what is the honor of a samurai and in what it is expressed. Tsugumo and Chijiwa have their own view of it, the Ii clan has their own. Of course, on whose side the director and the audience. A very strong film by a wonderful and diverse Japanese director.
The spirit of man. The honor of a warrior. Samurai duty.
Alas and ah! This film is a remake of Masaki Kobayashi’s remarkable masterpiece Harakiri (1962). The director of the restored masterpiece certainly intended to pay tribute to the great artist of the past and allow the viewer to appreciate the heritage of Japanese cinema. The movie made a huge impression on me, but I would prefer to know in advance about the existence of the original.
I used to think that only Americans were successful in remakes. In this regard, I know the name of Akira Kurosawa, who made a significant contribution not only to the Western genre. Unfortunately, I don't know much about Japanese authors, but the author of the three-dimensional "seppuki" Takashi Miike, I've seen two works. Myike’s first film, 13 Killers, is also a remake, and the second film, Cinema Proba (1999), shocked me with the originality of the genre.
Eastern culture is a mystery to me. Japan is calm. Japan blossoms with wisdom and the power of tradition. Sometimes the frame time seems to me giant, and the thought of the Japanese authors is direct and often cruel. The worldview of the authors makes you think: nature and man merge together.
It's hard to talk about it. Harakiri is a film about Japan’s cultural past. Weak-hearted viewers do not belong here. Fans of action will also be uncomfortable, although there is a last scene. Philosophy is somewhat straightforward and naive, but thereby causes even greater delight.
Fans of samurai parables are recommended.