Harakiri (1962, Masaki Kobayashi)

There is a scene in this film where one of our characters is committing harakiri (seppuku), a Japanese ritual suicide. Yet to make matters worse, he attempting this with a bamboo sword... it's a gruelling scene. We see every intricate detail and it is by no means an easy thing to watch. A scene which will forever be ingrained into my movie memories.

This is one of those films that from the opening shot alone, we can sense we're in for a masterwork of craftsmanship. It's broody sound effects, dark camera work and almost classic horror like approach introduction truly sets the tone.

We're immediately introduced to our main protagonist Hanshiro, a ronin whom after the collapse of his clan, no longer has any reason nor desire to live another day past his samurai days.

Our hero enters the manor of Lord Ivi where he humbly requests the use of the quaint premises to commit harakiri. However in an attempt to discourage, he's told a story about the horrific demise of another man who had also approached Lord Ivi with the exact same request not to long ago. This being the story of Motome's gut wrenching end via harakiri. 

We're told Motome was another one of those few "disgraced" samurai, who'd only been faking his request in order to obtain pity, in order to gather up a small sum and be told to be on his way. Thus Motome was used as an example and forced to proceed with his ritual. But it gets worse. Due to the fact that this man was so poor, his own sword (an extension of the samurai soul) was sold off and replaced with a bamboo "sword", yet was even forced to use his own "sword". I can still hear that bamboo snap.

Nonetheless Hanshiro seems oddly unaffected by this horrific story and is granted his request. However when all is set in the garden, and the ritual is about to commence, Hanshiro requests a specific 'second' (one who'll steadily and swiftly behead him once the time comes) who happens to not be present due to illness. Hanshiro then enlightens his audience with an extraordinarily melancholy story, a story revolving around the character Motome.  This is where the film truly steps into high gear. 

This can most certainly be seen as an every-man speaking up against a tyrannical government (which was the case at the time in Japan) and is still ever so relevant today.  It's about honour, about the true power of authority and the facade of its rulers.

Yes at it's root it is a tale of revenge, but it's most importantly telling us that regardless of this, look at who wins in the end and why. Whomever is in power can easily sweep under the rug whatever deems fit to the current ruler, and what truly happened... doesn't matter.  It is a cynical view, but an honest one and it's got a lot to say about it's sheep like followers. Safe to say it's even more relevant today. 

Yet asides from its message being fresh, the technique itself is simply sublime. Its brilliant cinematography and use of shadows is reminiscent of The Third Man and gave me that same feeling of awe you get from watching a Kurusawa masterpiece. The camera knows just when to move ever so swiftly and takes its time, using very little background music, yet highly effectively when used. 

There are certain sequences that just gave me chills down my spine, others so tense I was incapable of movement. Words cannot express the sheer brilliance of this film. 

It must be said that I'm quite the avid fan of the so called 'chanbara' genre with the great Akira Kurusawa being one of my all time favourite directors. However I was in no way prepared for this treasure of a film. 

This is without a doubt one of the greatest crafted films I have ever scene, and I've seen a hell of a lot of great films. Not to mention it won the Cannes Film Festival’s Special Jury Prize upon it's release back in 1962 and was later remade by Takashi Miike in 2011. It's a true cinematic masterpiece, one for the ages.

Rating:  A+

Click here for the trailer