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切腹 [DVD]

仲代達矢 (出演), 岩下志麻 (出演), 小林正樹 (監督) 形式: DVD
5つ星のうち4.4 666
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あの頃映画 「切腹」 [DVD]
あの頃映画 「切腹」 [DVD]
￥2,282
(666)
残り8点（入荷予定あり）
フォーマット ドルビー, ワイドスクリーン, ブラック&ホワイト
コントリビュータ 石浜朗, 仲代達矢, 三國連太郎, 小林正樹, 岩下志麻, 丹波哲郎, 橋本忍, 滝口康彦
言語 日本語
稼働時間 2 時間 13 分
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「アイタタタタタ……」。初めてスクリーンでこの作品を観た時は、あまりに凄惨な切腹シーンに、こちらまで脂汗三斗。そこへ介錯人、丹波哲郎の「まだまだっ、存分に引き回されい」とのドスの利いた声がダメ押しに重なる(なかなか、あの世にやってはくれません)。\体面を重んじる武士道と、その中で怨みを残して散ってゆくもののふども。白洲での仲代達也の語りによって、次々と明かされる事実が、限界ギリギリの緊迫感を生んでいく。観終わるまでに画面から眼がそらせない圧倒的な構成力。役者が役者でなく、武士そのものに見える迫力(ある種の恐怖も漂う)。時代劇史に残る名勝負、仲代×丹波の河原での決闘を観ずして何を観る。「実戦の経験を得ぬ剣法、所詮は畳の上の水練」。妙な面子から武勇を賞賛する愚、その後にやってくる犠牲と虚脱感。最高の脚本、鬼気迫る演出、いざ体調を万全に整えて、日本のラスト・サムライをば、存分に観なされい! (丸目蔵人) --- 2004年01月号 -- 内容 (「CDジャーナル・レビュー」より)

製作: 細谷辰雄 監督: 小林正樹 原作: 滝口康彦 脚本: 橋本忍 撮影: 宮島義勇 照明: 蒲原正二郎 美術: 大角純一/戸田重昌 録音: 西崎英雄 編集: 相良久 音楽: 武満徹 出演: 仲代達矢/岩下志麻/石浜朗/三島雅夫/中谷一郎/青木義郎/佐藤慶/丹波哲郎/三國連太郎
-- 内容（「CDジャーナル」データベースより）

登録情報

  • アスペクト比 ‏ : ‎ 2.35:1
  • メーカーにより製造中止になりました ‏ : ‎ いいえ
  • 言語 ‏ : ‎ 日本語
  • 梱包サイズ ‏ : ‎ 18.03 x 13.76 x 1.48 cm; 83 g
  • EAN ‏ : ‎ 4988105027367
  • 監督 ‏ : ‎ 小林正樹
  • メディア形式 ‏ : ‎ ドルビー, ワイドスクリーン, ブラック&ホワイト
  • 時間 ‏ : ‎ 2 時間 13 分
  • 発売日 ‏ : ‎ 2003/11/22
  • 出演 ‏ : ‎ 仲代達矢, 岩下志麻, 石浜朗, 丹波哲郎, 三國連太郎
  • 字幕: ‏ : ‎ 日本語
  • 言語 ‏ : ‎ 日本語 (Mono)
  • 販売元 ‏ : ‎ 松竹
  • ASIN ‏ : ‎ B0000C64R2
  • ディスク枚数 ‏ : ‎ 1
  • カスタマーレビュー:
    5つ星のうち4.4 666

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5つ星のうち5.0 THA映画
2024年1月6日に日本でレビュー済み
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久々に本物の映画を観ました！！
2人のお客様がこれが役に立ったと考えています
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ナンジャイ
5つ星のうち5.0 映像、照明、舞台装置、音響、音楽、シナリオ、演技、ストーリー、全てが素晴らしい✨
2023年10月24日に日本でレビュー済み
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へっぽこシナリオと上手くない演技を派手に音楽で盛り上げる多くの映画に比べてなんとレベルの高いことでしょうか・・・・

最初から終わりまで釘付けです。各俳優陣の気迫ある、しかもやりすぎた感のない素晴らしい演技！
カットやカメラワークも素晴らしく、また能にも通じるような緩急の有る「間」に時間を忘れて引き込まれました。

時代劇とはいえ、シナリオも自然で素晴らしくストーリーに無理なく引き込まれます。

かつての日本映画の名作が世界中の映画の教科書で教材として使われている理由を再確認しました。本当におすすめの作品の一つです。

で、それを踏まえて現代版のリメイク「一命」をこれから見てみようと思います。
7人のお客様がこれが役に立ったと考えています
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ナーヴ・ポリス
5つ星のうち4.0 貧しさを理由に切腹しなくても良い
2023年11月24日に日本でレビュー済み
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一部のレヴューにある通り、石浜朗の行動と言うか設定自体に疑問を感じるところが有ります。これは少し、ストーリー自体を離れて考えてみる必要があるかも知れません。
石浜は未成年で、藩に役を得る前に浪人になった様に思われます。武士としての教育は受けてきたとはいえ、江戸に出て仕官が叶わなかった場合、武士的精神(＝行動規範)の影響は仲代と比べ低かったと思われます。その為、刀が竹光となった。妻や子供の為には精神的規範になる物を売る事を厭わない。彼は本当に切羽詰まった結果、浪人(＝武士社会に帰属する事から離脱していない状態)が安易に選択する方法を踏襲する。大名屋敷の門前での切腹を申込み、金品を得る事を。これは彼が生きる才覚が低い、知性が不十分だとは感じられないかと言う事が有るのです。彼は若いうちから江戸に出たのであれば、社会の実相を見て生き延びる為に考える時間は十分有ったのではないかと。
石浜は二度着替えさせられる。一度目に「夢か」と呟くのは仕官の可能性を感じた為ですが、二度目には白装束を用意され竹光での切腹を強要させられる。ここに井伊家の選択の残酷さが有るのですが、浪人の行動に愚かさを見て当人に教育的措置を行うのではなく、武家社会における宣伝行動、武士の行動規範の強化を選択したと言う点を強調する意味において、情けではなく面目を重視すると言う点で、ここにナルシシズムを感じてしまうのです。
武家社会とは仲代達也の様な存在が従属する戦闘状態を前提としたシステムです。平和になり仲代は失業すると再就職は叶わない。武家社会は平和になるとシステム的に不整合になる筈です。仲代の失業は中央の権力が行ったシステムの再編成に伴い生み出されたと考えられます。つまりそこで教育的措置や救済的措置が必要であった筈、と言うのが現在の価値観と言えると思います。ですが失業者に武士的行動規範だけが残されるとしたら、限られた手段でどう生き延びるのか、或いはどう異議申し立てをするのかと言う点が課題となります。
井伊家は武門の誉れを判断基準とする。それは自惚れが含まれます。またそれは武士の面目ともイコールではないのです。旧武家社会の武士仲代はそこに教育を施すのです。武士の面目とは敵に服従しないと言う事なのだと。多勢と戦いつつ、敵の判断基準の象徴の鎧を破壊し、銃に撃たれ切腹するのです。
私はこれを美とするのはナルシスティックだと考えます。またこれを左翼思想のプロパガンダと考えるのもナルシスティックに思えるのです。これは仲代が三國連太郎に教育を、教訓を与えるストーリーなのだと言う事です。その相互作用を考えなくてはならないと。三國は明らかに仲代に影響を受ける。その後の処置には自身の面目より、武家社会の危機が量られていると感じるのです。
たった一人の男が、切腹を申し込む、その軽いかもしれない試みのうちに、社会に対し異議申し立て、価値の転換を迫る、そのバランスの重さが、仲代や三國のセリフのトーンが徐々に変化する事で表現されています。また石浜と仲代と屋敷で対応する人物の違いが、登場しない事で回収される事態の深刻さが優れた伏線となっています。
さてこの映画には女性は岩下志麻しか登場しません。彼女は眉を落としお歯黒を施すことで幸福を示すが、すぐに病に倒れます。彼女に選択権はまるで無い。彼女の前では切腹と言う行いはナルシスティックなのです。切腹はその行為だけではなかなか死ねない。文字通り介錯が必要なのです。それを美的に捉えるとは演技的な側面を見ると言う事なのかと。美しさを認められた女性には世界を呪いながら死ぬ事しか出来ないと言うのに。
さらに言えば仲代は「人情紙風船」の冒頭死ぬ老人の様に首吊りは出来なかったのです。
4人のお客様がこれが役に立ったと考えています
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小林朗
5つ星のうち5.0 これぞ映画ですね～
2023年10月21日に日本でレビュー済み
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最近のツルッツルで嘘っぽい映画はアタシはカット。
5人のお客様がこれが役に立ったと考えています
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小野和男
5つ星のうち5.0 本当に大切なものとは
2023年9月9日に日本でレビュー済み
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娘婿のむごたらしい死骸を前にして主人公・津雲半四郎が慟哭するシーンがある。自らの刀を何度も床に打ちつけては号泣する。

彼の死に追い打ちをかける驚愕の事実が半四郎を襲ったからだ。なんと彼は有ろうことか「たけみつ」を用いて苦悶のうちに果てていた。彼は困窮のあまり「武士の魂」とされていた大小(刀)まで質に入れていたのだ。なのに己は孫が生死の境をさまよっているのに手をこまねいていた、と自分の愚かさを呪う。無用の長物を後生大事にして、彼に医者代の工面を迫っていた、あゝ。許せ、迂闊な義父を、と。

ここで不意に『太平洋奇跡の作戦　キスカ　』のあるシーンを思い出した。五千名を超える将兵が米軍包囲の島から脱出を試みる。その際舟艇から救難母艦への移乗時に何かと足手まといな銃を兵士はみな海へ投棄していたのだ。菊の御紋が刻印された三八式歩兵銃は　畏れ多くも天皇陛下からの預かりもの　だったはずなのだが。一分一秒でも速く脱出するために上官が許可したとのことだった。

悲しいかな人間は極限に追い詰められなければ、本当に大切なもの失ってはいけないものが分からないようだ。今を生きる我々の生活、人生においては、さて、どうなんだろうか？『切腹』は一度はみておくべきだと思った。
5人のお客様がこれが役に立ったと考えています
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ゆうこ
5つ星のうち5.0 魅せられる映画です！
2023年9月7日に日本でレビュー済み
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昔の武士の物語でモノクロの画像も味があります。とても深く、色々と考えさせられる物語でした。安くレンタル出来てとてもお得で良かったです！
4人のお客様がこれが役に立ったと考えています
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カンパネルラ
5つ星のうち4.0 切腹と病死で片付けられた。
2023年11月27日に日本でレビュー済み
史実なのか、フィクションなのか、あずかり知らぬ。
関ヶ原後、取り潰された藩の武士たちは浪人となり江戸に出て困窮。浪人は名だたる藩邸に出向き、困窮を訴え、武士としての面目を立てるため玄関先で切腹して自害することを願い出る。扱いに困った藩邸の者は、何がしかの金銭を浪人に与え追い払うということが繰り返されていた。
自分人質の脅迫・揺すり・たかりを快く思わなかった井伊藩の者が、浪人の所望通り、それでは切腹によって本懐を遂げさせようと申し出て・・・

　外国人が日本と言えば、芸者、ヤクザ、ハラキリと答えることが多いが、本作品によってハラキリが外国に広まったのであれば、切腹について誤った認識を持たせたかもしれない。
　建前を重んじる官僚化した武士への揶揄に、現権力や官僚への揶揄が透けて見えるが、藩邸の庭での口上は、長々と聞かされる舞台台詞のようで却って薄っぺらく感じた。
　病に臥せる赤子を前に動揺する仲代達矢の演技は、舞台上のようで大袈裟。
　仲代達矢と丹波哲郎の果し合いは、始まって斬り合いになり仲代達矢がのけぞった時に、丹波哲郎の抜き胴が決まる一瞬があった。殺陣を撮り直さなかったのは不自然に感じた。
　仲代達矢は、刀を持って両腕を斜め下に広げるシーンが何度かあった。後に「雲霧仁左衛門」でもやってたので、本人か演出家が余程気に入ったのかもしれない。
　「日本のいちばん長い日」などでも切腹のシーンがあるが、おそらく腹に刀を突き立てると、腹圧で腸が飛び出て来るので、本当の切腹は、映画の切腹のシーンのように綺麗にはならないと思われる。
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るか３
5つ星のうち3.0 今となっては撮れない映画
2024年4月14日に日本でレビュー済み
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大河ドラマの主役を張るアラフォーの俳優がどうにも子どもっぽく見えてしまい、近年の大河は途中リタイアが続いている。
本作は1962年の映画。仲代達矢も三国連太郎もまだ若いのに、落ち着き払った佇まいと貫禄に驚いた。

浪人の仲代、家老の三国、剣豪の丹波哲郎。ぴったりとはまっており、誰と誰を入れ替えても成立しない。キャスティングの妙に感心した。
三国連太郎は「飢餓海峡」のときのような体当たりの演技を多く見てきたが、本作での目ヂカラと表情筋（をわずかに動かす）だけの芝居も上手かった。

お話としては、仲代演じる津雲半四郎の「自爆テロ」に思えてしまい、乗り込まれた彦根藩の方に同情した。
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すべてのレビューを日本語に翻訳
Rob Larmer
5つ星のうち5.0 Offers a brutally real depiction of Bushido
2007年7月5日にカナダでレビュー済み
Amazonで購入
I had been wanting to see Seppuku (harakiri) for some time, and as my first rental with zip.ca I was quite exited. I turned it on, and was simply stunned by its sheer power, realism and quality. It featured little of what Kurosawa had brought to the genre, but rather offered a heartwrenching portrait of the futility of a lifestyle that preys upon the helpless. I sat there mesmerized by the brilliance of Kobayashi's direction and Nakadai's performance, together they provided a level of realism that I didn't think was possible with such a robust genre.

I felt almost the same way I had after viewing The Wild Bunch. I mean this film totally changes the way I think of a samurai picture, but at the same time it does not detract from anything from the likes of The Seven Samurai or Sanjuro. To say the least I found Seppuku to be an impressive film. I don't give very many 10/10s, but it certainly does deserve that rating.

What The Seven Samurai is to The Searchers, Seppuku is to The Wild Bunch. 10/10.
1人のお客様がこれが役に立ったと考えています
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Darth Maciek
5つ星のうち5.0 Magnificent splendor of infinite sadness
2008年4月26日に英国でレビュー済み
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This could be an alternative title for this masterpiece. Few films ever had on me such an effect as "Harakiri" and made me so much think about human life and how fragile it is as well as about happiness and how precious - and always too short - are the moments we enjoy it.

I will not reveal anything about the story, but I think it is worthy to describe the first 30 seconds, which immediately nailed me to the seat by making me realise that I was watching a unique master piece.

So here they are: it begins with an old book in Japanese being opened somewhere in the middle and a calm voice reading: "This day of year 1630, in the morning, men came from the village to present gifts of fish to the castle. No other official business occurred. However, later that day, a well spoken and polite although malnurished and poorly clothed ronin presented himself at the gate with a most unusual request..."

What follows is the story of a tragedy so heartbreaking that even Victor Hugo in "Les Miserables" didn't manage to equal it. It is also the story of an unjustice so disgusting that it would probably make Dickens and Zola weep like teenage girlies... And finally it is the story of a vengeance so mean and terrible that it makes "Death Wish" series look as a Disney movie in comparison -and even more remarkable is the fact that this revenge doesn't include ANY deaths and, still better, not even one drop of blood is spilled... Curious, isn't it? Well, the only way to find the solution of this riddle, is to watch the movie.

What was written above doesn't mean that this film is easy to watch - the title is not metaphoric, so be prepared to at least one scene that is purely horrible! Some swordfighting is also involved, but if this is what you are looking for in samurai movies, don't bother even beginning watching this one - the sword fighting is so much NOT the point here!

Masaki Kobayashi is one of the major Japanese movie makers and "Harakiri" is his masterpiece. It easily matches every Kurosawa movie, and - I hardly can believe that I am writing it - it can be even better than "Seven Samurai"! Both movies are of course very different, but if I had to choose only one to preserve for posterity from certain destruction, I would face a really tough choice. And all my life I considered "Seven Samurai" as THE perfect movie - until I finally saw this one...

All actors are doing great in "Harakiri" but it is of course Tatsuya Nakadai who has the greatest responsability and plays the hardest part as (yes, you guessed right) this mysterious "well spoken and polite although malnurished and poorly clothed ronin". This kind of acting is clearly inspired somewhere very high (or somewhere very low) but clearly it is not permitted to regular earthlings to reach such level of perfection... At every minute of the movie Tatsuya Nakadai could spoil it by any kind of little mistake - but he never made one.

I really do not see what else could I tell, so just one little warning. This is not a movie for a Friday evening with your girlfriend. First, she will probably run away after first 30 minutes to cry in her room. If she doesn't, dump her - she is certainly not a human female at all and probably devours males after mating. And if by any miracle you manage to watch this movie together until the end, you can certainly expect that she will need lot of cuddling later, but that will be it. I can not imagine any romance developping in the 24-48 hours following the watching of this movie... "Harakiri" will give you a great satisfaction (pun very much intentional), but not one of Friday evening variety.

This is an important and unique movie. At least once in a lifetime everybody should watch it.
15人のお客様がこれが役に立ったと考えています
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Dine Fuss
5つ星のうち5.0 A Lasting and Truly Amazing Cinematic Experience...
2005年10月9日にアメリカ合衆国でレビュー済み
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Bushido, the way of the samurai, in theory, provides a noble idea, but like all ideas, some change to fit personal goals and agendas. Derived from four major philosophical and spiritual sources (Buddhism, Confucianism, Shintoism, and Zen) the samurai generated the Bushido, as the samurai had to be fearless, enlightened, and reflective while displaying both compassion and self-control. The samurai sought the true way to become the ultimate warrior where he displayed respect and reverence for both friend and foe. For centuries, the samurai had sought an inner path to enlightenment, righteousness, and dexterity while serving a clan with their skills in swordsmanship. Here Masaki Kobayashi, a proponent against authoritarian power, directs a samurai tale that illustrates how the concept of the Bushido transforms into a self-serving design.

In the year 1630, the island that now goes under its native name, Nippon, also known as Japan to westerners, was only in its beginning of the Tokugawa shogunate, which lasted for some 250 years. The major difference with the Tokugawa compared to previous military leaders was that they unified their powers while exterminating smaller and less prosperous clans. It left numerous samurai without masters, as they had to drift into an unemployed existence also known as ronin. In Harakiri, known as Seppuku, in Japan, the audience learns about the socioeconomic and political changes that a ronin faced after the loss of a position while suffering from poverty and hunger. This story is set within the walls of the Iyi clan's stronghold. The audience should also know that the Iyi clan was a supporter of the Tokugawa shogunate.

Images of the Iyi clan's traditional armor open the film with a hauntingly stark presence, as the dark background contrasts the armor while fog drifts aimlessly around the armor. Analogously, the opening imagery presents a notion of a dark, resistive, and hollow presence, as no human fills the armor. It also provides the impression of lacking compassion while this clan's symbol represents the clan's merciless power and might. Eventually, the imagery forcefully fades into reality where it sits on the clan's high seat overlooking the clan and its fiefdom.

Out of the Iyi clan's log, a narration informs the viewer about a samurai and former retainer of the Fukashima Clan that arrives to the Iyi clan's grounds, which brings the audience back in time through a flashback. This man is Hanshiro Tsugumo (Tatsuya Nakadai). Hanshiro requests to use the Iyi clan's forecourt of the Iyi's stronghold for a ritual suicide (harakiri) where the samurai cuts open his own abdomen in order to uphold his honor. Before the clan approves of his request, the senior counselor of the house of Iyi, Kageyu Saito (Rentaro Mikuni) meets with him. In his meeting, Kageyu informs Hanshiro about a recent incident where another man arrived who made a similar request. Together with Hanshiro the audience learns that other ronin have made the same request in the hope of obtaining a position, or getting a little money. However, the Iyi clan does not deviate, as they will make sure that the ronin executes harakiri by following the rules of Bushido. The story does not deter Hanshiro who remains steadfast in his decision of performing harakiri.

Well spread hearsay has reached Hanshiro's ears that the Iyi clan possesses a number of terrific swordsmen, as he requests one to be his assistant. The assistant's sword skills will serve the purpose of decapitated the Hanshiro's head when the pain of gutting himself becomes too painful, which in a way helps save face, no pun intended. However, none of the men that he requests are present, as they all are absent for the day due to illness. Yet, Hanshiro requests one of these men, as he wants the job done properly. Consequently, Kageyu sends for them, and while they wait Hanshiro begins to share his life story for Kageyu and the present samurai. Hanshiro's story is a perplexing and mesmerizing tale that will pull the audience in several unexpected directions, as director Kobayashi portrays a strong criticism of authoritarian rule of Iyi clan and their abuse of the Bushido.

Kobayashi's vision does not only reflect of historical incidents several centuries ago, but also, he freely criticizes the abusiveness of despotic power which shows complete disregard for the individual. This is something he personally experienced as a private, even though he was offered an officer position, in World War II, a war he referred to as, "the culmination of human evil." Now less than two decades after the war, Kobayashi ironically sets the tale during the Tokugawa shogunate, which we now know exists no more. This knowledge serves an intentional reminder that despotic rule never lasts, as people eventually will always overcome the oppressiveness, as they did after World War II. In regards to the aftermath of both World War II and the Tokugawa shogunate, Kobayashi points out that the individuals of the lower socioeconomic levels suffer far worse than those in power, as those in power always find away to bend the rules to their favor.

Harakiri offers much more than mere sword fight, as Kobayashi allows the audience to reflect over the social application of the Bushido and the abuse of the samurai code. In addition, Kobayashi playfully applies masterful symbolism that intentionally criticizes the political perspective of totalitarian rule in a jidaigeki (also known as chambara, or sword fight in a period film that takes place between 1600 and 1868.) This is why Harakiri emerges as one of the bewildering cinematic masterpieces that compares with Rashômon (1950), with its mysterious element, and Seven Samurai (1954) by Kurosawa and Miyamoto Musashi's samurai trilogy with its social impact in the shadow of Bushido. Lastly, through the combination of brilliant camerawork, a clever script, and terrific performances by the cast all are come together under Kobayashi's skillful direction that leaves the viewers with a lasting and truly amazing cinematic experience.
30人のお客様がこれが役に立ったと考えています
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Tintin
5つ星のうち5.0 A Jewel
2003年4月8日にアメリカ合衆国でレビュー済み
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There is no question that this is the best Samurai movie ever made. Masaki Kobayashi's film is an indictment of the hypocrisy of the establishment, any establishment, would it be in feudal 17th Century Japan or in any other time. Dogma, on which the establishment's authority rests, is evil. The established, codified order, with all its smoke and mirrors, must be preserved at all costs, and nothing must be allowed to come in its way. It is the duty of each member of any government, organization, church, or brotherhood not to spare any effort and to go to any length to protect the appearances and status quo, to achieve this essential goal of survival. The end justifies the means, and no lie or deceit can be eliminated if this survival is at stake.

In Japan, Seppuku is the formal term for ritual suicide by disembowelment. Harakiri, as it is known in the West, is the common term, which literally means "stomach cutting." It was an integral part of bushido, the code of conduct of the samurai warrior class. Seppuku was ordered by a superior as punishment to redeem some offence, or chosen over a dishonorable death at the hands of an enemy. In both cases, it demonstrated the honor, courage, loyalty, and high moral character of the individual. Except when performed on a battlefield, it was a very formal ceremony, requiring certain etiquette, witnesses and considerable preparation.

Harakiri is a particularly painful and rather messy way of ending one's days. In this ritual, the "performer" opens his abdomen, starting from left to right and then finishing from top toward bottom. But there is so need to be left for hours contemplating one's entrails. Another swordsman acting as a "second," called kaishakunin, is standing by to decapitate the departing at a pre-arranged moment in the ceremony. Lord Ieyasu Tokugawa, who founded Japan's last great shogunate dynasty in 1603, ordered the practice of harakiri to be discontinued by both secondary and primary retainers. Later on, in 1663, a stronger edict from Lord Nobutsuna Matsudaira of Izu, put an end to the practice altogether. By that time, the ritual had become an idle formalism, and the "performer" was decapitated at the instant he took his sword out of the scabbard, thus avoiding a painful death. In some instances, the sword was replaced by a fan.

Hanshiro Tsugomo (Tatsuya Nakadai) comes to the castle of the Iyi Clan to seek revenge for the humiliation and cruel death of his son-in-law, Anjiwa Motome (Akira Ishihama). Kobayashi is a superb storyteller, and in a slow and deliberate rhythm, he develops his story, which could have been taken from the pages of the Iliad or of the Mahabharata. The tension grows, as the Clan members slowly realize that they are in turn being humiliated by this stranger who truly believe in the samurai code of honor: he must be terminated to prevent him to broadcast his truth.

The final duel with the master swordsmen of the Clan, Hikukuro Omodaka, on the Plains of Gojin-in, is like a meditation, a ballet of death. The film ends in a spectacular combat, and the coup de grace to Hanshiro Tsugomo's seppuku is fittingly not applied by a gallant swordsman, but a cowardly platoon of muskets. Even to the end, the samurai honor code has been violated by the Clan.

The screenplay by Shinobu Hashimoto is based on a novel by Yasuhiko Takiguchi. The cinematography, by Yoshio Miyajima, in black and white, is gorgeous. Many on the shots are haiku-like in the imagery. The musical score, written for an ensemble of ancient instruments and percussion by the renowned classical composer Toru Takemitsu, is used sparingly throughout the film. The music speaks as the dialogs sing.

As Toshiro Mifune has long been associated with the success of Kurosawa's films, so are Kogayashi's films enhanced by the brilliant interpretation of Tatsuya Nakadai (also staring in the leading roles in Kurosawa's Kagemusha,and Ran). This outstanding actor contributed further to the success of this director's films, Kwaidan and the Samurai Rebellion.

Although taking place almost five centuries ago during the Tokugawa Shogunate, this film is also a strong denunciation of the entrenched cultural legacy of coercive rituals, blind obedience, and chauvinism that resulted in the tragedy of the Pacific War.
12人のお客様がこれが役に立ったと考えています
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P. Mizulski
5つ星のうち5.0 the best Japanese movie ever???
2012年7月31日にアメリカ合衆国でレビュー済み
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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 :)
4人のお客様がこれが役に立ったと考えています
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