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Friday, August 10, 2012

Review: "Hara-Kiri" evokes the vanishing world of the samurai

LIVING BY THE SWORD: Ebizo Ichikawa is a vengeful samurai in Takashi Miikes fantastic new film Hara-Kiri.
  • LIVING BY THE SWORD: Ebizo Ichikawa is a vengeful samurai in Takashi Miike's fantastic new film "Hara-Kiri." The movie opens today, Friday, August 10, at the Plaza.
Fans of the extremist films of prolific Japanese director Takashi Miike, most famous for such shock classics as Audition (1999), Ichi the Killer (2001), and 13 Assassins (2010) may be in for a shock of a different sort if they buy tickets for his latest film Hara-Kiri: Death of a Samurai, which opens this Friday, August 10, at the Plaza Theater. Any Miike film is bound to have its moments (and this one certainly does: a long and painful ritual suicide is the crucial plot point in the film’s story), but overall Hara-Kiri is a beautiful and stately period piece about the simultaneous resiliency and vulnerability, the necessity and seeming disposability, of a disappearing code of honor.

Hara-Kiri is a remake of a 1962 black-and-white Japanese classic of the same name. The story focuses on the 17th century, a time when feudal Japan was in a state of flux, and as the movie opens, many samurai warriors have been left without masters or any means of support. Some begin to practice what’s called “the suicide bluff,” showing up at a noble household and asking if they can use the courtyard to commit hara-kiri (or ritual suicide). Not wanting a fuss, the master of the house usually gives the samurai a few coins, a meal, or an odd-job before sending him on his way. The house of Lord Ii has been the victim of countless such bluffs, and when the master’s away, the retainer and other staff cruelly decide to make a young bluffer carry out his stated intention. The plot thickens when the bluffer’s adoptive father, a true old-school hardcore samurai, comes back for revenge.

SNOW JOB: The quiet, tension-filled film builds towards a big finish.
  • RITUAL TRADITION: The quiet, tension-filled film builds towards a big finish.
The plot builds towards a great final action scene in a snowy courtyard, but the bulk of the film is quiet and understated. Traditional Japanese interiors are shot with a lingering, loving, nostalgic eye that catches lush detail and a quiet sense of drama. The remade story—it involves a couple flashbacks so it requires some attention—is surprising in its new focus on domesticity. What Miike has added is a more fleshed-out version of the samurais’ home life (I told you it was shocking). It all veers dangerously close to the sentimental, but the shift is successful in adding a more contemporary sense of personal investment: we understand what’s at stake and the exact nature of the revenge.

Ebizo Ichikawa brings a rich, slow-burning pain, a quiet fury that’s on a slow simmer, to his role as the vengeful samurai. Some will find the deliberate measured pace of the film a bit too ponderous, but those who go along for the ride won’t be disappointed. It’s a fascinating and tense glimpse into the minute distinctions which made up the code of honor of the then-disappearing world of the samurai.


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