Directed by:
Takashi MiikeScreenplay:
Kikumi YamagishiCinematography:
北信康Composer:
Ryūichi SakamotoCast:
Ebizō Ichikawa, Eita Nagayama, Hikari Mitsushima, Kōji Yakusho, Naoto Takenaka, 青木崇高, Hirofumi Arai, Takashi Sasano, Baijaku Nakamura, Kazuki Namioka, 西沢仁太VOD (1)
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From visionary auteur Takashi Miike (13 ASSASSINS) comes the story of a mysterious samurai who arrives at the doorstep of his feudal lord, requesting an honorable death by ritual suicide in his courtyard. The lord threatens him with the brutal tale of Motome, a desperate young ronin who made a similar request with ulterior motives, only to meet a grisly end. Undaunted, the samurai begins to tell a story of his own, with an ending no one could see coming. With stunning cinematography and gripping performances, HARA-KIRI: DEATH OF A SAMURAI is a thrilling exploration of revenge, honor, and individuality in the face of oppressive power. (Tribeca Film)
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Reviews (2)
Pure, precise craftsmanship that can accommodate both pathetic melodrama and chambara with the theme of samurai honor. An excellent composition with an "overpriced" drastic event, which immediately acquires a completely new motivation and recessed narration in the narration. A wonderful performance by Koji Yakusha. Miike again very much keeps his feet on the ground and is old-fashioned, but some scenes are very engrossed in brutality and well-chosen detail. I would hardly have anything to complain about if it weren't for the 3D: I didn’t get why I should watch an intimate film based on dialogues and often dark scenes with two duels with glasses, especially since the third dimension murders the details of faces in dark interiors. After Thirteen Assassins, again a genre-pure and a unique extraordinarily consistent craftsmanship pleasure - although this time it is for lovers of intimate meditations, ballads and disillusioning reflections on the nature of heroism.
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Takashi Miike once again proves that he is capable of embracing the slow storytelling style that is so traditional for samurai films. The aesthetics of feudal times are essentially perfect in his films, and in this case, it's once again an excellent dramatic piece. Moreover, we get seppuku, which truly leaves a lasting impression on you. And I thought I'd seen enough of that in movies.
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