Masaki Kobayashi - Harakiri
As Varlam Shalamov wrote to Solzhenitsyn, “they would eat a cat.” So here - all the attention to the essence of the relationship, and not to their formal manifestations. No need to stare at the lush rituals. There is no sense in them. In affairs are learned. As well as real men - they don’t dare to ask, but they are ready to risk everything, for the sake of anyone, even the most illusive opportunity to save his family from hunger. And all the historical and samurai subtexts - no more than entourage, decoration. Due to this circumstance, the film turns out to be much deeper than the national cultural paradigm and makes every viewer, regardless of his origin, race or religion, think about issues such as hunger, responsibility to the family, responsibility and mercy. And now, the most important advantage of the film is the possibility of such a reflection for the viewer.
You can probably retell the plot and focus on masterfully thought over arrhythmia (a boring beginning and a brilliant finale in its dynamics). You can enjoy the power of spirit and the rightness embodied in the final match. You can even compare a picture with a remake of Takashi Miike in its background. But this is all secondary. The main thing is that Masaki Kobayashi easily and naturally shows us that Japanese cinema is not at all identical with the famous names of Akira and Yasujiro.
“Kota would have been eaten ...”, and the needy samurai was simply brazenly bullied. How true and deep. Beyond time limits and territorial restrictions. Fair. As well as the question of retaliation, the construction is probably not the counting of the number of corpses, but the desire to preserve their own peace of mind and not allow themselves to descend spiritually. Although the question of its controversy is still the same. And therefore, it makes no sense to delve into the plot details - to each his own. The film, after all, is precisely what disposes of inner reflection. Expensive. Spiritually.
10 out of 10
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