The 1962 film has many striking shots, but perhaps the most symbolic are in its opening and closing sequences, in which we see a samurai armor clearly displayed with reverence and admiration. It symbolizes the feudal system, but beneath the glorious surface is complete emptiness; the lifeless armor is devoid of anything human.
政治虚伪是Kobayashi杰作的核心的想法，即使这部电影在日本1630年，其主题是普遍的。无论您是谁，或者您所在的地方都没关系 - 我们都出生于影响我们的思想，决策和行为的系统。通过我们从各种来源学习的原则来解除在我们中，将道德上可接受或不可接受的行为的各个伦理守则估算，成为宗教或政府的原则。然后，我们盲目地遵守规则，因为它是在某个时间和地点实施的系统。
每次我重新审视“harakiri”，我发现自己敬畏Tatsuya nakadai.作为Hanshiro Tsugumo的表现，甚至是最好的工作toshiro mifune.. When Tsugumo arrives at the estate of the li clan requesting to commit seppuku at the courtyard of their palace, we are immediately hooked by his calm demeanor. His presence is monumental.
Seppuku, or hara-kiri, is an ancient Japanese ritual suicide in which a samurai practices self-disembowelment. It was considered to be the most honorable method of taking one’s own life. The proper method is to plunge a dagger into the stomach, then drag the blade across to the right side, and turn it upwards to ensure a fatal wound. Since the act itself rarely results in instant death, a kaishakunin is appointed to behead the individual after the act is committed to relieve the samurai from the agony.
When the head counselor of the palace hears of Tsugumo’s request, he thinks it’s a bluff. He then shares a tale of another ronin named Chikiwa Motome, who came with the same request a few months prior. To reveal anything more about this would only spoil the experience; spoilers follow for the rest of the film, which is one of those films that the less you know, the better.
Shinobu Hashimoto’s brilliant screenplay goes back and forth in time, and Kobayashi executes the narrative structure with razor sharp precision. There’s not a single moment, line, or shot that feels out of place. The way Kobayashi handles the nonlinear storyline is nothing short of mesmerizing. To sustain this level of intensity with almost no action scenes is truly fascinating.
情节当主管顾问回忆说复杂了the story of “the bamboo ronin.” After the three of his most senior samurais suspect that Chikiwa Motome is only here for a few coins, they humiliate him, and force him to commit hara-kiri with his fake bamboo sword. Even compared to today’s standards, this entire sequence is very hard to watch. Motome is initially portrayed as a weak and cowardly samurai with no honor or dignity, but as the story progresses, the truth is slowly revealed, and the viewer begins to see Motome in a new light. Here lies the genius of Hashimoto’s impeccably structured screenplay. It unfolds in a way so that the more insight we get, the more compassion we feel towards the characters. The cowardly samurai is actually a brave family man who risked his own life for their survival.
One of the most powerful moments in all of cinema is in "Harakiri," when Hanshiro Tsugumo denounces the code after it ruined his life. I often find myself thinking about what it would take for someone to condemn the very thing they believe in most. When things get personal and one is faced with a personal dilemma that goes against the very core of their belief system, any fanatic devotion to that code collapses instantly.
The film’s last shots are that of the samurai armor. It is beautifully displayed once again, as if nothing happened. Any potential threat to the system in place has been eradicate from the history books. The image of that armor will always be seared in my mind as a symbol for all corrupt authoritarian regimes around the world. How many incidents, stories, and people have been erased from collective memory, in order to preserve the image of those in power?