(aka "Jôi-uchi: Hairyô tsuma shimatsu" or "Joî-uchi" or "Rebellion" or "L'ultimo Samurai" )
directed
by Kobayashi Masaki
Japan 1967
Following up on “Hara Kiri”, “Samurai rebellion” is almost a
sequel in theme and motif. Not only is it, once again, written by Hishimoto
Shinobu, it also is, once again, based on a novel by Takiguchi Yasuhiko; it
almost seems as a rewriting of the same story. But what may seem a weakness,
the two films more are like the two sides of a coin.
Unhappy with one of his mistresses, the daimyo orders one of his samurai to
marry her. The family protests, but gives in; because one has to follow
orders. However instead of a lesser woman, Ichi proves to be not only a loving
wife, but a most pleasant and hard working addition to the family. When this
reaches the daimyo, he demands her back, but now Isaburo, the head of the
family, protests. One thing is giri (duty), another thing is to blindly follow
any whims of ones master, who openly displays neither respect or understanding
for those who serve him.
As in “Hara Kiri”, so also here does the father defy the samurai code to right
an injustice brought onto his son. Likewise is the samurai taken down by the
use of firearms, noting upon its opposition to bushido. But “Samurai
rebellion” is more than just a rewriting of the motifs of “Hara Kiri”, as it
has several significant differences.
The first is that the story takes place in 1720, during the Japanese
renaissance. The samurai spend their days doing administrative duties –
logistics have replaced bushido – and once in a while they get to use their
skills with the sword – when testing the daimyo’s newest sword on kakashi
puppets. The second is, that instead of having bushido as the central motif,
Kobayashi has a love story. This in itself is quiet curios, as Kobayashi was a
Marxist and considered love to be a bourgeois weakness. Then again, the story
is Hishimoto before its Kobayashi. The third is, that the protagonists are
content and obey. Throughout the film, Isaburo notes on his loveless marriage,
that one has to endure and that one has to be content, by extension noting
that being a samurai is to obey, endure and be content. And finally, the
fourth difference is, that, like no other samurai film, “Samurai rebellion”
depicts the arrogance and indifference by the daimyo as absolute, which also
is the films main weakness. The actions of the daimyo is so inhumane, that one
can argue, that the problem is him alone and not the code.
Where “Samurai rebellion” might seem weaker thematically than “Hara Kiri”, it
is by far the strongest film by Kobayashi in terms of visual composition. Once
again, with almost geometrically precision, the mise-en-scene arranges layers
in space. Note how the compositions play with the lines the setting creates,
note how Kobayashi arranges “spheres of action” using these lines and note how
he composes the movement of his players using the geometry of the setting.
Next to this almost mathematically strict compositions, the fight sequences
break free, move unrestrained and the final fight is even set against a corn
field, which is as random as possible.
Another striking element is the use of avant garde techniques, especially
editing. The flashback of the fight between Ichi and the other mistress is
told entirely thru stills and in silence. This is quiet bold, considering this
being a jidei-geki.
Produced by Mifune, he also plays the lead, having Nakadai playing Isaburo’s
best friend and eventual enemy. Both actors play the part to perfection.
Mifune’s very external play is kept at bay, until it erupts in defiance, while
Nakadai’s very internal play suggests rationality (or at least the illusion of
it).
One could have hoped for a third film by Kobayashi / Hishimoto. There is
something about trilogies. But the film which can be added as the third and
final assault on the samurai code is “Tenchu” by Gosha Hideo (1969), starring
Nakadai and which is considered the most accomplished samurai film. But what
we need to remember is, that the central creating force in all the films is
writer Hishimoto Shinobu and the directors, be it Kurosawa, Kobayashi, Okamoto
or Gosha, almost seems secondary.
Regardless how one approaches these films, viewing them isolated, by director,
by canon (along with “Shichinin no Samurai”) or by thematic (along with “Tenchu”),
“Samurai rebellion” is a cornerstone of Japanese film and of Kobayashi as
director. Required viewing.
Poster
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Theatrical Release: June 3, 1967 (Tokyo)
Reviews More Reviews DVD Reviews
DVD Review: ArtsMagic - Region 2 - PAL
Big thanks to Henrik Sylow for the Review!
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| Distribution |
ArtsMagic Region 2 - PAL |
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| Runtime | 2:00:59 | |
| Video |
2.35:1
Original Aspect Ratio |
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NOTE: The Vertical axis represents the bits transferred per second. The Horizontal is the time in minutes. |
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Bitrate:
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| Audio | 2.0 Dolby Digital Japanese | |
| Subtitles | English (forced) | |
| Features |
Release Information: Studio: ArtsMagic Aspect Ratio:
Edition Details:
Chapters 13 |
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| Comments |
This is the theatrically 120
minute American, which is 8 minute shorter than the original Japanese
version. The DVD is horrible. It is most likely a direct copy of the same source as the VHS tape, having forced subtitles. The picture is lacking sharpness and is very grainy due to low resolution. I have taped films of TV in long play with better resolution than this DVD. The extra material is very basic information, but it uses such small font, that you need to sit with your nose to the screen in order to read it. Sadly, this is the only version available on DVD. |
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Recommended Reading for Martial Arts/Samurai Genre Fans (CLICK COVERS or TITLES for more information)
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The Midnight Eye Guide to New Japanese Film by Tom Mes and Jasper Sharp |
Eros Plus Massacre: An Introduction to the Japanese New Wave Cinema (Midland Book, Mb 469) by David Desser |
Asian Cult Cinema by Thomas Weisser |
Silver Screen Samurai: The Best of Japan's Samurai
Movie Posters by Na |
The Yakuza Movie Book : A Guide
to Japanese Gangster Films by Mark Schilling |
Japanese Movie Posters: Yakuza, Monster, Pink, and
Horror by Chuck Stephens, Tetsuya Masuda, Kairakutei Black |
A Hundred Years of Japanese Film by Donald Richie |
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Thank You!
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