A movie log formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

Saturday, November 5, 2016

Harakiri (Masaki Kobayashi, 1962)

A study in tragic irony, Harakiri was intended as a commentary on Japan's history of hierarchical societies, from the feudal era through the Tokugawa shogunate and down to the militarism that brought the country into World War II and finally the corporate capitalism in which the salaryman becomes the latest iteration of the serf, pledging fidelity to a ruling lord. Working from a screenplay by Shinobu Hashimoto from a novel by Yasuhiko Takiguchi, director Masaki Kobayashi sets his film on a steady pace that at first feels static. There are long scenes of talk, with little moving except the camera's slow pans and zooms. But as Kobayashi's protagonist, Hanshiro Tsugumo (brilliantly played by Tatsuya Nakadai), tells his harrowing tale of loss, the film opens out into beautifully crafted scenes of action, as well as one terrifying and painful scene of cruelty, in which a man is made to commit the title's ritual disembowelment with a sword made of bamboo. Although there is an extended fight sequence in which Hanshiro takes on the entire household of the Ii clan, the true climax of the film is the duel between Hanshiro and Hikokuro Omodaka (Tetsuro Tanba), the greatest swordsman in the Ii household. Especially in this scene, the cinematography of Yoshio Miyajima makes a brilliant case for black and white film, aided by the editing of Hisashi Sagara that cuts between the dueling men and the waving grasses on the windswept hillside where the fight takes place. Harakiri is one of the best samurai films ever made, but even that observation contains its own note of irony, since Kobayashi's aim with the film is to validate his protagonist's assertion that "samurai honor is ultimately nothing but a façade."  

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