Joi-uchi: Hairyô tsuma shimatsu / Samurai Rebellion
Director: Kobayashi Masaki
Writers: Hashimoto Shinobu, Takiguchi Yasuhiko
Date: 1967
Genre: Chambara
Description: Ninjo vs giri, cruel samurai tradition, a good wife, true love, fight against the daimyo, stupid politics, true internal rebellion, fight to the death
Cast: Mifune Toshiro, Kato Takeshi, Tsukasa Yoko, Nakadai Tatsuya, Hamamura Jun, Yamagata Isao, Koyama Shigeru
Crew of note: Music by Takemitsu Toru
Runtime: 128 mins.
Color: Black and White
Trivia:
summary
The movie opens with Isaburo (Mifune), one of his clan’s best, displaying his sword skill–drawing it seems like a mere ritual after decades of peace. Tatewaki (Nakadai) is his best friend, who patrols the borders of their clan. Eventually Isaburo will rebel (no surprise there) for a very good reason, and swordfights ensue! [note: Crappy summary for your benefit]
review
This is one of those films where it is best to enter with your preconceptions, expectations, and high hopes. This is the kind that’s most difficult to review, because those said expectations are part of the experience, and revealing anything more than a bare-bones background and a technical rundown may be a disservice to the potential viewing public. It’s best to see this film knowing only its title, Samurai Rebellion, as I did. Also, you should already have seen a least a couple of chambara, and know its tropes genre standards.
Let me just say a few things, though. This is one of the most complexly plotted rebellion films in chambara, and it is one of the things that makes it most interesting. As with all of Kobayashi’s work, there is a rich undercurrent of political and social commentary, about the cruel and incomprehensible traditions of the samurai, and about modern life as well. The story is treated with much restraint, just as the characters in the story control their emotions in order to fulfill either ninjo or giri. The dialogue between characters is meaningful, occasionally metaphoric, and always addressing some social or personal concern. Fidelity, loyalty and the acceptance of one’s fate are traits esteemed by bushido, but sometimes, enough is enough.
Expect a great film about a real rebellion.
conclusion
Harakiri is definitely Kobayashi’s most popular film, perhaps his best. Even The Human Condition receives more notice than this movie. Those two are justifiably must-sees, but this one deserves some recognition as well. One of the most intelligent, emotional, and down-to-earth rebellion chambara you will ever find. This isn’t an unknown movie by any standard, but it still deserves more than it’s so far received.
things to take note of
The rebellion
Mifune’s dialogue
best moment
Mifune + Nakadai
The last stand
The last duel
Conversation between Ichi an Isaburo in the rock garden
why you should watch this
Mifune + Nakadai!!!!
A chambara with a love story that also proves your expectations wrong, and even bests them
rating: 8.5
scorecard
Plot: B+
Cast: B
Cinematography: B+
Music: B
Entertainment: B+
similar movies, maybe:
Harakiri, also directed by Kobayashi
There are other “rebellion” chambara, but none are very similar to this kind of rebellion
1 comment
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12/16/2009 at 4:48 pm
onnamusha
One of my absolute favorite Mifune performances! Kobayashi ran Mifune’s lines through filters and clarified them, because Toshiro is infamous for mumbling. I used to wonder why I could never imitate Japanese speech from watching “Seven Samurai,” but I’m glad that the mumbling speech pattern isn’t always the norm in Japanese film. I’ve heard this film summarized as “the whole point is that Mifune and Nakadai have a swordfight.” I guess it is de rigeur, and we all know who is gonna win. It’s one of those chambara conventions (which made for interesting subtext in “Daibosatsu Toge”). And I seem to notice that a Mifune/Nakadai swordfight is usually incredibly short. See Sanjuro…the face-off is longer than the denouement (but certainly not less memorable).