Assassination

Masahiro Shinoda's Assassination (1964) was the first jidai geki (period drama) for the Nuberu Bagu (Japanese New Wave) director. It dives deep into Japan's history prior to the Meiji Restoration by presenting the story of a talented swordsman who worships the Emperor and is eventually corrupted by the rivalry between the Emperor and the Shogunate.

Shinoda does dig deep into history, but it's also a vivid character study. The fragmented presentation has its ups and downs: while it makes the film ambiguous in an interesting way it relies a bit too much on the assumption that the viewer knows the historical event. I managed to comprehend the film without prior knowledge, but it was a challenging task to say the least. The opening of the film tries to inform the audience of the context, but it's not sufficient enough.

Purely on the level of characters and themes Assassination is a triumph and the form is even more delightful. Breathtaking and menacing compositions, wild camerawork and intense editing make the film a gem on their own. Even ambitious attempts like disruptive freezeframes and first person camera work surprisingly smoothly. Takemitsu's soundtrack is experimental and great yet again.

Assassination takes too many risks in its execution. It could easily be considered a masterpiece if the audience knew the historical context well enough. Shinoda barely manages to make it historically relevant for other viewers (which is a bad hindrance for a film so deeply embedded in it), but even without that it's a rather impressive achievement.

Score: 8 out of 10

Samurai Rebellion

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Masaki Kobayashi's Samurai Rebellion (1967) is a spiritual sequel to Harakiri (1964): Kobayashi's critique of authority in a heavily dramatized form. After Isaburo (Toshiro Mifune) is forced to have his son marry a former mistress of a powerful lord the entire family discovers that the girl isn't as bad as her reputation suggests. Due to a grim turn of events Isaburo and his son decide to disobey the lord's newer orders even though it puts their family in danger.

Even though I would call Samurai Rebellion Kobayashi's bloody revenge story it doesn't involve a lot of action until the final third of the film (which has a lot of it). Most of the focus is on the fascinating central family that is used heavily for the director's strong message that is approached in a possibly better way than in Harakiri. The downside of the screenplay has to be the ending. While the final scenes are perfect it stumbles for 10 minutes before that. The tension generated in the film is released way too early and some of the scenes lose the dramatic impact they were supposed to have. There's also the mystery of Tatsuya Nakadai's character whose relevance is questionable and it almost feels like his role was severely cut in the editing room.

Kobayashi's form is full of menacing energy that stems from the absolutely brilliant photography and the intense yet "slow" editing that hits the viewer like a ton of bricks when it is needed. The approach to the climactic action scenes is surprisingly tame, but they are still powerful enough. Toru Takemitsu's soundtrack is great again. The entire cast delivers magnificent performances and especially Toshiro Mifune is in top form this time.

Samurai Rebellion could have become another masterpiece for Kobayashi in the vein of Harakiri, but the slight (but drastical) mistake near the end hinders the film a bit too much.

Score: 9 out of 10

Throne of Blood

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Throne of Blood (1957) is yet another loose Shakespeare adaptation for the director Akira Kurosawa: this time Macbeth was the play Kurosawa used as inspiration. Set in feudal Japan, the film follows the rise and tragic fall of a samurai (Toshiro Mifune). Kurosawa delivers yet another tangible exploration of greed and loyalty. He creates a cast of interesting characters that are introduced remarkably well.

If the writing alone is impressive, then the form is even more so. Captivating camerawork (that calms down for pivotal scenes to a stunning effect), atmospheric lighting and absolutely marvellous sets make this film a breathtaking experience for anyone. Mifune is a scene stealer yet again with his expressive performance.

Throne of Blood is yet another astonishing masterpiece from Kurosawa who is quite possibly my favorite director of all time.

Score: 10 out of 10

Yojimbo

Akira Kurosawa's Yojimbo (1961) has been an influential in many ways. It has not only spawned a few remakes (including Sergio Leone's A Fistful of Dollars), but it also created a new sub-genre of chanbara (which attempts to make swordplay more realistic) and it made the simple storyline more popular (a badass stranger comes into a town to beat bandits).

The film's narrative is gripping and surprisingly dense. It is nearly exhaustive (in a good way) with a lot of properly developed characters and fast plot development. Yojimbo is written perfectly within the genre's restrictions. It is flawless as it is.

Kurosawa's form is a delight yet again. Especially the opening sequence of the film is constructed in a stunning way: you'll need to see this film even if it is only to see the scene in which the protagonist enters the town. Kurosawa makes us familiar with the set so effortlessly.

Yojimbo yet again proves how versatile Kurosawa was as a director - and how awesome (and badass) Toshiro Mifune is.

Score: 10 out of 10

Ugetsu

Kenji Mizoguchi's Ugetsu (1953) is the story of two greedy peasants and their wives in the 16th century Japan. While the greed of peasants was hilarious in Kurosawa's The Hidden Fortress, it is tragic and haunting in Ugetsu. One of the men wants blindly to become a samurai so that he will be rich - the other wants money although he isn't as dumb as the first one.

Mizoguchi is known as the director who observed the oppressed position of women in Japan. He continues his tradition of revealing the difficulties and pain of Japanese women in Ugetsu. The two wives are the victims of their husbands' greed even though there is no reason for them to be punished. There is also a ghost of a young woman who never found love during her life. The storyline of each character is more or less tragic (and ironic), but the ending gives us a little hope. 

Mizoguchi's way to pan the camera is poignant: a great example of this is the shot in which Genjuro runs around the house near the end of the film. I can't understand how they shot the scene in the first place and its impact on me on a purely emotional level was huge.

All in all, Ugetsu is a great film and makes me want to see more films by Mizoguchi.

Score: 10 out of 10

Harakiri

The story of Masaki Kobayashi's Harakiri (1962) is set into motion when a young and poor man (Akira Ishihama) is forced to do what the title suggest: a suicide by disembowelment. Why did it happen? The movie is set in Japan during the year 1630 which is 11 years after a peace was negotiated among the warring clans. This led to the dissolution of the Geishu clan that had at least 12 000 retainers under its control. All these former retainers were forced to live in poverty. As a result, some of the ex-warriors resorted to threatening the remaining clans by performing harakiri in front of the clan's estate. To avoid this, the clan would have to pay a great amount of gold. As you have probably figured out by now, the harakiri at the beginning of the film was the result of things going horribly wrong. A few months later, an older man (Tatsuya Nakadai) comes to the same clan in order to perform harakiri. As the disembowelment approaches, he begins to tell a story that is essential in order to understand the story and thematics.

The film is almost like a deconstruction of the entire Samurai code. Kobayashi observes the (implied) emptiness of the code in cruel detail. The problems are pointed out in an unflinching way. While the film mostly runs at a relatively calm pace, there are outbursts of arrhythmic violence which work perfectly in order to deliver the message even to the most dim-witted viewers - yet surprisingly the film never seems to be heavy-handed. The narrative is quite straightforward: a linear story with a few flashbacks that are smoothly handled.

I found an interesting point of view in another review (specifically, the Finnish review on Elitisti) which pointed out how the young man is "unknowingly the representative of the past" because back then harakiri was a more personal and flexible act. Now it's just another way for higher-ups to control people.

Kobayashi's form in Harakiri reminds me of Yasujiro Ozu and Hsiao-hsien Hou. His camera is set almost on the ground most of the time like in Ozu's films. Kobayashi also likes to revisit a few compositions in order to establish a connection between two scenes - either for an emotional response or for juxtaposition. This is extremely notable during the first 30 minutes when the two ex-warriors enter the estate at different times. A few key compositions are used for both of these entrances. It's also interesting how a few compositions and patterns of camera movement are used again and again during the rest of the film.

Apart from a few awkward camera zooms and pans, the cinematography is brilliant. The precise and beautiful framing rivals even Ozu, which should say a lot. Kobayashi's use of Dutch angles is extremely masterful: I would even dare to say that Harakiri should be used as an example on how you should use them. The film is very silent most of the time - only the dialogue breaks the silence throughout the film. There are a few instances when music is used - and that makes the film even more haunting.

The second view confirmed my assumption: Masaki Kobayashi's Harakiri is one of the greatest cinematic masterpieces without a doubt. Sadly, it has remained quite unknown to this day.

Score: 10 out of 10

Seven Samurai

Akira Kurosawa's epic masterpiece, Seven Samurai (1954), is constantly brilliant throughout its monstrous running time (three and half hours). In the film, a poor village hires seven samurais to protect them from bandits. The first third of the film shows how they acquire these samurais; the second third involves the planning and construction before the battle; the final third is the long battle itself. The idea might seem simple, but the film's screenplay is stunningly complex.

First of all, Kurosawa's skill to craft 12 essential and unforgettable characters in the film is staggering. There are not many (if any) other films which feature such a flawless and colorful ensemble. The samurai are often mentioned to be the most memorable characters in the film, but I thought the five important villagers were as awesome as the samurai. Even though Toshiro Mifune's Kikuchiyo is the craziest one, the villager Yohei is the endless source of comic relief.

Secondly, despite its length the film is very dense in its narrative. It runs at a fast pace and only the essential is shown onscreen. It is incredible how well Kurosawa brings all the multiple storylines together without a single problem. Also, the film's most remarkable narrative achievement is that you never feel like you are watching a long film.

Thirdly, the content is so rich that there is no way I can comment on everything in a simple review: I would have to make a long essay to cover everything which is awesome in the film's content.

As expected, Kurosawa's form is brilliant in Seven Samurai. The music is not distracting this time - instead it is very effective. His compositions are great yet again. The pacing is brilliant because you dont even realise you have spent 3 hours watching the film until you are at the end. To be completely honest, the film was so involving and story-driven that there were moments when I realised I hadnt paid any attention to the form. I guess that's a testatment to its power.

The whole cast in the film is magnificent. Kurosawa's regulars Mifune and Shimura are the shining stars of the film, but the rest of the cast nearly rival them so there is no imbalance between the performances. I can rarely say it, but the acting in Seven Samurai is FLAWLESS - even though it is melodramatic.

Akira Kurosawa's Seven Samurai is one of the most praised masterpieces ever - and it is rightfully so. Its influence on other films is enormous and there isnt any other film that could even be honestly compared with it.

Score: 10 out of 10