Samurai Rebellion
Year: 1967
Director: Masaki Kobayashi
Rating: 9.0
Every now
and then you find yourself in the company of greatness. That is how I felt
while watching this film. Absolutely masterful. I had randomly picked it
out to watch because of its title which implied a good rousing samurai film
full of action and intrigue. About twenty minutes into it I thought who the
hell directed this movie – it is brilliant and yet not at all what I expected.
Ah, it’s Masaki Kobayashi. What I know of his work could fit into a small
thimble but I know that he was considered one the giants of Japanese films
during the 1950’s and 60’s with The Human Condition trilogy which was really
one film broken into three segments totaling ten hours. I have never had
the courage to approach it. He only directed 22 films in his life – he was
often out of step with both the public and the film companies – and of those
only two were period samurai films – both considered classics – this one
and Harakiri in 1963. He also directed the highly regarded ghost story Kwaidan
in his first color film.
He tackled uncomfortable subjects that
after WWII many Japanese had no desire to be reminded of and even as late
as 1983 he directed a documentary on Japanese war criminals. He had been
working for Shochiku for only a short while when he was drafted into the
army in 1941 and sent off to Manchuria. He was a pacifist. Not a good position
to take at the time and he refused to be promoted. Later he was captured
and spent a year in a prisoner of war camp before he was released in 1946
and went back to Shochiku. His experience in the war and his pacifist ideals
shaped his filmmaking and his political thinking all his life.
We see some of these themes in this film
– individualism vs collective order, the tyranny and acceptance of authoritative
governments, honor in a dishonorable world and rebellion against societal
and family codes that determine your place in the world. These themes bubble
up, percolate subtlety quietly slowly until you realize the trajectory it
is on is almost certainly a tragic one, in which individualism and dissent
cannot be accepted because then the entire house of cards will collapse.
In a bloodbath.
Everything is done with such artistry –
black and white cinematography with each shot perfectly thought out, composed
and framed, close-ups that dazzle with their ferocity and dramatic intent,
a powerful edgy score from one of the greats of film music, Tôru Takemitsu,
and acting as intense as it is internal. And of course a great script with
so much that is going on that is unstated but well understood by the characters
– where a simple word can be a warning or an act of transgression that will
get you killed.
The year is 1727 and peace reigns in the
land. Two middle aged samurai who work for Lord Masakata Matsudaira complain
about how boring it is, that it has been years since they have had to pull
out a sword in order to fight. These two samurai are Isaburo (Toshiro Mifune)
and his longtime friend Tatewaki (Tatsuya Nakadai) who are considered the
two best swordsmen in the clan under their Lord. Isaburo is a go along, get
along type with an undemanding job in a loveless marriage that he was forced
into twenty years ago. His wife (Michiko Ôtsuka) is a harridan of the
first order but it is her family that has influence so he has to bow to her
wishes. At this point in his life all Isaburo wants is for his eldest son
Yogoro (Gô Katô) to find a sweet wife that he cares about and
give him grandchildren. Instead though, an official to the Lord comes to
Isaburo and asks that Yogoro marry Lady Ichi (Yôko Tsukasa).
Lady Ichi was the mistress of the Lord
and bore him a son but after she attacked him for taking another women on,
she has to leave the palace. Isaburo after great thought tells him no – a
shocking act of refusal – then they tell him it is not a request, it is an
order – again he refuses but Yogoro intervenes and says he will marry her.
Much to everyone’s shock, they fall very much in love and have a child. Then
the palace comes back two years later and tells them that due to changing
circumstances Lady Ichi has to return to the castle. An order from the Lord.
You don’t refuse an order from the Lord. But Isaburo has glowed in the love
of his son and wife and their child and now the Lord wants to take it all
away. Multiple negotiations take place within the extended family that foresees
doom if he refuses and outside the family to resolve this but somethings
can’t be resolved and Isaburo who all his life played by the rules of the
hierarchy and society prepares for a personal war of rebellion. It is mesmerizing
and powerful. The son and wife are just as resolute, squarely looking the
repercussions in the eye and spitting at them.
Mifune simply towers above everything in
this film like the Colossus of Rhodes. That voice of his carries such authority
and as he edges from his contented life to one of dissent he grows as a person
before our eyes as he throws off generations of restraint and obedience.
Nakadai has a smaller but significant role as well with eyes that could burn
a hole through space. Nakadai was perhaps second only to Mifune as an actor
of this period in preference from Kobayashi and Kurosawa appearing in many
classic films – in fact Kobayashi discovered him working as a clerk in a
store and starred him as the protagonist in The Human Condition as well as
Harakiri. He is still alive and participating in films.
This is an intriguing “samurai” film –
most of it takes place in the domestic world of family – that Isaburo is
a samurai has no real bearing until the end – it is fascinating to see how
it plays out within this very formal polite structure of society – and it
isn’t till three quarters of the way through the film that suddenly tensions
rise high and you realize that violence has become unavoidable. This slow
build-up is what makes it so powerful and tragic.