Harakiri

Set in 17th-century Japan, "Harakiri" begins with an elder, masterless samurai named Hanshirō Tsugumo arriving at the estate of the powerful Iyi clan. He requests a dignified space in their courtyard to commit seppuku (ritual suicide), a fate he says he desires after a life of poverty and purposelessness. The clan's senior counselor, Saitō Kageyu, is suspicious of Tsugumo's motives, believing it to be a "suicide bluff" – a tactic used by desperate ronin to elicit sympathy and alms.

To deter him, Saitō recounts the grim story of another ronin, Motome Chijiiwa, who came with the same request a few months prior. The Iyi clan, determined to make an example of him, forced the destitute Motome to go through with the ritual using his bamboo practice sword, leading to an agonizing and humiliating death. Unfazed by the horrific tale, Tsugumo insists on proceeding. But before he begins, he asks for a moment to tell his own story, a narrative that slowly unravels the truth behind his request and exposes the cruel hypocrisy lurking beneath the clan's facade of honor.

The core message of "Harakiri" is a powerful indictment of blind adherence to tradition and the hypocrisy of authoritarian power. Director Masaki Kobayashi uses the historical setting of the samurai era to critique the rigid social structures and inhumanity that can arise when codes of honor are valued more than human life and compassion. The film argues that true honor lies not in empty rituals and maintaining appearances, but in empathy, personal integrity, and fighting against injustice. It exposes how systems of power, like the Iyi clan, manipulate tradition to enforce control and preserve their reputation, even at the cost of profound cruelty. Ultimately, the film is a humanist plea, suggesting that individual dignity and family bonds are more sacred than any superficial code of conduct.

While the dominant interpretation of "Harakiri" is a straightforward critique of feudal hypocrisy, some analysis points to a deeper, more tragic reading of Hanshirō's final actions. After spending the entire film exposing the samurai code as a hollow facade, Hanshirō attempts to commit seppuku in his final moments before being shot. This act can be interpreted not as a final victory, but as the ultimate tragedy: even a man who sees through the system's lies cannot fully escape its ideological grip. In this view, Hanshirō's final gesture suggests that the corrosive power of such traditions is so deeply ingrained that even its most ardent critic remains bound by its rituals in death.

Another perspective focuses less on the historical critique and more on the film's universal, existentialist themes. Hanshirō's journey can be seen as that of an individual creating his own meaning and morality in a meaningless, absurd world. Stripped of his status, family, and purpose, he rejects the socially prescribed code of honor and forges his own path of justice. His final stand is less about samurai tradition and more about an individual's ultimate, defiant assertion of his own humanity against an oppressive and indifferent universe.

"Harakiri" was released in 1962, a period of significant social and economic change in post-war Japan. Director Masaki Kobayashi used the jidaigeki (period drama) genre as a vehicle to comment on contemporary issues, a common practice for dissident filmmakers of the era. By setting the story in the 17th century, a time of peace when the samurai class was becoming obsolete, he drew a parallel to Japan's post-WWII identity crisis and critiqued the lingering feudal and militaristic ideologies he saw in modern Japanese society, such as in the corporate zaibatsu structures.

Critically, the film was hailed as a masterpiece for its powerful narrative, stunning visual composition, and thematic depth. It stood in stark contrast to many samurai films of the time that glorified the warrior code. "Harakiri" dismantled it, portraying it as a rigid, inhuman system used by the powerful to oppress the weak. Its unflinching critique of authority and hypocrisy resonated internationally and continues to influence filmmakers today. Roger Ebert included it in his "Great Movies" list, praising its ethical complexity and masterful storytelling. The film's influence can be seen in its deconstruction of genre tropes and its use of a nonlinear narrative to build suspense and reframe the audience's understanding of events, a technique that has been echoed in many later films.

Audience reception for "Harakiri" has been overwhelmingly positive since its release, and it is widely regarded as one of the greatest films ever made. Viewers consistently praise its masterful storytelling, which uses a non-linear, puzzle-like structure to slowly reveal the truth and build immense tension and emotional weight. The performance of Tatsuya Nakadai as Hanshirō Tsugumo is frequently singled out as legendary, conveying a profound depth of grief, intelligence, and simmering rage. The film's stark, beautiful black-and-white cinematography and its powerful thematic critique of hypocrisy and authority are also major points of acclaim. The most common point of criticism, if any, is directed at the film's deliberate, slow pacing, which some viewers may find challenging. The gruesome scene of Motome's seppuku with the bamboo sword is often cited as a controversial and deeply disturbing moment, yet it is also recognized as essential to the film's powerful anti-authoritarian message. The overall verdict is that "Harakiri" is a poignant, intelligent, and emotionally devastating masterpiece that transcends the samurai genre.