Review of Hara-Kiri: Death of a Samurai (2011) by Mithun L — 05 Jun 2012

Gradually Miike moves more and more into drama and arthouse which is upsetting partly because his disturbing and eccentric trademarks are vanishing (Yeah, there's unfortunately practically nothing bizarro you can freak people out with here.

Kuso!), and also because people will criticize the man like any other auteur despite clear inexperience in the genre. Hara-Kiri is still a valuable effort, however. The plot threads enveloping within themselves suck you into the dialogue and circumstances, very reminiscent of the speech in the equally captivating 1950s Hara-Kiri film which it homages (Or is a remake of?) Although the acting borders along your typical Kurosawa or low budget samurai overacting buffoonery, highlighted in the part of the film where the melodrama makes you question the effect age is having on Miike, the sets and costumes are stylish and the camera scope makes sure to demonstrate the fine details.

Does it convince in persuading you of the dangers and illusions of dogmatism? A bit, but that's always been an argument more reserved for paper, in either Hara-Kiri movies' cases, so it's good that the film's storytelling provides backup, as I preferred it over the rising action that seemed to pale in comparison.

Bamboo invites but a worst case scenario mental image of rears being smacked until red and bruised, this still despite the mildly gruesome way we see it handled the first time in the film. Not that it damages the flow we were used to prior to the climax but it does feel shifted into neutral gear.

I've still got faith in seeing a perfected Miike outing, though, because God knows he tries (and tries, and tries....) More refined, in acting and in script, and you've got yourself an A list name directing some of the most challenging cinematic material from Japan.