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Samurai Rebellion More at IMDbPro »Jôi-uchi: Hairyô tsuma shimatsu (original title)
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| Index | 25 reviews in total |
27 out of 29 people found the following review useful:
Profoundly Humanist - A gem, 12 January 2004
Author:
auberus from Paris
Those of us who are really into cinema know that Japanese cinema in
general and samurai cinema of the 60's in particular is a genre not to
be overlooked…One of the most popular Japanese directors who has
contributed to this genre ('Yojimbo', 'Sanjuro', 'Kagemusha' etc…) is
Akira Kurosawa (and I myself appreciate Mr. Kurosawa a lot). However he
has over-shadowed (at least for the occidental movie fan) a lot of
other Japanese directors from this period of the 60's. One of this
director is Masaki Kobayashi and one of his movie that has been
forgotten is 'Joi-uchi: Hairyo tsuma shimatsu' (AKA 'Samurai
Rebellion').
'Samurai Rebellion' - 1967 is in fact a great movie, a masterpiece. It
tells the story of an aging swordsman named Isaburo Sasahara (Toshiro
Mifune) who during a time of peace (1725 – 1727) decide to retire and
leaves the command of the family to his elder son, Suga. Unfortunately
when his clan lord request that Isaburo's son marry the lord's mistress
the henpecked life that Isaburo was living changed to the worst and
split his family into two. This movie is irreproachable; the filming
was mastered by Mr. Kobayashi and the acting outstanding. Indeed not
only Toshiro Mifune but also the beautiful Yoko Tsukasa (as Ichi
Sasahara) the bride of Isaburo's son are a good example of how
temperance can trigger emotions on screen. The photography has been
done by the book, every panoramic, close-up, etc are perfect and very
Japanese (meaning very geometrical). The pacing is also a perfect mix
of slow pace scenes that provide character's depth and fast pace scenes
for breathless action and sword duels. In short the movie is
technically perfect. However what seduced me in this movie is not so
much the perfection of the film from a technique point of view but more
the originality and the modernity of the story. The rebellion from this
master swordsman (Isaburo Sasahara) who is ready to fight for the
happiness of both his son and his son's bride is profoundly humanist.
Mr. Kobayashi demonstrates with brio that the notion of Justice
transcends Cultures and that there is no code of honor that is above
the human code…
In a world when apathy rules 'Samurai Rebellion' is definitely a modern
testimony and shows that Revolt can also be a path to follow.
24 out of 28 people found the following review useful:
Wonderful, 14 May 2001
Author:
Ungaboo! from Edmonton, Canada
Samurai Rebellion is one of the best films I've ever seen. Masaki Kobayashi is my favorite Japanese director next to Kurosawa, at times even surpassing the latter. Samurai Rebellion is a well-acted, brilliantly directed film about standing up against injustice that manages to tug firmly on one's heart strings without ever being cloying. Mifune shows the full extent of his acting abilities by not having to play the sort of macho character that he came quite close to being typecast as, and Yôko Tsukasa is no less remarkable. The soundtrack by Toru Takemitsu is also wonderful, serving to add another layer to the film's narrative and emotional impact rather than merely emphasizing it. Another remarkable aspect of the film is the use of violence: Although the fight scenes near the end are brilliantly choreographed and filmed, they're not in the least glamourous, depicting the desperation, sadness and anger of Mifune's character. It's a terrible shame that most people will never see this film, one that most likely deserves to be considered a classic of world cinema, just because it isn't directed by Kurosawa.
20 out of 24 people found the following review useful:
One of the greatest films ever, 24 June 2005
Author:
mlredr from United States
If there is one thing to be said about this film, it is excellent in
every detail - story, direction, cinematography, music, action, I could
go on and on. There are few film makers who can turn a simple tale of
feudal injustice into such a moving drama.
As the movie progresses, Toshiro Mifune's character slowly transforms
into an epic hero - for his sense of honour and his love for his Son
for which he is ready to defy his own honour-bound Samurai's oath, to
rebel against the very world he lives in. The heroism and integrity of
his sacrifice are presented in exquisite detail with poignant dialogue
(even in subtitles). This in itself is an amazing achievement when the
compared to the trend nowadays is to try to impress the viewer with
visual trickery or mind-numbing fight sequences with excessive
violence.
I truly appreciate Masaki Kobayashi for the respect he shows to his
viewer's intelligence, for intelligently presenting the true heroism of
a human standing up against impossible odds.As an exercise, you may
compare this movie with the over-budgeted disaster of a Hollywood movie
called "The Last Samurai" to know what I am talking about. With an
excellent story and great characters with potential for true heroism,
"The Last Samurai" is one of the dumbest movies ever made.
This is also no dumb "You killed my master so I will kill you" Hong
Kong movie or a "Lone Wolf" movie with it's absurd and senseless
blood-spilling. All of you Action movie fans, this is also not a
beat-each-other-to-pulp or chop-you-up-like-a-fish movie.
The fight sequences are excellently executed and are almost the best
that I have seen so far (The fight sequences in Harakiri must be THE
BEST ever).The character of Tatsuya Nakadai is interesting as well in
that it is not really clear what his true intentions are - he seems
torn between his selfish desire to better Mifune's character in a duel
bound up with his loyalty to his clan against his honour as a friend.
Warning: So watch it if you enjoy an excellently told social drama and
you will see what makes a masterly piece of art.
17 out of 21 people found the following review useful:
Close to Perfection!, 13 October 2001
Author:
dorlago
Brilliant direction, excellent writing and superb acting make for one of the most intelligent and entertaining films to come out of Japan! Mifune is magnificent as the samurai who is forced to choose between family and duty. Scathing in its portrayal of feudal Japanese society this film works as both exciting historical drama and heart breaking melodrama. Mifune's stand against social injustice is presented in a totally believable yet poignantly touching manner. His scenes with his baby granddaughter are absolutely beautiful! The end of the film is both ferociously brutal and incredibly tender. What a combination! "Rebellion" leaves you emotionally drained yet asking for more!
12 out of 13 people found the following review useful:
We All Have Our Own Way of Living, 19 July 2009
Author:
Claudio Carvalho from Rio de Janeiro, Brazil
"During the powerful Tokugano Regime in Edo (presently Tokyo), there
were 264 lords or "daimyo". These feudal lords ruled their clan and the
people under them".
In 1725, the henpecked samurai Isaburo Sasahara (Toshirô Mifune) and
his friend Tatewaki Asano (Tatsuya Nakadai) are the best swordsmen of
their clan. Isaburo regrets his arranged marriage with the dominator
Suga (Michiko Otsuka) and expects to give a good marriage to his son
Yogoro (Go Kato). However, their Lord Masakata Matsudaira (Tatsuo
Matsumura) orders Yogoro to marry his mistress Ichi (Yôko Tsukasa), who
has a bad fame in the clan since she slapped the lord's face and torn
his clothes apart. The Sasahara family objects but Yogoro accepts to
marry Ichi for the good of his family. Instead of a pampered woman,
Ichi proves to be a good wife and discloses the reason of her reaction
to Yogoro, when she surprised him with a mistress after bearing their
son. Ichi delivers the baby girl Tomi and is loved by Yogoro. When the
lord's son dies, he orders Ichi to return to the castle to legitimate
their son and successor of his clan. Yogoro does not accept the order
under the protest of his family, and his brother Bunzo (Tatsuyoshi
Ehara) lures and kidnaps Ichi, bringing her back to the castle. Isaburo
and Yogoro decide to request the return of Ichi and have to face the
wraith of their lord and clan.
"Samurai Rebellion" is another Japanese masterpiece, with a beautiful
and engaging romance in the period of Tokugano Regime in Edo and
comparable to Romeo and Juliette. Further, this is also a cruel story
of attitude against tyrannical governments and I loved the line "We All
Have Our Own Way of Living". I am fascinated by the rich Japanese
history, despite my knowledge be limited to the movies I see, and I
found "Samurai Rebellion" wonderful also in this regard. The direction
and acting are awesome, and the stunning Toshirô Mifune has another
fantastic performance. The black and white cinematography associated to
the magnificent camera work, settings and scenarios gives an intense
reconstitution of Japan lifestyle in the Eighteenth Century. My vote is
ten.
Title (Brazil): Not Available
11 out of 12 people found the following review useful:
Worthy companion to HARAKIRI, 4 October 2000
Author:
xhari_nairx from Aurora, CO
SAMURAI REBELLION is not one of the best known Japanese films, although it deserves to be. It is very in theme to the masterful HARAKIRI from the same director, and with this film he matches that film's raw emotional power. It's a must for Toshiro Mifune fans.... he delivers one of his finest performances as a jaded elder samurai. He once again gets to share screen time with Tatsuya Nakadai, who has a small but memorable supporting role. The always reliable Toru Takemitsu delivers a fine score made up mostly of Japanese instruments, and Kobayashi's direction is flawless.... this film is filled with memorable set pieces, and it's just the sword fight scenes, although those are pretty incredible too. This is one of about six Kobayashi films available in the west (HARAKIRI, KWAIDAN, and the HUMAN CONDITION trilogy make up the rest)... that's a shame because, based on the quality of these works, he clearly stands among the greats of Japanese cinema.
10 out of 11 people found the following review useful:
A samurai movie WOMEN will love..., 20 August 2001
Author:
tnamwong from Los Angeles
At the center of a clan's political intrigue and pride is a woman treated like a doll. Her feelings and human value are ignored in favor of a lord's whims and customs of the time. Her sympathizers are a new younger husband and his father who realize and will risk everythint to uphold her virtue. Ichi, the heroine, is not alone. Ichi's infant daughter Tomi, the precious life that Isaburo, her grandfather (played by Toshiro MIfune), must guard risks falling into the tragic pattern as that of her mother. The film moves at a calculated pace, much like water boiling, to the final duel which will decide whether or not the innocent Tomi remains in the arms of her now renegade grandfather or a secure life with Isaburo's friend (played by Tatsuya Nakadai). LIke all good movies, viewers can never fathom the ending. What makes Samurai Rebellion memorable are its vivid images of a toy cow slowly shaking it's head, a smooth field of sand disturbed by the footprints of an angry warrior, and the last scene you may miss if you blink!
11 out of 14 people found the following review useful:
The last great samurai film, 26 June 2004
Author:
kikuchiyo-1 from Poland
I don't know why so little people have seen this film. This movie has place in history of cinema as one of the greatest masterpieces. Story has structure of ancient tragedy and we sit in permanent tense from beginning to end; none other film I saw isn't so suspenseful. Direction is perfect and there isn't one unnecessary second in all 2 hour film. Toshiro Mifune and Tatsuya Nakadai - duet well known from Kurosawa films like "Yojimbo", "Sanjuro" or "High and Low" - make peerless performances, really dramatic and deep. "Samurai Rebelion" is as excellent, humanistic and timeless as the best of Kurosawa films. Everybody I know agree with this opinion after watching Kobayashi's masterpiece. 10/10
6 out of 6 people found the following review useful:
A cinematic masterclass...from a master, 28 April 2008
Author:
Prof-Hieronymos-Grost from Ireland
Isaburo Sasahara is a former samurai warrior and master swordsman who
now lives a quiet life as head of his family, he has been continually
henpecked by his wife for all their married life, so its his ambition
to have his eldest son Yogoro married to a woman who will respect him.
Isaburo's plan is thrown into disarray however, when he receives a
notification from the Lord of the Aizu clan, that he would like Yogoro
to marry Lady Ichi, a mistress of his who has fallen out of favour.
This in itself seems rather insulting to Isaburo, as Lady Ichi he
learns has a reputation of being violent towards his lordship and added
to that she has an illegitimate child by him. After much family
discussion they all agree that to refuse his lordship's offer would
mean certain ruin for the Sasahara family, so they agree. Much to their
surprise Lady Ichi is a kind, affectionate, helpful and thoroughly
pleasant woman. She regales them with tales of his lordships cruelty
and adulteress behaviour, the family are pleased she has finally found
happiness with Yogoro.
Yogoro and Ichi are blessed with a child, that helps Ichi forget she
had to give up her first child, as it was second in line to his
lordships domain. However after the heir dies, Yogoro now head of the
family receives another request, that Ichi should return again, as her
son is now heir and it wouldn't be fitting for the mother of an heir
not to be with her child.This however is the final straw and Isaburo
and Yogoro set out to defy their lord and fight for their rights.
Samurai Rebellion was Masaki Kobayashi's first foray into the field of
independent films and he returned to a familiar theme (previously used
in Harakiri,1962) of injustice perpetrated by a tyrannical authority
figure. Kobayashi teamed up with legendary Toho studios and Mifune
Productions to recreate the literary vision of Yasuhiko Takiguchi's
"Hairyo tsuma shiatsu" in a script by Shinobu Hashimoto. The films
original title literally translated as Rebellion: Receive the Wife was
changed for western audiences at the request of Toho, as they didn't
believe it sounded manly enough for a Western audience that were very
keen on Samurai films. Despite its more familiar title, this is very
much a family drama, that wonderfully builds up its characters and to
label it as a Samurai or action film would be erroneous, the rebellion
scenes occurring only as we near the finale. Kobayashi's also uses
Japanese architecture and symmetry to further the mood, using pillars,
castle walls, doors, protective eaves and endless straight lines to
promote stability, when the Sasahara family are having a less than
unified debate on their predicament, the members are all stationed at
unusual differing distances from the camera making the harmonious
composition appear unsymmetrical when a member leaves the room and also
towards the end of the film Isaburo and Yogoro remove all elements of
geometric stability from their home as they await the arrival of their
feudal lords men, their act seemingly to once and for all end their
association with their restraining dogmatic social structures.
The performances are all superb, Mifune giving us one of his more
retrained performances with only glimpses of his more familiar gusto as
he emotes and reflects on the tragedy of the situation his family is
in. The great Tatsuya Nadakai is restricted to a few brief scenes, but
his power still shines through. Yôko Tsukasa and Go Kato also produce
memorable performances as the loving couple willing to die to retain
their partnership. Samurai Rebellion is a powerful film that reflects
its directors concerns with the abuse of authority, it exudes class and
visual style and its attention to detail is second to none. As a film
it can't be faulted.
4 out of 4 people found the following review useful:
A steady, inexorable pace to what comes very close to noble tragedy, 11 September 2006
Author:
Terrell-4 from San Antonio, Texas
*** This review may contain spoilers ***
Don't come to Samurai Rebellion expecting a strutting, slashing,
melodramatic sword flick. Joichi is a movie that deals with major
issues -- love, honor, duty, injustice and, above all, self-respect --
and does so in such a sad and noble way that the inevitability of the
outcome approaches tragedy. Note that elements of the plot are
discussed.
We're in the middle of the long Tokugawa Shogunate, 1725. There has
been peace for years and while the samurai code of obligation and duty
is as rigid as ever, there are no wars to fight. When a local daimyo
casts aside a concubine, the mother of his youngest son, he sends her
to a retainer, Isaburo Sasahara (Toshiro Mifune) with the order that
she marry Sasahara's oldest son, Yogoro (Go Kato). Isaburo is probably
the best swordsmen in the district, but he is a minor functionary and
has been married 20 years to a woman who scorns him. He accepts his
fate with his wife, a termagant, and simply tries to do a good job at
the lower level assignment he has. The order by their lord divides the
family, but finally Yogoro agrees to marry the woman, Ichi (Yoko
Tsukasa). The two develop a deep love for each other. They have a
daughter, Tomi. Then three years after the daimyo sent her to the
Sasahara family, he orders her return. His eldest son has died and it
would be a disgrace to have the mother of the new heir married to a
retainer. By now Sasahara has resigned as head of his family and turned
responsibility over to Yogoro, placing Ichi, whom he has come to love
as a father, over his domineering wife. Yogoro plans to refuse the
order and Ichi is determined to stay as his wife. But great pressure is
brought to bear on both of them as well as on Sasahara. Sasahara says
the decision must be Yogoro's...but he makes clear what his feelings
are. Duty and obligation are placed on Yogoro and Ichi by members of
the family and by the officials of the daimyo. Yogoro wavers for a
moment. Sasahara has had enough. "My father-in-law was impressed with
my swordsmanship," he tells the couple. "As head of the Sasahara clan,
he asked me to marry into the family. But otherwise I have no talents.
In other words, I am a worthless man. So in order to prove myself for
these past 20 years I have fought to preserve our good name and social
standing. So why am I so obstinate now? The cruel injustice involved,
for one thing. But your beautiful love for each other has touched me
most of all. There's never been a shred of love in my married life!
Promise me, Yogoro, that you'll never let Ichi go!" Turning to Ichi, he
says, "No matter what happens, never leave him! Promise me!"
The three will not agree to the return of Ichi. The daimyo will not
change his cruel order. Up to now the movie has been spent exploring
the life of Isaburo Sasahara, his home, his family, his relationships
with his superiors, all of whom expect obedience. Family councils are
held. The daimyo's minions plot ways to force the return of Ichi.
Threats are made. Seppuku is ordered. At one point Ichi is tricked into
the daimyo's castle. Sasahara and Yogoro prepare to defend their home.
He virtually shouts out to his daimyo's steward, who has come to
manipulate an agreement from him, "And tell everyone this for me! I,
Isaburo Sasahara, in all my life have never felt more alive than I do
now.!" Sasahara knows full well what the outcome of his defiance will
most likely be. So do Yogoro and Ichi. The injustice of it, and their
love, make them as determined as Sasahara. A confrontation is
inevitable and occurs in a spasm of violence. Sasahara finally takes
his baby granddaughter and walks toward Edo, carrying her in his arms.
He will plead his case before the Shogun. He makes it as far as the
frontier gate of the daimyo's lands. There is no happy ending. We are
left only with Sasahara's hope for his granddaughter and with the
satisfaction of seeing a man who found self-respect. I'm not sure if
this is enough to make a tragedy, but it comes close. Isaburo Sasahara
found nobility along with self-respect.
The black and white film is beautifully photographed. Kobayashi takes
his time letting us see Sasahara's life and how he and his family live.
He helps us understand the unyielding social order of Sasahara's world.
He builds an understanding of the kind of man Sasahara is and became.
We can understand how, seeing his son's love for Ichi and how it is
returned, he will not see his son's life turn into his life. All the
obligations to a corrupt, self-indulgent and cruel lord become
meaningless as he sees the futility of what his life turned out to be.
This is a fine movie with major themes. It would not be as powerful as
it is without superlative performances by the thee main actors,
particularly Toshiro Mifune. He moves believably and powerfully from a
cautious man who is emotionally deadened into a man who has been
changed by the love he sees between his son and Ichi, and then outraged
by the injustice done to them.
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