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Hana (2006)
"Hana yori mo naho" (original title)

 -  Comedy | Drama  -  6 May 2007 (USA)
7.0
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Ratings: 7.0/10 from 878 users  
Reviews: 9 user | 19 critic

A troubled young samurai seeks revenge for the death of his father.

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Title: Hana (2006)

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Cast

Cast overview, first billed only:
Jun'ichi Okada ...
Aoki Souzaemon aka 'Soza'
Rie Miyazawa ...
Osae
Arata Furuta ...
Sadashiro
Jun Kunimura ...
Isekan
Katsuo Nakamura ...
Shigehachi
...
Jubei Kanazawa
...
Junai Onodera
...
Jirozaemon Hirano
Tomoko Tabata ...
Onobu
Yui Natsukawa ...
Oryo
Renji Ishibashi ...
Shozaburo Aoki
Ryûhei Ueshima ...
Otokichi
Yûichi Kimura ...
Magosaburo
Seiji Chihara ...
Tomekichi
...
Sodekichi
Edit

Storyline

In a poor district of Edo lives a young samurai named Soza. He has been sent by his clan to avenge the death of his father. He isn't an accomplished swordsman however, and he prefers sharing the life of the residents, teaching the kids how to write etc. When he finally finds the man he is looking for, he will have to decide whether he follows the way of the samurai or chooses peace and reconciliation. Written by Anonymous

Plot Summary | Add Synopsis

Genres:

Comedy | Drama

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Details

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Release Date:

6 May 2007 (USA)  »

Also Known As:

Hana: The Tale of a Reluctant Samurai  »

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User Reviews

 
missing the point about real heroism
5 April 2007 | by (United States) – See all my reviews

I think the first reviewer misses the point of Kore-Eda's work. He has an almost documentarian's way of showing human behavior. It's decidedly not theatrical. His characters are flawed, real people. Soza-sensei's abhorrence of violence is not undercut by his fear of being sliced up. He discovers the strength to be a real human being amid what he comes to recognize as counterproductive posturing.

The 47 Ronin subplot is not a distraction. It's a mirror of Soza's choosing life over revenge. Susumu Terajima hits just the right note as the surviving Ronin. If you don't know Japanese history and myth-making, it might seem like a distraction, but it is the point of the whole story, that a slavish devotion to the ideals of Bushido is in conflict with living an authentically human life.

Besides, Rie Miyazawa is a total hoot in the play within a play. It is a pleasant surprise that Kore-Eda can do comedy and still keep it real. I was beginning to think that he was only good at grimness, but I was reminded of the small comic touches in "Nobody Knows" and "Afterlife." I can't remember if there was anything funny in "Mabarosi." I just remember how depressing it was.


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