Samurai Rebellion

Samurai Rebellion (1967) is another film, like Hari Kiri (1964), from director Masaki Kobayashi that is a critique of fedual society. There are more similarities between the two films than just the theme of the individual against society. Also, both films starred Tatsuya Nakadai, were written by Shinobu Hashimoto, and had scores by the legendary Toru Takemitsu. The director of photography was different. This time it was Kazuo Yamada rather than Yoshio Miyajima, but the black and white cinematography is equally impressive in this film. As film critic Donald Richie points out in his informative essay for the Criterion edition (which also has an exerpt from a 1993 interview with director Masaki Kobayashi), the geometric patterns are used to illustrate themes of social restraint. The film depicts life in Aizu with Matusdaira clan as an effective system of oppression, which stifles individuality, and Isao Sasahara (Toshiro Mifinue) has had enough. The first part of the film operates as a family drama and no violence takes place until the climax at the end of the film. Richie makes an astute observation when he depicts Hari Kiri as being somewhat Shakespearean and classifies this film as being Jacobean-cruel, bloody, and impersonal. There is also the underlying theme, also seen in Hari Kiri, of the deception of history. The truth never gets out in either film and is covered up by the clans in what will become official history that negates the rebellion. I agree with Richie when he states that: “… by focusing on family roles, he widened his subject and heightened its emotional potential. Another classic from Kobayashi, I feel compelled to see his version of Lafcadio Hearn's Kawaidan (1964).