sathi shakthi ( kannada : ಸತಿಶಕ ತಿ ) is a 1963 indian kannada film , directed by kanagal prabhakar shastry and produced by kanagal prabhakar shastry .

the film stars rajkumar , ramkumar , k. s. ashwath and b. raghavendra rao in lead roles .

the film had musical score by t. g. lingappa .

sathi shakthi

listen to one of the heartwarming romantic melody hits ,
chandamaama
sung by s janaki from the classic film sathi shakthi . cast : rajkumar , sowcar janaki , . . .
nee sathi deivamu - video song | telugu devotional | m . s . subbulakshmi | hd temple video
a very great song tribute to the mother listen to one of the melodious songs ,
maathege migilaada
sung by ap komala from the classic film sathi shakthi . cast : rajkumar , sowcar janaki , rajamma music : tg lingappa lyrics : kanagal prabhakara sastry director : kanagal prabhakar shastry producer : kanagal prabhakara sastry release : 1963
watch the melodious song ,
parameshane shiraverida
sung by ml vasanthakumari from the film adarsha sathi . cast : r nagendra rao , sowcar janaki , . . .
listen to one of the prayer songs of p leela ,
sri mathe
from the classic film sathi shakthi . cast : rajkumar , sowcar janaki , rajamma music : tg lingappa lyrics : kanagal prabhakara sastry director : kanagal prabhakar shastry producer : kanagal prabhakara sastry release : 1963 for more updates : subscribe to us on : urltoken follow us on : urltoken like us on : urltoken
listen to one of the hit songs of p leela ,
huyyo huyyo
from the classic film sathi shakthi . cast : rajkumar , sowcar janaki , rajamma music : tg lingappa lyrics : kanagal prabhakara sastry director : kanagal prabhakar shastry producer : kanagal prabhakara sastry release : 1963 for more updates : subscribe to us on : urltoken follow us on : urltoken like us on : urltoken
listen to one of the melodious hits ,
pavadisu phalaaksha
sung by p leela from the classic film sathi shakthi . cast : rajkumar , sowcar janaki , rajamma music : tg lingappa lyrics : kanagal prabhakara sastry director : kanagal prabhakar shastry producer : kanagal prabhakara sastry release : 1963 for more updates : subscribe to us on : urltoken follow us on : urltoken like us on : urltoken
listen to one of the melodious songs ,
maathege migilaada
sung by ap komala from the classic film sathi shakthi . cast : rajkumar , sowcar janaki , rajamma music : tg lingappa lyrics : kanagal prabhakara sastry director : kanagal prabhakar shastry producer : kanagal prabhakara sastry release : 1963 for more updates : subscribe to us on : urltoken follow us on : urltoken like us on : urltoken
listen to one of the romantic melody hits ,
acha mallige hoovu
sung by p leela from the classic film sathi shakthi . cast : rajkumar , sowcar janaki , rajamma music : tg lingappa lyrics : kanagal prabhakara sastry director : kanagal prabhakar shastry producer : kanagal prabhakara sastry release : 1963 for more updates : subscribe to us on : urltoken follow us on : urltoken like us on : urltoken
listen to one of the heartwarming romantic melody hits ,
ee vilaasi
sung by s janaki and pb sreenivos from the classic film sathi shakthi . cast : rajkumar , sowcar janaki , rajamma music : tg lingappa lyrics : kanagal prabhakara sastry director : kanagal prabhakar shastry producer : kanagal prabhakara sastry release : 1963 for more updates : subscribe to us on : urltoken follow us on : urltoken like us on : urltoken
mahasathi anasuya – ಮಹಾಸತಿ ಅನಸೂಯ | kannada full hd movie * ing dr . rajkumar , pandaribai , leelavathi
top 75 duet songs - vol 1 | k . j . yesudas | s . janaki | p . leela | one stop jukebox | malayalam | hd songs
s . p . balasubrahmanyam & s . janaki - top 30 songs | rajan - nagendra , r . n . jayagopal | kannada jukebox
ramzan special - top 15 songs | celebrate eid | yanabi assalam | a . v . mohammed | m . s . baburaj
chandra kumara | neene neere mandhaara madiradinda bare | feat . dr rajkumar , udayakumar
gowri – ಗೌರಿ | kannada full hd movie | dr . rajkumar | sahukar janaki | sandhya | family drama movie
top 30 songs of k . j . yesudas | s . janaki | vani jairam | l . r . eswari | hd audio jukebox | kannada
chakratheertha | o beli leso | dr . rajkumar | jayanthi | udayakumar | kannada video song
hoovu cheluvella tandenditu . . . .
song from the kannanda movie ,
hannele chiguridaaga
vijaya bhaskar & s . janaki - top 30 songs | audio jukebox | p . b . sreenivas , s . p . balasubrahmanyam | hd
kannada song - olvanthe geluvanthe - p . susheela & p . b . srinivas
melodious kannada song - suvvi suvvi . . p . b . srinivas - s . janaki
muqaddar ka sikandar مقدر کا سکندر ) 1978 ) * salaam - e - ishq meri jaan [ h . q . ] _ _ 7sw .
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film , directed by kanagal prabhakar shastry and produced by kanagal prabhakar shastry . the film stars
and b . raghavendra rao in lead roles . the film had musical score by
this article is issued from wikipedia - version of the 1 / 1 / 2016 . the text is available under the creative commons attribution / share alike but additional terms may apply for the media files .
watch the sad song ,
oh kannada naadinaa
sung by p nageshwara rao from the film naga pooja . cast : rajkumar , raghavendra rao , rajendra krishna , . . .
watch the melodious romantic song ,
oh premada poojaari
sung by lr eswari from the film naga pooja . cast : rajkumar , raghavendra rao , rajendra krishna . . .
citra : naga puja 1965 gayana : pi sushila samgita : ti ji limgappa sahitya : gitapriya notes indicates raga : todi ? nitiya meresi nyayava ulisi dharmava kayuva . . .
watch the melodious romantic song ,
madhumaya chandrana
sung by pb sreenivos from the film naga pooja . cast : rajkumar , raghavendra rao , rajendra . . .
watch the melodious song ,
neethiya meresi
sung by p susheela from the film naga pooja . cast : rajkumar , raghavendra rao , rajendra krishna , leelavathi , . . .
watch the melodious song ,
belagisu belagisu
sung by p susheela from the film naga pooja . cast : rajkumar , raghavendra rao , rajendra krishna , leelavathi . . .
watch the melodious song ,
baaramma kamadhenu
sung by p susheela from the film naga pooja . cast : rajkumar , raghavendra rao , rajendra krishna , . . .
provided to youtube by sa re ga ma kannada naadinaa · peethapuram nageshwara rao naaga pooja ℗ saregama india limited released on : 1965 - 12 - 01 . . .
provided to youtube by sa re ga ma maarutha doora · p b sreenivas · p susheela rani honnamma ℗ saregama india limited released on : 1960 - 12 - 01 . . .
watch the romantic song ,
priyathame madhumayi
sung by pb sreenivos from the film madhu malathi . cast : rajkumar , bharati , udaya kumar music : g k . . .
view this song and pray , you will be blessed for sure ! please like , share and subscribe this video ! hope this festival brings you happiness and joy . . .
vishnuvardhan and bhavani ' s naga kanye kannada full length movie with hd quality . cast : vishnuvardhan , bhavani , rajashree , halam , mallika , pramila , . . .
old is gold . here is a devotional song on goddess parvathi , in raaga - vasantha from the movie ' sati shakti ' 1963 . melody by t g lingappa and sung by p leela .
listen to the hit song of p nageswara rao ,
naavikanaaro nadesuvanello
from the hit film kula gowrava . director : peketi shivaram producer : n veeraswamy . . .
watch the melodious romantic song ,
sai sai sai ennuva
sung by lr eswari from the film naga pooja . cast : rajkumar , raghavendra rao , rajendra krishna , . . .
listen to one of the melodious songs of tm soundararajan ,
baare baare nanna
from the kannada film sadarame . cast : kalyan kumar , balkrishna , gv iyer , . . .
kannada song - kolanoodi kuniva priyane baaro from movie yemme thammanna singers : bengaluru lata & p . b . srinivas music : t . g . lingappa lyrics : g . v . iyer . . .
movie : bhale bhaskar ( 1971 ) song : bettada myalinda music : satyam lyrics : chi udayashankar starring : udayakumar , rajesh , gangadhar , narasimhraju , . . .
watch the melodious romantic song ,
chilipiliguttuva hakkiya
sung by s janaki from the film pathala mohini . cast : vanishree , prathimadevi , b m venkatesh , . . .
movie name : shiva mecchhida kannappa singer : vani jayaram music director : t g lingappa lyricist : chi udayashankar . enjoy this wonderful song from the . . .
watch the song enenaagali from the film kaldogbitte feat . ashok , pooja song name : enenaagali singer : archana ravi lyrics : uday prem film : . . .
watch the melodious romantic song ,
oh brahmachaari
sung by l r eshwari and nagendra from the film pathala mohini . cast : vanishree , prathimadevi , b m . . .
watch the song nyayavidenamma from the film swarna gowri . also staring dr . rajkumar , krishna kumari , rajashri , narasimharaju udayakumar and others .
watch the video of the song brahmadeva brahmadeva from the film chandra kumara staring dr rajkumar , udayakumar , k s ashwath and others exclusively on . . .
iii part of the radio interview on the occasion of the birthday of the legendary playback singer dr . p . b . s by singer srinath @ nam radio , kannada ' s first . . .
watch the romanti hit naachutha sung by pb sreenivos and vani jairam from the super hit film nanjunda nakkaga . cast : ramgopal , srilalitha , balakrishna , . . .
watch the romantic song ,
yaaro eno ballavaraaru
sung by s janaki from the film madhu malathi . cast : rajkumar , bharati , udaya kumar music : g k venkatesh . . .
watch pathala mohini full length video songs , vanishree , prathimadevi , b m venkatesh , narasimharaju , balakrishna , eshwarappa , m n lakshmidevi , h t urs . . .
a melody song from the film ' amma 1968 ' . notes indicates the raga of thodi . but the use of g3 note ( anthara gandhara ) ( na - nenu baralilla ) gives special . . .
o janani kalyaani | swarna gowri | dr . rajkumar , krishna kumari | kannada son
watch the song s . janaki from the film swarna gowri . also staring dr . rajkumar , krishna kumari , rajashri , narasimharaju udayakumar and others . exclusively . . .
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top 50 songs of dr . vishnuvardhan | p . b . sreenivas | one stop jukebox | kannada | original hd songs
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it is still master piece . it is a legendry work in kannada cenema world . kanagal prabhakara satri is top one director and he himself writer all the songs . rajkumar in dobble acting as rakthasha and virupaksha can not be imagining . k c n gowdaru should have brought it in color like satya harishvhasndra . i had seen it for number of times when i as young . hats off to all the great men behind it .
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manassiddare marga ( kannada : ಮನಸ್ಸಿದ್ದರೆ ಮಾರ್ಗ ) is a 1967 indian kannada film , directed by m . r . vittal and produced by srikanth nahatha and srikanth patel . the film stars rajkumar , rajashankar , narasimharaju and k . s . ashwath in lead roles . the film had musical score by m . ranga rao . [ 1 ] [ 2 ]
03 . 26 3 ee jeevana bevu bella p . b . srinivas m . narendra babu
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harakiri ( 切腹 seppuku , 1962 ) is a japanese jidaigeki ( period-drama ) film directed by masaki kobayashi .

the story takes place between 1619 and 1630 during the edo period and the reign of the tokugawa shogunate .

it tells the story of hanshirō tsugumo , a warrior without a lord .

at the time , it was common for masterless samurai , or rōnin , to request to commit seppuku ( hara kiri ) in the palace courtyard in the hope of receiving alms from the remaining feudal lords .

harakiri ( 1962 film )

scene from the 1962 film harakiri of motome chijiwa being coerced into commiting seppuku with his bamboo dagger . english subtitles . urltoken
[ 4 ] harakiri ( seppuku ) , dir . kobayashi masaki , shochiku co . , ltd . , 1962 .
harakiri is a 1962 jidai geki film directed by masaki kobayashi and starring tatsuya nakadai . it was made as a deconstruction of the glorified samurai code of honor usually associated with that genre .
ride the high country ( 1962 ) : sam peckinpah arises and randolph scott and joel mccrea ride off into the sunset .
the 1962 single masterpiece uses ploys of the written word in picturing the past and / or far away to criticize the present .
february 3 ( monday ) film : harakiri ( seppuku ) director : masaki kobayashi ( 1962 , b / w , 134 min . ) altschul auditorium ( 417 international affairs building ) , columbia university ( 118th st . and amsterdam ave . ) 7 : 45 pm
in harakiri ( seppuku , 1962 ) , nakadai plays a masterless samurai who requests permission from a lord to commit ritual suicide on his property . showcasing one of nakadai’s most famous performances , the film is a masterful critique of the struggles of the individual within an overpowering system . it was the winner of cannes jury prize in 1962 and was directed by the great kobayashi masaki , whom nakadai worked with numerous times including on the epic series the human condition .
used repeatedly on motome during his involuntary harakiri ceremony to convey a sense of stomach - sickening horror .
beautifully written , wonderfully directed and amazingly acted . harakiri is a creative , inteligent and awesome film . one of the few movies you can call it perfect .
“this thing we call samurai honour is ultimately nothing but a facade” . so says hanshiro tsugumo in the mansion of the iyi clan one afternoon in the year 1630 . and it’s this facade that forms the groundwork of masaki kobayashi’s “harakiri” ( 1962 ) , based on the novel by yasuhiko takiguchi .
the three men most responsible for forcing motome to commit harakiri out of their contempt for his dishonorable ways are ultimately dishonored themselves , yet like motome two of them have to be forced at swordpoint to commit harakiri in atonement .
the film deals heavily in appearances , namely issue regarding honor or lack thereof . the film in my opinion seems to invite…
i finally had an excuse to watch this monumental film this morning . and i can say without a doubt that harakiri is a classic in every sense of the word . a truly perfect film that earns its prestige humbly . like a samurai bowing in…
so which one is hara - kiri : death of a samurai ? the film is miike’s second period samurai remake in recent years , following his truly excellent 13 assassins . the latter movie is one of miike’s best , so there were pretty heavy expectations on this remake of masaki kobayashi’s 1962 film harakiri . but reviews out of the film’s first appearance on the festival circuit weren’t great . was the chilly reception thanks to over - inflated expectations in the wake of 13 assassins , or is hara - kiri just one of miike’s middling efforts ?
harakiri belongs to one of the best mini genres in film : post - war anti - samurai films . it ' s up there with sword of doom and onibaba as far as i ' m concerned .
a remake of masaki kobayashi ' s harakiri ( 1962 ) , takashi miike ' s new film hara - kiri : death of a samurai retains much of the original ' s plot , imagery , and production design ; even the sets and props appear to be near - replicas of ones in the 1962 film . and yet miike ' s movie is completely its own thing , nothing like kobayashi ' s—owing in part to the directors ' radically different attitudes toward the subject matter , and to the two films ' diametrically - opposed conceptions of space and movement . a big pontificator with an arty style , kobayashi favored complex sequence shots , dolly - ins from behind , smash zooms , and extremely wide angle lenses that warp the space around the edges of the frame , making it appear as though rooms and bodies are constantly expanding and contracting ; his harakiri is an angry , slow - burn anti - chanbara flick—dramatically heightened , spatially wonky , accusatory .
harakiri was remade recently as harakiri : death of a samurai by the infuriatingly inconsistent takeshi miike ( thirteen assassins by him is well worth checking out if you like more action in your samurai movies ) . i have yet to see it , but i cannot imagine it will compare well to the original .
los angeles greek film festival and other movie events in the l . a . area
samurai rebellion , without a doubt , is very much on par with harakiri . two films that are , for me , the complete picture of what timeless filmmaking is .
film 14 of 50 on my list of highly regarded films i haven ' t seen .
future learning and skills – giving everyone the opportunity to build a lifelong relationship with film .
space and movement are at the center of the anything - goes auteur ' s new film .
a masterful , heartbreaking mystery drama that unfolds slowly until its final act . harakiri acts as a critique to the period it takes place in and what it truly means to be a samurai . the film itself as a whole is flawless , from direction to even fight choreography , however its driven by dialogue for the most part , which is remarkably engaging throughout the film’s entirety .
los angeles greek film festival and other movie events in the l . a . area – daily news
notebook is a daily , international film publication . our mission is to guide film lovers searching , lost or adrift in an overwhelming sea of content . we offer text , images , sounds and video as critical maps , passways and illuminations to the worlds of contemporary and classic film . notebook is a mubi publication .
when harakiri premiered on september 16 , 1962 , japanese audiences saw the familiar cinematic landscape of feudal japan portrayed in expressive , allegorical terms . later described as shakespearean by kobayashi’s admirers , the film communicates its themes in graceful cinematic rhetoric , visually conveying intolerable class regimentation through calculated movements of the frame and theatrical lighting . a limited number of sets , used repeatedly to create a sense of space and sameness to reflect patterns of ritualistic behavior , might become claustrophobic to another filmmaker . kobayashi’s frequent cinematographer yoshio miyajima utilizes fluid tracking shots interspersed with contrasted diagonals throughout to make the position , movement , and subtle contorting of the frame become an essential and telling narrative tool .
which is the most befitting way for a person to die ? is it to die of honour or to die of love . harakiri answers this and many other moral questions in a gut wrenching manner .
as mentioned above , the story abounds with idiosyncratic japanese behaviour . the titular harakiri ( the cruder , though more well - known to the west term for seppuku ) is ritual self - disembowelment that the samurai performed either in acts of contrition , in devout loyalty to their lords , or in protest . it was and is regarded as an incredibly noble act of purity . the film harakiri , however , takes precisely the opposite view , seeing it as the cruel and wasteful symbol of a perverted form of honour .
can screenwriters change the course of film history ? the work of key kurosawa collaborator shinobu hashimoto proves they can .
[ 16 ] eisenstein , “the unexpected , ” ( 1928 ) , in leyda , film form , 21 .
i could not help but think of shakespeare who died in 1616 , only 14 years before this period film .
are eternal so long as our specie exists . this is a very good film , with sharp contrasts to maximize
harakiri , thus , is not a happy or a heroic film . i would describe it almost as feverous ; the camera angles are intensely close at times and at skewed angles others , the soundtrack hums with the rolling , frantic , never quite subsiding thrashing of what i believe to be a biwa lute , punctuated with sudden violent stabs of percussion . it is quite unique amongst the jidaigeki films i have seen . yojimbo is prepared to satirize the samurai but no more . harakiri is filled with a cold and humane loathing for them .
writing of the composition of architectural space in harakiri , contreras does not ignore the question of time . she writes that “ [ u ] ltimately [ harakiri ] is about the interaction of time and space . ” [ 27 ] however , when she writes of the interplay between the visual parameters and the action and figures , contreras describes this dynamic as two axes in the film : static space and moving time . she sees space and time as two poles articulated against each other in a dichotomy between composition and choreography and between stillness and motion . this conception of time and space and how they function in mise en scène cannot grasp the dynamic energies of the film .
harakiri
was released in 1962 , the work of masaki kobayashi ( 1916 - 1996 ) , best known for
kwaidan
( 1965 ) , an assembly of ghost stories that is among the most beautiful films i ' ve seen . he also made the nine - hour epic
the human condition
( 1959 - 1961 ) which was critical of the way the bushido code permeated japanese life and helped create the state of mind which led to world war ii . and he made
samurai rebellion
( 1967 ) , about a man who refuses to offer his wife to a superior .
harakiri ( or seppuku as it is known in japan ) is my personal favourite film about samurai , and i would argue that from a certain perspective it might be the greatest example of the jidaigeki genre : the issues it raises are universal , and yet because of the social conventions the plot is arrayed around it is simultaneously uniquely japanese .
the op ' s argument is essentially that harikari was biting social criticism at the time it was made . but unlike the rules of the game , the social criticism doesn ' t go over as well today . society has changed too much . saying it was a social criticism explains why it was a good film in its time , not why it should be adored today . there ' s a difference between appreciating a film of a train pulling into a station , for its part of film history , and enjoying it . ( of course , i did enjoy harakiri . )
i greatly enjoy this film as well . i hate to sound like a broken record , but kobayashi doesn ' t get nearly as much credit as he deserves . i hold him up there with kurosawa . i know it isn ' t about harakiri , but you should really watch his magnum opus , the human condition it is a masterpiece .
[ 30 ] it is pertinent here that film scholar donald richie makes a distinction between the history of western cinema , in which , he argues , painting and photography have been central , and a pivotal focus on the heritage of theatre in classical japanese film , suggesting that we should turn to dramaturgy rather than the pictorial arts in our study of japanese film .
this is not a film for everyone . if you ' re expecting blood and guts spilled - forget it ! it ' s about destitute samurai pretending to commit seppuku in the hope of blackmailing someone . very psychological film , and a vehicle for nakadai to show off his acting skills ( which are immense - way ahead of mifune toshiro ) the film is very annoyingly dubbed into czech , with english sub - titles , an absurd way to present a japanese film . altogether a great disappointment .
hanshiro dishonours the samurai who killed motome , and they all end up committing harakiri offscreen . however , the other ii retainers shoot him as he , cornered , tries to commit honorable suicide , and the deaths of the disgraced retainers are covered up as
illness .
the clan ' s handling of motome and hanshiro ' s harakiri requests—or rather , the version they tell others—increases the reputation of their house throughout the land and earns bennosuke words of praise from lord doi .
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans . it represents the percentage of professional critic reviews that are positive for a given film or television show .
[ 9 ] sergei eisenstein , “the cinematographic principle and the idiogram” ( 1930 ) , in film form : essays in film theory , ed . and trans . jay leyda ( new york : harcourt , brace & world , 1949 ) , 43 .
i love samurai films . they were among the first foreign films which i have watched , but namely i would focus on those of akira kurosawa , particularly seven samurai , which was an influential part of my own life for it brought onto myself a new means of appreciating cinema in all regard . as i were to venture into more samurai cinema , i decided to look into more that were not from kurosawa and that was how i stumbled across masaki kobayashi ' s harakiri for a change . when i finished up , something hit me about harakiri in a way that i wouldn ' t have expected from samurai films . in some strange manner , harakiri was almost a rather philosophical experience . as it continues to reside…
my awards are the same as yours , except for adapted screenplay and foreign film , which i give to jules et jim .
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i think mankind ' s callousness to the arbitrary nature of life is the true villain of this film . i love the ending , where a cruel , proud man is shown how easily his clan ' s honor is undermined , how close he is to the chopping block . the only improvement i can imagine is an official edict to the clan leaders , asking them to commit harakiri .
though it was common at that time for ronin to request permission to commit harakiri in the courtyards of clan residences , saito is somewhat suspicious of hanshiro’s request . there have been recent cases where ronin used their harakiri requests to swindle the clan leaders into giving them money . in an attempt to test hanshiro’s resolve , saito tells him a story of a young ronin named chijiwa motome ( akira ishihama ) , another former fukushima clan retainer who came to the iyi mansion a few months earlier with the same request . already aware of the “harakiri scam” , saito grants chijiwa his request , provided that he performs harakiri immediately . problem was , motome had recently pawned the blades of his swords and had them replaced with bamboo . the iyi clan is angered that a samurai would do this , since a sword is considered to be a “samurai’s soul” . with no chance of escape , and no choice but to uphold his honour as a samurai , motome slowly and painfully disembowels himself with his bamboo blade before having his head lopped off by the kaishakunin .
mcdonald , keiko i . reading a japanese film : cinema in context . honolulu : university of hawaii press ; annotated edition , 2006 .
despite the early modern - era setting , the film contains many of the same tropes of earlier samurai films ( albeit with a lot more bloodletting ) , most notably another koike adaptation that preceded it , the seven - film lone wolf and cub ( 1972 - 74 ) series .
the thing is , i didn ' t have insight into japanese authoritarianism during the edo period before watching this movie . i don ' t think it ' s fair to judge a film based on your own knowledge or insight into certain topics . harakiri shows an example or the result of extreme authoritarianism on a singular family ( sort of similar in that sense to grave of the fireflies ) . it also shows the futility of trying to change it , as shown by the brilliant ending . but this is not what makes a film . what makes a film is it ' s power to move , or entertain . harakiri is beautifully choreographed , has an intense story that is often touching and tragic , and is a powerful indictment of japanese politics . weather you already on the side of the movies themes or not is mostly irrelevant imo , as it presents it ' s case with an emotional narrative that does indeed tell a story you can ' t find anywhere else .
[ 36 ] michael ondaatje , the conversations : walter murch and the art of editing film ( london : bloomsbury , 2002 ) , 50 .
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film at granada hills branch library : film buff cliff o’connell , a professor at los angeles mission college , hosts a screening and discusses “some like it hot” ( 1959 ) , 1 : 30 p . m . june 10 . 10640 petit ave . 818 - 368 - 5687 . urltoken
i think you bring up good points about the armor and what it symbolizes . i think it would be a good idea to use what you think the armor symbolizes and tie it into the greater themes of the film , such as ritual suicide and the honor it represents . the ritual suicide portrayed in the film is part of the samurai code and it is committed as a way to die with honor . the time period in japan that the film takes place was a relatively peaceful time that left many samurai wandering the land in poverty . samurais go to the house estates and ask to commit harakiri on the land as a way to die honorably , but many of them are just looking for handouts .
[ 34 ] this also gives us a way to understand the extraordinary variability of film reception and experience , and even our fluctuating experience of a film at different viewings : that we are made up of a multitude of affective / mimetic interfaces that are constantly evoked and remade with each new experience .
i definitely agree that the opening sequence is significant in this film , and would make for a great place to start in your analysis . you did a good job of finding the
texture
of the film , and you were wise to focus on the mood and music of the scene . i think by doing this , you ' ll give yourself an interesting window into the film that otherwise may be quick to ignore . i ' d make sure to tie all aspects of the film to the beginning , at some point , to further indicate why the opening is significant enough to write about .
the ballad of narayama
is a japanese film of great beauty and elegant artifice , telling a story of startling cruelty . what a space it opens…
to remake or not to remake , that is the question “ ichimei ” or “hara - kiri : death of a samurai” is takashi miike ‘s 2012 remake of the extraordinary 1962 classic “ seppuku ” ( or “ harakiri “ ) , that one directed by masaki kobayashi . if you feel like this might be a little too ambitious of a project for someone like miike , fear not . his last project was “13 assassins” ( which was reviewed right here on amp ) , a similar type of film with parallel themes and a striking resemblance in terms of visuals . the story goes as follows : a ronin requests an audience with the regent of a powerful samurai clan . once he is permitted to enter the grounds , the wandering warrior makes a startling demand : he requests the use of the clan’s courtyard in order to perform hara - kiri ( suicide by disembowelment ) . now , this is where the story gets even stranger… as the conversation continues , the regent reveals an
bookends : the film begins and ends with a shot of the red armor on display , and narration from the ii clan ' s official chronicle of events .
baby jane came in 31st for the year . i think it’s a good film , but not great – a mid range * * * film . the problem for me , is that it is a little hard to take it too seriously on the pure film level , and i’m not a fan of camp , so i don’t really find very enjoyable on that level either . i do think davis is good , but she also misses out on a best actress nom from me .
even though i had read about ride the high country on and off for years i had never actually viewed the film until last night on dvd . i came away with a deep admiration for what was accomplished both by actors joel mccrea and randolph scott but also by director sam pekinpah . many film critics consider this to be their best work in their respective fields . given the careers of these individuals that is saying a lot ! beautifully photographed this motion picture had been overlooked by many in the years immediately after its initial release in 1962 but also , i suspect , by many filmgoers today . that is a shame . i encourage all to take the time to watch this motion picture which represents the ending of a certain noble form of the western genre as well as the careers of scott and mccrea . in this regard the final death scene is both touching and poignant .
the film has a steady , hypnotic momentum ; the director , masaki kobayashi , wrings as much drama out of facial twitches as he does out of sword fights .
but it is still relevant , and it is still powerful , making it an even more resonating film than it could ever possibly be if it weren ' t .
harakiri is one of the greatest films ever made , imo . absolutely everything that could go right while making it went right . incredible performances ( tatsuya nakadai is a very versatile actor , sadly not so many people know about him because most associate samurai film actors with mifune ) , awesome b & w cinematography , pure passion and raw emotion radiating from each frame , effective aperiodic string soundtrack which will linger in the mind for a long time , suspenseful battle scenes and an excellent ending .
something most people i speak to about it don ' t know is that the film is a powerful allegory for a japanese attitude towards authority post - world war ii .
that’s a well - cut trailer for a film that has been reported to be a bit dull . miike is almost always good for an exciting sequence or two , and there’s clearly enough material to cut into a compelling two and a half - minute presentation . it’s enough to make me want to catch the full film , despite the reviews .
sublime i was introduced to kobayashi with the human condition and absolutely loved it . having been a lover of japanese cinema i was shocked by my ignorance of this great director . harakiri is a masterpiece and a joy to watch from the very first frame to the last . i kept thinking throughout the film whether i have ever seen a better black and white cinematography . the sets are designed to perfection . it made me laugh when kobayashi mentions the
roofs
in the interview . what a discovery !
the film has a steady , hypnotic momentum ; the director , masaki kobayashi , wrings as much drama out of facial twitches as he does out of sword fights .
how are the quintessentially
japanese
themes these movies raise ( esp . honor , duty / obligation vs desire ) seen / experienced by those who , let ' s say , are not really
into
japanese culture , history , or films ? would they , as expressed by harakiri for instance , still have the same impact ?
set in 1844 , 13 assassins follows the seven samurai template , featuring a band of samurais who come together to overthrow a despotic lord for the greater good of society . miike’s version benefits from a far more generous budget , with a wonderful attention to period sets and costumes and some inventively choreographed fight scenes . his subsequent stab at remaking a genre masterpiece , with hara - kiri : death of a samurai ( 2012 ) , a reworking of the 1962 kobayashi classic , was an altogether more sedate affair : the first jidaigeki shot in 3d , it was only distributed in its flat version in the uk .
it ' s been around a year since i saw harakiri but the authoritarianism demonstrated was very basic . 1984 ( the book ) is something i can more easily relate to , because i can understand why someone wouldn ' t stand up to 1984 ' s authority . the trial ( book or movie ) is another great anti - authority story .
i ' m rarely a fan of frame narratives , but harakiri allows the viewer to experience an honorable man ' s decline so vividly , so humanly . everything is obvious and we anticipate the progression of misery , sickness , and death , but the expert scripting , the awesome direction , and the sadness of tatsuya nakadai ' s eyes sell it .
[ 8 ] jonathan rosenbaum and adrian martin , eds . , movie mutations : the changing face of world cinephilia ( london : british film institute , 2003 ) , 5 - 6 .
american cinematheque at the aero : directed by max ophüls : “sarajevo” ( 1940 ) and “letter from an unknown woman” ( 1948 ) , 7 : 30 p . m . june 5 . “yogimbo” ( 1961 ) and “harakiri” ( 1962 ) , 7 : 30 p . m . june 6 . “curly top” ( 1935 ) and “heidi” ( 1937 ) , 3 p . m . june 7 . the golden age of 3 - d : shorts , 7 : 30 ( $ 13 ) and , “the bubble” ( 1966 ) , 9 : 30 p . m . june 11 ( free ) ; “house of wax” ( 1953 ) and “the mad magician” ( 1954 ) , 7 : 30 p . m . june 12 ; “kiss me kate” ( 1953 ) and “miss sadie thompson” ( 1953 ) , 7 : 30 p . m . june 13 . most tickets $ 11 ; $ 9 seniors and students . 1328 montana ave . , santa monica . 323 - 466 - 3456 . urltoken
consider the iconic image of the film , when tsugomu fights a swordsman of the clan on a windy moor . at the climax he assumes an odd stance with the sword , pictured here :
this is an amazing japanese classic written and filmed without flaw . the action unfolds in story - telling within story - telling . this is a film about truth . whose truth ? that is the unfoldment . in a perverted way , this amazing piece of work has become predictive of western corporate banking . perhaps you ' ll see what i mean at the end of the film .
great film , as good a film as i ' ve ever seen ! as good a purchase as i ' ve ever made , it ' s in czech , so you have to fiddle around with it to get japanese audio and english subtitles , but it is worth it at a good price for such a quality groundbreaking film , i went off of roger ebert on this one and i am so glad i did , fantastic story , great acting by nakadai as in ran , and it ' s just a classic , up there with seven samurai , yojimbo imo .
following the collapse of his clan , an unemployed samurai ( tatsuya nakadai ) arrives at the manor of lord iyi , begging to be allowed to commit ritual suicide on the property . iyi’s clansmen , believing the desperate ronin is merely angling for a new position , try to force his hand and get him to eviscerate himself—but they have underestimated his beliefs and his personal brand of honor . winner of the cannes film festival’s special jury prize , harakiri , directed by masaki kobayashi is a fierce evocation of individual agency in the face of a corrupt and hypocritical system .
their three best warriors pretend to be ill so that nobody will find out they had their samurai topknots taken , instead of immediately committing harakiri to atone for their disgrace . after hanshiro ' s rampage , the clan covers up the whole incident because they can ' t admit to the world that some half - starved ronin managed to inflict such casualties on their ranks .
adapted from the same source novel in 2011 by notorious auteur takashi miike , the original – winner of the 1963 special jury prize at cannes – still stands as a startling moment in japanese cinema . the masters of cinema series is proud to present , for its 50th anniversary , the uk home viewing première of harakiri in a dual format blu - ray + dvd edition .
following the collapse of his clan , an unemployed samurai arrives at the manor of lord iyi , begging to be allowed to commit ritual suicide on the property . iyi ' s clansmen , believing the desperate ronin is merely angling for a new position , try to force his hand and get him to eviscerate himself , but they have underestimated his beliefs and his personal brand of honor . winner of the cannes film festival ' s special jury prize , harakiri , directed by masaki kobayashi is a fierce evocation of individual agency in the face of a corrupt and hypocritical system .
this stunning film is a sombre tragedy ( . . . ) giving off deep rage against militarism , political systems and beliefs that do not allow for a rational human outlook or future change
keisuke kinoshita in 1958 and shohei immamura in 1983 ) are superb . both are adaptations of a book by shichiro fukazawa which complicates the line of descent . similarly the coen brothers claim that their film
soundtrack duties for miike’s film are provided by superstar composer ryuichi sakamoto . whilst i admire sakamoto’s work with nagisa oshima ( merry christmas mr lawrence ( 1983 ) and gohatto ( 1999 ) ) , this soundtrack has too much melodramatic swelling strings for my liking . far superior are the disconcerting twangs and shimmering gongs of the original film’s soundtrack . this was written by the innovative and influential experimental composer toru takemitsu . amongst his other impressive body of film work are soundtracks for kurosawa’s ran ( 1985 ) , kobayashi’s kwaiden , and best of all : hiroshi teshigahara’s the woman in the dunes ( 1964 ) .
film development
is what we at urltoken are calling the process of thinking about films with the idea that the films themselves are thinking . very simply : what is a film thinking about , how is it thinking about that , and what may be the value of that thinking ? read more . ( click the red x - upper right corner - to make this notice vanish forever ) .
with takashi miike ’s remake hara - kiri : death of a samurai next week i thought it was as good an excuse as any to look back at the many gorgeous posters for masaki kobayashi ’s 1962 original . one of the most startlingly beautiful of all samurai movies , harakiri is an exercise in stylistic bravado , a masterpiece of widescreen high contrast black and white . i recently stumbled across this unusually stark vertical polish poster—like one of kobayashi’s frames upended—by marek freudenreich ( he of the amazing crossword skull stage fright ) on a polish culture site which was reviewing a 2008 show of his work . this little - seen design set me off on a search for other posters for kobayashi’s masterpiece , the fruits of which you can see below . above : the enormous italian style b  4 - foglio ( 55
x 78
) by alverado ciriello . above : the italian style a 4 - foglio ( 55
x 78
) , also by ciriello .  above : the french grande ( 47
x 63
) signed by “ainelare .
after completing his story , saito sternly questions hanshiro’s sincerity . hanshiro assures him that he is indeed sincere in performing harakiri . but before doing so , he requests an audience with saito and the iyi retainers to tell a story of his own : a story that will challenge the belief system of the entire iyi clan and the fatalistic code of bushido that they continue to adhere to .
lawrence of arabia becomes only the third film ( following gone with the wind and casablanca ) to come in 1st place in the top 1000 for the year and also win best picture at the oscars .
the implications of contreras’ separation of time and space , evident in her account of shots in which the camera and figures rarely move , are thrown into stark relief in its application to the action sequences . it is with the duel scene that contreras’ discussion of the film reveals most clearly the inadequacy of a pictorial approach to addressing the dynamism of the film or to giving an insight into why it is so thrilling .
[ 13 ] donald richie , “notes on the film music of takemitsu toru , ” contemporary music review 21 : 4 ( 2002 ) , 5 - 16 : 9 ; takemitsu , confronting silence , 102 .
is well made , enjoyable , and was critically well received . however , being almost identical , and in almost every way inferior to its original template , there is little to justify its existence . miike’s calling card has always been originality . when you can call a miike film ( whether you liked it or not ) unoriginal , it seems a somewhat sad betrayal of this surreal and boundary pushing film maker’s sensibilities .
subverting authority on the basis of human moral decency , harakiri endures as kobayashi’s most powerful film , and an uncommonly singular statement against samurai honor . given the ingrained presence of samurai in japanese cinema , and the samurai’s influence over japanese principles from their feudal period to present , kobayashi’s filmic assault transcends history to find modern parallels in their social infrastructure . under his direction , japanese warriors revered for centuries as symbols of military composure and nobility become hardened figures of corruption and emotional indifference , further outlining how systems of authority concern themselves only with the collective’s need in prioritized ranks , and rarely ever consider the individual .
you ' re completely reducing the film to it ' s societal criticism by saying it shouldn ' t be as adored today . you are also incorrect to say
society has changed too much
. harakiri is still as relevant now as it was then , perhaps not in your country , but the world is filled with authoritative governments and political corruption . and even if it didn ' t , as a time period piece it still marvelous excels . and hell , even if it ' s themes were completely stricken from the movie , it would still be a tense , powerful , and tragic story .
the story : one afternoon , a shabby , starved ronin ( or unemployed samurai ) by the name of hanshiro tsugumo arrives at the mansion of lord iyi in edo ( tokyo ) . a former retainer of the fukushima clan , hanshiro ( like many other former samurai who , according to the code of bushido , dedicated their hearts , souls and swords to serving their masters ) was cast aside and forced to seek employment elsewhere . with no purpose in a time of peace , and little to no reason to live , he requests permission from lord iyi’s senior counselor , saito kayegu ( rentaro mikuni ) , to perform harakiri in the forecourt of the mansion . harakiri , or seppuku ( the film’s japanese title ) , is a ritualistic act of suicide which begins with self - disembowelment with a short blade – either a knife ( tanto ) or short sword ( wakizashi ) – and concludes with the decapitation of the samurai in one stroke ( kaishaku ) by a swordsman ( kaishakunin ) selected by the samurai himself .
hikokuro is one of the three men most responsible for motome ' s suffering , as he was the one who argued that he should be made to commit harakiri , and refused to chop off his head until he had dragged the bamboo bladea across his stomach . yet compared to hayato and umenosuke , hikokuro does a much better job of actually living up to the bushido code he claims to live by .
unlike the film’s 2011 3d remake ( yes , ladies and gents… . 3 - d… . remake ! ! ) “hara - kiri : death of a samurai” directed by takashi miike ( who made the incredibly awesome chambara “13 assassins” one year prior ) , “harakiri” maintains a dark , haunting and bitter tone . the first few opening shots set this tone brilliantly . an empty suit of armour is shot from different angles inside a room enveloped in darkness and mist . even when the back wall of the room is illuminated slightly by a back light , the armour still appears dark . this suit is the symbol of the iyi clan and represents their martial valour , and yet in these opening shots ( and sporadically throughout the film ) it’s presented as hollow , ghost - like and lifeless , a remnant of olden , obsolete rules and traditions .
the allegory is not the subtlest in harakiri , but the rare sense of anger in my opinion overrides criticism of it . tsugomu , we learn , was a devoted master swordsman of a clan that was abolished on a whim by the shogunate a decade prior . twelve thousand innocent souls , as tsugomu put it , cast adrift to perish by governmental decree . it is because of this abolition tsugomu and his son - in - law find themselves in the dire straits that necessitate the son - in - law begging money of the cruel lord that begins the film , and the same implacability of the whole that ultimately ends it .
is an original screenplay . this means that miike’s version has no point of origin except for kobayashi’s film . as the setting is the same , miike cannot utilise the disconnect of place or language that allows films such as
at the gate of the official mansion of lord iyi , a shabby ronin named tsugumo hanshiro applies for an audience with the clan elder , saito kayegu ( rentaro mikuni ) . he has been set loose by lord geishu and has no job . he requests permission to kill himself in the clan ' s forecourt . the ritual act is known as harakiri , or seppuku ( which is the film ' s title in japanese ) . it involves using a short blade for self - disembowelment . after the blade plunges in and slices from left to right , a designated master swordsman stands by to decapitate the samurai with one powerful stroke .
film at ovitt family community library : “frozen” ( 2013 ) , noon - 1 : 30 p . m . june 5 , free , 215 e . c st . , ontario , 909 - 395 - 2004 . urltoken
it would be wrong for me to reveal the details of the story tsugumo tells . what i can say is that it is heartbreaking . he explains that motome was not a man trying to avoid death by the excuse of asking for a delay . he was a man whose actual honor humbles saito and other authoritarian bureaucrats . sometimes it takes more courage to do the right thing than to do the traditional thing . following the bushido code frees its adherents from the need to arrive at their own moral conclusions .
harakiri
is a film reflecting situational ethics , in which the better you know a man the more deeply you understand his motives .
joan mellen is the author of several books about japanese cinema , including voices from the japanese cinema and the waves at genji’s door as well as monographs for the bfi on seven samurai and in the realm of the senses . her most recent book is a farewell to justice : jim garrison , jfk’s assassination , and the case that should have changed history . this piece originally appeared in the criterion collection’s 2005 dvd edition of harakiri .
harakiri ’s composer , takemitsu , appears particularly attuned to the discovery of similarity or pattern between modes , to thinking cross - modally—experiencing and thinking of one sense as the other or complemented by the terms of the other . he describes his way of working with film , in which sound and image cannot be conceived separately . he sees images as music : “i love movies because i experience them as music” and sees music as image : “when i hear sound , maybe because i am a visual person , i always have visions . and when i see , i always hear . these are not isolated experiences but always simultaneous , activating imagination . ” [ 13 ]
film at los angeles county museum of art : “ladies in retirement” ( 1941 ) , 1 p . m . june 9 . tickets $ 4 . 5905 wilshire blvd . , los angeles . 323 - 857 - 6010 . urltoken
( 1954 ) . miike uses kudo’s template as a showcase for his own brand of violent action . the film’s set up is essentially an excuse for a 50 minute climactic battle in a booby trapped village . in this part of the film the narrative recedes into the background whilst the the “cinema of attractions” of the action spectacle takes over . the village is a haunted house ride ( a different surprise around every corner ) within which miike blocks out time by combining rapid cut chaotic fighting scenes against graceful balletic movements captured with longer kinetic camera movements . violence is mainly implied , leading up to coup de grace moments of explicit gore which mark the end of sub - scenes ( within this long uberscene ) . the generic template of kudo’s original allows miike to explore his various styles of action film making over an extended period . in my opinion this is enough of a departure from the original film to justify the remake .
masaki kobayashi served as a rebel filmmaker in japan’s thriving , defiant postwar cinema , presenting his most vital criticisms of authoritarian powers through jidai - geki , or period pieces , which veiled the director’s censures of contemporary officialdom behind their historical setting . harakiri stands as kobayashi’s most pronounced anti - establishment film , its raw moments of symbolic violence balanced with a narrative whose allusions hold tragic humanist and social implications . condemning his country’s lingering ties to their feudal past , his tale of desperate samurai and corrupt feudal clans challenged its japanese audience to look into their history for a modern precedent , and represents , with unparallel clarity of purpose in his career , kobayashi’s need to defy authority .
anne rutherford teaches cinema studies at western sydney university . she has published on cinematic affect and embodiment , cinematic materiality , mise en scène , indigenous cinema and documentary , and is the author of ‘what makes a film tick ? ’ : cinematic affect , materiality and mimetic innervation . her recent research explores montage and performativity in the work of william kentridge ; and the film work of indigenous australian director , ivan sen . she has also made several short films . urltoken
in other technical aspects miike simply can’t compete . his film is in colour ( 3d in fact , although i watched it in 2d ) , but the tones are oddly murky . only the opening shot of the crimson wood of the palace , and a later pillow shot of maple leaves in autumn , take advantage of the colour palette . kobayashi’s film has a very strong visual identity forged by two reoccurring shots in the courtyard scenes . one is a fixed over - the - shoulder shot from behind the counsellor looking down at hanshiro . the other is a fixed over - the - shoulder shot from behind hanshiro looking up at the counsellor . these shots quickly establish the power relations in the film , and anchor the film between the various flashbacks . miike prefers to keep his camera mobile , constantly circling hanshiro . this gives us a sense of the forces that surround him , bit isn’t as effective as kobayashi’s static camera .
everyone involved in this film , kobayashi , nakadai , hashimoto , miyajima , takemitsu . . . everyone ' s firing on all cylinders . ridiculously good . one of the all time great revenge films . suck on it , tarantino .
oh well . anyway , the photography of this film was gorgeous , especially toward the end of the film where nakadai hunts down some of the samurai . i also love the shots in the courtyard , where we can see every scraggly hair on nakadai ' s face . a great ending fight sequence too , albeit it has a bit of that
why don ' t they all just go for him at once
problem oft found in group fight sequences .
film at claremont 5 laemmle : “the fixer upper” ( 2015 ) , 9 : 30 and 11 : 15 a . m . june 5 , tickets $ 8 - $ 11 , 450 w . second st . , claremont . urltoken
from audition to ichi the killer and 13 assasins , prolific japanese director takashi miike has regularly awed audiences around the world with his harrowing tale of violence and revenge . now , more than a year after hara - kiri : death of a samurai made its world premiere at the cannes film festival , the heralded drama is at long last gearing up for its stateside release with a sleek and stylish trailer , which you can check out below . a respectful remake of masaki kobayashi film harakiri , hara - kiri : death of a samurai follows the quest of a mysterious samurai , who travels to the doorstep of a feudal lord and requests to commit ritual suicide in the man ' s courtyard . suspicious of the stoic warrior , the lord unfurls the tragic story of an ill - fated ronin named motome , who came to this place before with a similar request , but also with an ulterior motive . unexpectedly , the story the lord
about the post - ww2 anti - authority statement : kobayashi ' s films often feature noble individuals who have to act against the oppresive system , whether it ' s the feudal law in harakiri and samurai rebellion , or ww2 japanese obsessive militarism in the human condition . kobayashi himself was a soldier in ww2 manchuria , and after the war he made lots of films attacking the japanese state / laws , such as the thick - walled room or black river .
of all masaki kobayashi’s attacks on the cruelty and inhumanity perpetrated by authoritarian power ( including the human condition and samurai rebellion ) , perhaps none are more brilliant than his visceral , mesmerising harakiri [ aka seppuku ] . in a magnificent performance , tatsuya nakadai ( yojimbo , the face of another , ran ) stars as hanshiro tsugumo , a masterless down - and - out samurai who enters the manor of lord iyi , requesting to commit ritual suicide on his property .
even if kobayashi ' s first period film is an exemplary tale speaking as much to our own times as to japan ' s feudal era , it is also a ripping yarn , keeping the viewer gripped with its jigsaw structure and intense performances .
in that previous thread , a poster mentioned
something most people i speak to about it don ' t know is that the film is a powerful allegory for a japanese attitude towards authority post - world war ii .
thoughts on that statement ?
a beautiful film set in 18th century japan . the handsome but overly ambitious gonza ( hiromi go ) is one of the matsue clan ' s most talented lancers . although he is already engaged to the sister of one of his fellow retainers , gonza agrees to wed the daughter of his lord to better his position . the fiancée ' s infuriated brother plots against gonza . this classic tale of conflicts between love and honor , duty and devotion , won a silver bear at the berlin film festival .