The Mormon Review vol. 5 no. 1 is presented here, with Jonathon Penny’s review of Takashi Miike’s 2011 film Hara-Kiri: Death of a Samurai. By Jonathon Penny Open on a gaunt, intelligent looking man—Tsukumo Hanshiro—seeking the indulgence of a retinue of samurai at the palace of a feudal lord. He claims to be a ronin, a lordless samurai, left to wander in poverty after the dishonor and dissolution of his clan. His request: to commit ritual hara-kiri so that, it is explained to us, he might regain some of the honor he has lost. There is skepticism. Not two months before, Chief Retainer Saito informs him, another ronin from the same clan made the same request. This one, Chijiiwa Motome—younger, more gaunt, and with less bearing—sought an audience with Lord Li, delayed the ritual, fidgeted and fretted. There was skepticism. Takashi Miike’s resume reads like the inside cover of a pulp novel. He has directed film after film whose English titles, at any rate, smack of that Hong Kong irony we all thought Kurt Russell was lampooning, if we grew up in the 80s, or that Tarantino was satirizing, if we grew up later: “Bodyguard Kiba: Combat Apocolypse [sic] 2,” anyone? How about “Rainy Dog”? “Full Metal gokudô”? “Blues Harp”? “Andromedia”? “Ichi the Killer”? “Ninja Kids!!!”? I’ve never bothered with any of them, though I did see “13 Assassins” (2010) and I indulged in “Sukiyaki Western Django” (2007). (Hey, it was…
Tag: Cinema and Film
The Road
The persistence of love between a father and a son. Our most cherished relationships, our strongest commitments, laid bare in a book and a movie.