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Harakiri (En attendant Cannes)
Rétrospective des trésors cachés du Festival de Cannes
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Harakiri
Seppuku Japon 1962 | vostang | 133’ | De : Masahiro Kobayashi | Avec : Tatsuya Nakadai, Shima Iwashita > Prix spécial du Jury, Festival de Cannes 1963
1630. Dans l’ancienne capitale impériale japonaise, Tsugumo, un samouraï, demande à être reçu et sollicite l’honneur de pratiquer le suicide rituel devant ses pairs plutôt que de vivre dans la misère et dans la honte…
« This stunning film is a somber tragedy giving off deep rage against militarism, political systems and beliefs. It is technically audacious in its cutting on various levels of past and present. Its acting has the right stern, bigger-than-life quality. » (Variety)
« It would be wrong for me to reveal the details of the story Tsugumo tells. What I can say is that it is heartbreaking. » (Roger Ebert)
« 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. » (The New Yorker)
« 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. » (Projected Figures)
Seppuku Japon 1962 | vostang | 133’ | De : Masahiro Kobayashi | Avec : Tatsuya Nakadai, Shima Iwashita > Prix spécial du Jury, Festival de Cannes 1963
1630. Dans l’ancienne capitale impériale japonaise, Tsugumo, un samouraï, demande à être reçu et sollicite l’honneur de pratiquer le suicide rituel devant ses pairs plutôt que de vivre dans la misère et dans la honte…
« This stunning film is a somber tragedy giving off deep rage against militarism, political systems and beliefs. It is technically audacious in its cutting on various levels of past and present. Its acting has the right stern, bigger-than-life quality. » (Variety)
« It would be wrong for me to reveal the details of the story Tsugumo tells. What I can say is that it is heartbreaking. » (Roger Ebert)
« 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. » (The New Yorker)
« 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. » (Projected Figures)
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Harakiri (En attendant Cannes)
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