Harakiri

Harakiri is a 1962 jidaigeki (period drama) film directed and produced by Masaki Kobayashi. The film stars eminent actors Tatsuya Nakadai, Akira Ishihama and Shima Iwashita. The film is well-known for its severe critique of feudal authority, its exploration of the crippling codes of masculinity, and its masterful storytelling. As one of the premier films of Japanese cinema, Harakiri has earned praise for its deep humanist approach to traditional samurai values.

The plot hinges around the character of Hanshiro Tsugumo, played by Tatsuya Nakadai. In the world of the samurai, when the honor code of bushido (the way of the warrior) was followed strictly, the character of Hanshiro Tsugumo is an exception as he criticizes the feudal authorities while trying to survive in the harsh realities of a world ruled by swords and codes. Tsugumo is essentially a masterless samurai, or a ronin, who is living in a time where samurai are becoming increasingly redundant. He requests another clan to let him commit harakiri, a form of ritual suicide by disembowelment, in their courtyard. The narrative develops as the past events leading to this request unfurl throughout the movie.

Shima Iwashita plays Miho, Tsugumo's daughter, whose life becomes an important subtext in the narrative of the film. While Akira Ishihama plays Motome Chijiiwa, whose role and actions have a major implication in driving Tsugumo's narrative. These characters’ interaction with the wider societal constructs and the dilemmas they face provide a layered complexity to the story.

Harakiri is more than just a simple tale of a samurai and his honor; it is an intricately woven storyline that critiques and dissects the entrenched systems of power, hierarchy, and honor. The film peels back the layers of the samurai code and exposes the rot within; it seeks to open up a dialogue about the hypocrisy of those in power, who use the code of honor as a tool for control.

Another central theme seen in the film is the exploration of masculinity and the societal constructs surrounding it. The film delves into how the codes of bushido turn men into mere instruments of war, completely diminishing their humanity. The idea of honor and what it means to be a true warrior is deconstructed in the narrative, presenting a stark contrast to the romantic notion of the noble samurai often portrayed. Instead, the harrowing consequences of adhering to this code are shown in the narrative.

The film is also notable for its artistic direction. The meticulously crafted sets, exquisite cinematography and the traditional Japanese costuming provides a sense of realism that manages to transport the audience back to the Edo period of Japan. The use of black and white enhances the bleak atmosphere of the moment in history, complementing the tragic and jarring nature of the narrative.

Kobayashi's powerful direction captures the societal dilemmas and the human tragedy at the heart of Harakiri. Coupled with Yoshibumi Tajima’s screenplay, the film is a riveting exploration of Japanese society, which had been largely glorified previously. The storyline, while set in a historical context, is brimming with contemporary relevance, touching on themes such as respect for human dignity, individual freedom and the cost of blind obedience to outdated traditions.

Equally important is the performances by the cast, especially that of Tatsuya Nakadai. His adept portrayal of the character brings an emotional depth to the narrative while his highly nuanced performance captures the inner turmoil of a man caught between personal morality and societal norms.

In conclusion, Harakiri from 1962, starring Tatsuya Nakadai, Akira Ishihama, and Shima Iwashita is a powerful jidaigeki film both appreciated for its execution of storyline, and lauded for its commentary on feudal dictatorship and the strict code of samurai. Kobayashi's mastery of storytelling seamlessly blends historical context with a profound questioning of societal beliefs, making it a timeless piece in the world of cinema.