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Too much of everything

It is not deep, but it is fun to watch. It does have a bit more of an edge to it than other similar films.

Funny, strange, confrontational and subversive, this is one of the most interesting experiences you'll have at the cinema this year.

Blistering performances.

I don't know anything about cinema. I haven't studied the director's work, or the actors or the detailed history or culture of Japan. I do know that I liked this movie. It is a story of power, the abuses thereof and the conviction it takes to stand against the use of power to dictate any human being's fate. Lady Ichi's past is the crux of the story's conflict. The Sasahara family is divided on how and what decisions should be made pitting brother against brother and husband against wife. Yogoro and Ichi's deep love for one another reignites Isaburo's spirit and fuels the fire of rebellion within them. Not world changing, all out rebellion. Rebellion in the form of their refusal to accept that a person can be treated as a commodity.

Samurai Rebellion is a taught and tense samurai film throughout, possessing not even an ounce of humour. That's no bad thing. You get the impression it's all building to something huge, in-fact I was waiting to see this 'Rebellion' where suddenly all the samurai overthrow the lord, but, it never happens. the rebellion is a small and personal one of just three people of one household as everyone, including there own family members seem intent on splitting them apart. That is where the films strength lies, the first hours and a quarter, and disappointingly, when the action comes it's full of frankly rubbish dialogue and clichéd scenes. It's a slow film, nothing is rushed, and the setting is very pleasant. The ways of the Japanese culture of those times is interesting to watch , how they are all polite and stuff, however there are points where it just goes beyond belief. That's as much a criticism of the story as it is of the formal tone of the film. In the end that is the very reason it loses it's realism, as the father gives some corny dialogue towards the end it's hard to not compare it with something like Rambo or even He-man where we the audience are being preached at rather than being told a story. It's a shame they even departed from the 'courtroom drama' type vibe of the first half if they couldn't bring it to a satisfying violent conclusion. In the end I felt a little depressed and a little disappointed, but still, it's 'ye olde japan' and its got samurai and the first half is pretty damn good so it's worth a watch if you're interested in that time and place.

The English title, "Samurai Rebellion" might be a little misleading if you're looking for straight-ahead chambara. It's more of a family drama with a few well-staged fight scenes near the end, so it may be more appealing to drama fans than action fans.Mifune gives a restrained performance, and Nakadai almost does, as well. I'm so glad he found his "off" button as he got older. I'm not sure Kobayashi knew how to direct women as well as men. I think they come off more caricaturish than his male characters, but the caricatures work.The reason I find this film a little forced is because the camera work--all of it gorgeous--occasionally calls too much attention to itself ("look at me, I'm an arty shot") and threatens to pull the viewer out of the story. The sound track, on the other hand, is just right.I wonder if this event actually occurred, since Matsudaira was a real historical figure, and he's been depicted elsewhere in film ("Sharaku") as a hypocritical pervert.

Isaburo Sasahara is a former samurai warrior and master swordsman who now lives a quiet life as head of his family, he has been continually henpecked by his wife for all their married life, so its his ambition to have his eldest son Yogoro married to a woman who will respect him. Isaburo's plan is thrown into disarray however, when he receives a notification from the Lord of the Aizu clan, that he would like Yogoro to marry Lady Ichi, a mistress of his who has fallen out of favour. This in itself seems rather insulting to Isaburo, as Lady Ichi he learns has a reputation of being violent towards his lordship and added to that she has an illegitimate child by him. After much family discussion they all agree that to refuse his lordship's offer would mean certain ruin for the Sasahara family, so they agree. Much to their surprise Lady Ichi is a kind, affectionate, helpful and thoroughly pleasant woman. She regales them with tales of his lordships cruelty and adulteress behaviour, the family are pleased she has finally found happiness with Yogoro.Yogoro and Ichi are blessed with a child, that helps Ichi forget she had to give up her first child, as it was second in line to his lordships domain. However after the heir dies, Yogoro now head of the family receives another request, that Ichi should return again, as her son is now heir and it wouldn't be fitting for the mother of an heir not to be with her child.This however is the final straw and Isaburo and Yogoro set out to defy their lord and fight for their rights.Samurai Rebellion was Masaki Kobayashi's first foray into the field of independent films and he returned to a familiar theme (previously used in Harakiri,1962) of injustice perpetrated by a tyrannical authority figure. Kobayashi teamed up with legendary Toho studios and Mifune Productions to recreate the literary vision of Yasuhiko Takiguchi's "Hairyo tsuma shiatsu" in a script by Shinobu Hashimoto. The films original title literally translated as Rebellion: Receive the Wife was changed for western audiences at the request of Toho, as they didn't believe it sounded manly enough for a Western audience that were very keen on Samurai films. Despite its more familiar title, this is very much a family drama, that wonderfully builds up its characters and to label it as a Samurai or action film would be erroneous, the rebellion scenes occurring only as we near the finale. Kobayashi's also uses Japanese architecture and symmetry to further the mood, using pillars, castle walls, doors, protective eaves and endless straight lines to promote stability, when the Sasahara family are having a less than unified debate on their predicament, the members are all stationed at unusual differing distances from the camera making the harmonious composition appear unsymmetrical when a member leaves the room and also towards the end of the film Isaburo and Yogoro remove all elements of geometric stability from their home as they await the arrival of their feudal lords men, their act seemingly to once and for all end their association with their restraining dogmatic social structures.The performances are all superb, Mifune giving us one of his more retrained performances with only glimpses of his more familiar gusto as he emotes and reflects on the tragedy of the situation his family is in. The great Tatsuya Nadakai is restricted to a few brief scenes, but his power still shines through. Yôko Tsukasa and Go Kato also produce memorable performances as the loving couple willing to die to retain their partnership. Samurai Rebellion is a powerful film that reflects its directors concerns with the abuse of authority, it exudes class and visual style and its attention to detail is second to none. As a film it can't be faulted.