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We all have certain films that really resonate with us, that we remember distinctively and decisively for any number of reasons. For me, Masaki Kobayashi's 1962 classic "Harakiri" is one of those experiences. I didn't know anything about the movie before I sat down to watch it, and it absolutely blew me away. A quiet morality play that really challenges the notion of what honor means, "Harakiri" has a power, honesty, and emotional impact that is earned through a surprisingly understated narrative device. Instead of explosive dramatics, the screenplay takes its time in unraveling. And this focus on character development makes the ultimate confrontation both heartrending and harrowing! When I heard that prolific Japanese filmmaker Takashi Miike was on board for a remake, I had feelings of both optimism and apprehension. I think the original holds up quite well and there is little to improve. But I've followed Miike for years and loved much of his work. Though, to be fair, I don't know that I've ever considered him understated in his projects! However, my worries were unfounded. Miike approaches "Hara-Kiri: Death of a Samurai" with a real sense of respect, restraint and maturity.

In many ways, maybe our era of financial turmoil is the perfect time to resurrect this story. "Hara-Kiri: Death of a Samurai" tells of a time when many legendary swordsmen found themselves struggling to get by. These ronin, having no house or master, were left with little but their honor and their swords to survive in economically challenging times. As "Hara-Kiri" opens, a samurai named Hanshiro (Ebizo Ichikawa) approaches the house of the ruling lord to request the opportunity to commit ritual suicide (considered an honorable death) in the courtyard. This has become somewhat of a trend, though. Desperate samurai are reported to be proffering these noble requests in order to save face but actually secure a position or at least a few coins from the wealthy estates. In an attempt to discourage Hanshiro, he is told an unpleasant tale of the last samurai who made such an offer in this house. But Hanshiro is undaunted and seems to have an agenda of his own. As the personal tale unfolds, "Hara-Kiri" becomes a slow burn morality play about suffering, sacrifice, and real honor.

Miike really takes his time in "Hara-Kiri," and this may be off-putting to those anticipating a traditional Japanese epic with plenty of sword play. The opening sequences in the movie provide at least one unforgettable scene that Miike draws out beyond all reason for the exquisite anguish of it all. Truly remarkable. And the end is fully satisfying as well. But most of "Hara-Kiri" is an extremely intimate story. A tale of family, young love, and sacrifice that is bleak and unforgiving. Ichikawa is absolutely fantastic as Hanshiro, and Eita is terrific as the young samurai who initiates the tale. I'm pleased that Miike has brought this classic tale back into the spotlight. The original (available in the Criterion Collection) is still one of my all time favorites, but this update is certainly worth the time for adult audiences. Remember, though, this is not a frenetic Miike actioner. It unfolds like a good book. Patience is both required and rewarded with this story, it is not for those expecting non-stop carnage and mayhem. KGHarris, 1/13.

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The movie is not spectacular, but like "the twilight samurai", it moves at a slow pace presenting an intimate view of the life in the lower strata of the samurai caste.

Using an intense story for an exploration on the nature of that culture's concept of honor.

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Takashi Miichi's remake of the iconic 1962 "Hara Kiri," directed by Masaki Kobayashi, in color and 3-D for theater-goers, would surely be acclaimed as a near masterwork, a return to the cinematic artistry that made Kobayashi and Kurosawa sublime in their time. Unfortunately for Miichi, too many of us remember the original in all its black-and-white starkness and moodiness. Remaking Hara Kiri is as presumptuous as rewriting Hamlet or recomposing The Marriage of Figaro. The good news is that Miichi follows the script and the ineluctable timing of Kobayashi's classic almost scene for scene... until the climax, the furor that erupts in the last ten minutes. To compare the climactic scenes would constitute an atrocious spoilage, so I won't. But I will say that Miichi's finale discards the profound historical significance of Kobayashi's. Both films are quite worth seeing, believe me, even on successive evenings.

The most salient difference, nevertheless, needs to be expressed. The original starred Tatsuyo Nakadai, whose ferocity and intensity made him the Dark counterpart to the lustiness and mirth of Toshiro Mifune. Nobody could match Nakadai in this role; Ebizo Ichikawa earns my admiration for trying.

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I am a long time fan of Japanese cinema. My first experience was with Kurosawa films. This movie made me think back to how wonderful Kurosawa's films were with the morality and how they made you think and feel so deeply for the characters. I also thought of Twilight Samurai how noble and loving Hiroyuki Sanada's character was and how masterful and skilled as well to where he could even take down someone with a Boken.

I felt that this was a remarkable film and a true masterpiece for Takashi Miike! What a wonderful direction he went with this film!!!! For those of you that like his horror, please keep an open mind. This man to me made me feel like I was transported back in time. Kurosawa was one of the few and the first who was able to ever do that. I have even a greater appreciation and respect for Takashi-san after seeing this film. Doumo Arigatou Takashi Miike M(.__.)M

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To remake a towering 50 year old classic film is gutsy and will obviously bring about criticisms and comparisons. Miike's effort, taken on it's

own, is a fine film, with beautiful photography and a well rounded cast, but compared to the original, it comes up short. Two key scenes illustrate this perfectly:

First, the Motome suicide scene. In both films, the scene is very graphic, a bit more so in the Miike version. But Miike, the clan counselor, Saito, can't bear any more and delivers the final blow out of desperate mercy. Kobayashi isn't so lenient and has Omodaka finish Motome off out of outrage because of Motome's act of "insolence".

Second, in the final scene, Hanshiro uses a bamboo sword....somewhat cunning and ironic, but that about sums up the main problem with the film....we are bludgeoned and pained by Miike's bamboo sword, unlike Kobayashi, who uses cold steel, never easing up, delivering the final blow square and unflinchingly to the solar plexus in the last minute of his film that leaves up, literally, quite breathless.

Yes, Miike's is a solid, poignant film, much like Kobayashi's. Both are broadly paced, meticulous and border on tedium at times, but Miike's is smaller scaled, more of a personal family tragedy, and lacks the ingredients that Kobayashi had: namely, Nakadai, Rentaro Mikuni and Toru Takemitsu, with his biwa scored edgy soundtrack. Kobayashi, on the other hand, uses cold steel relentlessly in his grand epic indictment of a large rigid government that exists only for it's own sake.