Harakiri 1964

“Seppuku,” also known as “Harakiri” in the West, presents a profoundly excruciating and chaotic method of ending one’s life. This ancient ritual involves the practitioner slicing open their abdomen, commencing from the left and moving towards the right, then finishing from the top downwards. Luckily, there’s a procedure in place to mitigate the agony; a swordsman referred to as the “kaishakunin” stands by ready to execute a decapitation at a predetermined moment in the ceremony. In 1603, Lord Ieyasu Tokugawa, who established Japan’s last significant shogunate dynasty, decreed the discontinuation of harakiri among both primary and secondary retainers. A firmer order was issued by Lord Nobutsuna Matsudaira of Izu in 1663, ultimately abolishing the practice entirely. By this period, harakiri had degenerated into an empty ritualistic formality; the unfortunate individual would be decapitated the moment they unsheathed their sword, thus sidestepping a prolonged suffering. In some cases, a mere fan replaced the sword!

The narrative unfolds on May 13, 1630, in Edo. After the Tokugawa Shogunate’s consolidation of power during the early 17th century, only a few feudal clans remained, resulting in a significant reduction—though not a complete elimination—of the samurai class. A gaunt ex-retainer of the Geishu Lord turns up at the gates of Lord Iyi’s official residence. This enigmatic and melancholic ronin, Hanshiro Tsugumo (Tatsuya Nakadai), who has been without employment since the Geishu Clan’s dissolution in 1619, seeks temporary shelter with the Clan to fulfill his wish of dying honorably through harakiri.

Tsugumo is not the first ronin to approach a local clan with such a pleasantry. The ongoing recession led to several desperate individuals knocking on doors, including one who recently visited Lord Iyi’s residence with similar motives. Initially, these struggling samurai were met with compassion and were generously turned away with meager alms. However, this goodwill was exploited by a few destitute ronin who feigned the urge to commit harakiri hoping for a chance at employment or a bit of financial assistance while preserving their lives—an understandable ploy in an era devoid of social welfare.

The elder of the Iyi Clan, Kageyu Saito (Hisashi Igawa), meets with Tsugumo but cautions him about making such a grave request unless he is genuinely resolute. Saito narrates the lamentable fate of another ronin, Motome Chijiiwa (Akira Ishihama), who had attempted to secure financial support under the false pretense of committing harakiri, only to find himself ensnared and ultimately compelled to follow through with the ritual. To add to the tragedy, Motome had sold his sword’s razor-sharp blades out of desperation, replacing them with bamboo substitutes. Forced to perform the ritual with inadequate weapons underscores the harsh realities faced by the samurai, who are bound to their swords, “tachi” or “katana” for the long sword, and “tanto” or “wakizashi” for the shorter blade—all integral to their identity and honor.

Undaunted by this horrifying tale, Tsugumo resolutely reaffirms his intention to proceed with harakiri. Believing this could serve as a cautionary example for the younger members, Saito concedes to Tsugumo’s request. He prepares himself to perform the ritual on a small raised platform in the sand-covered courtyard, with his wakizashi laid before him and surrounded by the entire Clan.

Tsugumo requests that the clan’s top swordsman, Hikokuro Omodaka (Tetsurô Tanba), act as his second, but alas, he is absent from the ceremony. A messenger is dispatched to bring him back. In the interim, Tsugumo, a master storyteller, begins to narrate the tale that has led him to this fateful moment. With a voice as deep and resonant as a thunderstorm, he spins a narrative reminiscent of the grand epics of the past, encapsulating his sorrowful past, including the harrowing tale of his dear friend Jinna Chijiiwa (Yoshio Inaba), who succumbed to harakiri upon the dissolution of their Clan.

Tsugumo’s recollections weave seamlessly into vivid flashbacks, revealing the burden of his journey. As word comes back that Omodaka cannot be present, Tsugumo requests for yet another kaishakunin, Hayato Yazaki (Ichirô Nakatani), but he too is unfortunately missing. After several rounds of requests, Tsugumo ultimately names Umenosuke Kawabe only to find him unavailable as well. Saito begins to sense a potential deception but struggles to grasp the entire picture. He figures to substitute himself as a second, ordering the ritual to progress. However, Tsugumo manages to buy crucial time, continuing his poignant tale.

Amidst desolation and poverty, Tsugumo narrates how his family once thrived until illness struck his daughter and grandchild. Consequently, Motome, driven by fate, found himself at Lord Iyi’s residence in search of help, a pursuit that would seal his tragic destiny. In a moment of rage and frustration, Saito commands his men to attack as Tsugumo suddenly reveals three topknots belonging to their former owners, shattering the facade held by the arrogant samurai. He boldly proclaims, > “To lose one’s topknot is equivalent to losing one’s life,” highlighting an unforgivable dishonor that even death cannot expunge!

Tsugumo closes his tale by revealing how he dueled each of the three now-absent swordsmen, and after emerging victorious, claimed their topknots instead of their lives—a supreme humiliation for any samurai. The gripping climax sees Tsugumo facing off against Omodaka amidst a gracefully choreographed battle, culminating in a powerful and emotional confrontation. In a desperate move, Tsugumo, gravely injured, lifts the Clan’s esteemed idol above his head before smashing it to the ground, a symbolic gesture of rebellion against a disdained code of conduct.

Tragically, not a valiant swordsman, but rather a cowardly squad of musket-toting warriors delivers the final blow of Tsugumo’s seppuku. Even in this final act, the principles of bushido are tarnished by the Clan’s actions. Following the tumult, the aftermath reveals a casualty report highlighting four deaths and eight injuries, with Omodaka being the sole one to commit harakiri in an act of despair. The remaining seconds face potential harakiri at command from Saito, but for the sake of appearances, these losses will be recorded simply as fatalities from illness, preserving the Clan’s honor in a society built on appearances.