Structured with intricacy and precision, the storyline alternates between present and past, using its extended flashback sequences to delay and then detonate narrative revelations like so many time bombs.
What are people saying?
What are critics saying?
The New York Times by Bosley Crowther
You may not get much satisfaction from the tortured human drama in this film, but you should get an eyeful graphic exercise.
The New Yorker by Michael Sragow
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. He’s helped immensely by Nakadai’s molten performance and Toru Takemitsu’s spare, disquieting music.
Chicago Tribune by Michael Wilmington
Kobayashi's great, laceratingly exciting 1962 Japanese samurai revenge saga, once voted by Japanese critics their country's all-time best film. [03 Mar 2006, p.C5]
Chicago Sun-Times by Roger Ebert
Harakiri is a film reflecting situational ethics, in which the better you know a man the more deeply you understand his motives.
Among the most poignant political statements in cinema, Harakiri concatenates the personal with the political, displaying the tension between loving both one's duty and one's family. With stunning cinematography, intricately staged choreography (which involved the use of real swords!), and Tatsuya Nakadai's impeccable acting, Harakiri is a feast for the eyes and catharsis for the soul. It doesn't get better than this.