Giri & Ninjo: Samurai Rebellion [Masaki Kobayashi]

"BY THE WAY THOSE SIX WERE SLICED UP REAL GOOD"

Kobayashi's 1967 black and white canted angle film involves the destruction of family reputation and honour, the wrath of a looming clan and Toshiro Mifune looking completely indestructible. 

The treatment of women

The feudal system adopted a system of patriarchy to exploit a woman’s role. They were ruled by the man’s social standing, shown by Kobayashi with the character of Ichi who is constantly mistreated by the Daimyo (a male-dominated government). The film shows that Ichi is taken against her will as a possession to the lord, this is disguised by legality for the Daimyo. Kobayashi has created a feminist piece, discussing the exploitation of women in the Tokagawa period and he feels strongly about how women are bullied by the ruling class to fall under the pressures of loyalty. 

Class and status in society

Kobayashi doesn’t particularly explore any other class system apart from the Samurai class, however there are still different levels of status and he chooses to portray the ruling class as having superior power which preys on the weak. This can be seen in the opening scene of the structured and impenetrable castle. It’s angular filming style comments on the ruling class’ restrictiveness. Kobayashi doesn’t agree with the feudal systems tyrannical leaders who evoke inequality for others, even those within their class. All of this is due to the Daimyo trying to keep up their appearances (image) like the bourgeoisie. 

The manipulation and assertion of power through propaganda, doctrine and image

The film criticises the manipulation of honour undergone by the Daimyo to hypocritically inflict their dishonourable acts. The character of Bunzo and even Ichi’s first partner cave into the pressure of honour and duty to the Daimyo however they betray Ichi in the process. This is successfully achieved by the Daimyo as they’re threatening tyranny relies on manipulating these characters to maintain honour and loyalty. 

Humanism and compassion

Kobayashi portrays humanist messages about the morality of the Samurai’s prospects. The final setting is among nature, showing the fields blowing in the wind. This rural landscape is intentionally far away as Isaburo intends to flee from the rules of honour proposed by the ruling class. Before the fight, Tatewaki asks Isaburo to lose in order that he care for Tomi. His compassion and morality are evident even before a duel to the death. 

 

Giri (Feudal loyalty) vs Ninjo (Human emotion)

The film looks at the dichotomy of Giri/Ninjo as Giri overpowering efforts to achieve Ninjo. Isaburo has a duty to the feudal system which makes his whole family miserable, through breaking the restraints of feudal loyalty and becoming in touch with his emotions, he is able to stand for what is morally right for his family despite it damaging their duty to the Daimyo. Isaburo is killed by the slaves to Giri, showing that even though the rationality, which can be found from Ninjo, is presented as a positive thing. Giri outweighs this in the end of the film. Kobayashi is suggesting the absurdity and irrationality of Japan’s feudal past.