Samurai Rebellion

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Samurai Rebellion, a clear demonstration of directing skill. A story focused on a corrupt social power, social protest and a story of characters in a confined society, opposed to freedom. Beginning with the start of the movie we see a subtle hint to the confining details of this world, this is apparent in the structure of the film. Examples would be the castle walls, built to attack the low. The frames are shaped by the architecture including pillars, doors and eaves. In the end of the film, the main characters are preparing for the final showdown, they then begin to strip the house to its core elements, this is hint they are indicating that they are visually as well as thematically getting down to basics.

The films elements are simpatico, …show more content…

Only in the ending of the film are shown another frame shot towards the sky or the outside of the compound. During this portion of the film Kobayashi gives us visual hints that not only confirm the presence of restriction, but its particular quantity and qualities in a given scene or portion of the plot. An example for instance, in his first meeting with the flight attendent of the clan leader, Isaburo and the steward face each other, sitting on opposite sides of the frame. A doorway opens between the two towards the outside of the building, letting in light and creating an open space between the two. The open doorway provides the illusion of a choice, even though a decision has been made. In their second meeting with the flight attendant after his returns for an answer, the conversation takes on a much more hostile tone. Saburo's attempt to make a refusal meets with the anger and misinterpretation from the flight attendant. The composition of this scene is a match to the earlier one, save one detail: the doorway to the outside is now closed. As if the illusion of choice has now been replaced by an irrefutable command, all pathways of escape seem to be cut off for Isaburo. Only when his son opens a door into the room does the frame once again crack open. Goro's decision to accept the marriage not only opens up a thematic doorway but a visual doorway as well as the closed frame opens once again. Even within the claustrophobic world of oppressive architecture and closed frames. Kobayashi uses his framing to provide visual cues for illusions of choice, but they are really one-way decisions that the characters choose to follow orders and cannot

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