User reviews

In 2019, Takeshi Kitano released 'Kubi,' a Samurai novel, retelling the events of the 1582 Honno-ji incident, in which the powerful feudal Lord- or Daimyo- Oda Nobunaga was assassinated. It was an idea Kitano first had in the early 1990's, intended as a film. Akira Kurosawa was an advocate for the project, stating that "if Kitano were to make this film, it would be a masterpiece on par with 'Seven Samurai'."

In 2021, shooting finally took place, with a release two years later. The result is a sprawling, Shakespearian epic, bloody, thrilling and darkly funny. The film reimagines Nobunaga as a psychopathic ruler, sadistic and unpredictable. He pits the Samurai under him against one other, promising each the throne after he steps down. However, the various clan leaders, such as Hashiba Hideyoshi and Ankokuji Ekei, alongside Samurai general Akechi Mitsuhide, band against him, plotting his downfall.

It is a tale that makes for a sweeping, action-filled picture, rocketing along at a brisk pace. The narrative is brimming with volatility, every character out for their own personal gain. There is plenty of back-stabbing- both literally and metaphorically- with betrayal as the dominant theme. Everyone is scheming and plotting; trust is not an easy virtue in Kitano's representation of the Sengoku period, and nothing- even love- gets in the way of self-interest.

Kitano demystifies the notion that Samurai were bound by honour, portraying them as vicious killers, with little time for morality. More broadly, he shows how power-structures dictate relationships, as Nobunaga abuses- physically, mentally and sexually- those around him, taking advantage of their subservient position. This mirrors reality, and is a powerful, subtle piece of social commentary. Although perhaps not entirely factually-accurate, Kitano's depiction of the time-period and its characters is compelling and engaging.

Furthermore, like most Kitano films, the undercurrent of humour, means that- despite rivers of blood and decapitations galore- it doesn't get too dark. In fact, it is a very funny film, striking a fine balance between comedy, thrills and drama. Moreover, Kitano's characterisation is astute. Every person is distinct, with their own quirks, while the dialogue is sharp and witty. Hashiba Hideyoshi is a particularly risible character, who features in the film's most hilarious scenes.

In addition, the action is pulse-pounding and frenetic. Battle scenes are messy and visceral, as they would have been in real life. Katanas sweep through skin, limbs fly, heads roll- it is a gory and riveting affair. Much like his previous 'Zatoichi,' Kitano directs the action magnificently, leaving viewers on the edge of their seats throughout. Moreover, the unpredictable nature of the narrative ensures one doesn't know who will die next, or how; making things all the more exciting.

Further, it is a striking looking film. Takeshi Hamada's grittily realistic cinematography is atmospheric and evocative. Much like his sterling work on Yojiro Takita's 'Departures,' his avoidance of flashy stylisations compounds the film's authenticity. He and Kitano shoot the fight scenes expertly, making them appear utterly crazy, while approaching the film as a whole with an artist's eye; some of the images and sequences involved are simply stunning.

Moreover, the production design is minutely detailed. Everything looks period-accurate, and Kazuko Kurosawa's costume design is texturally rich and intricate. Additionally, the subtle score from Taro Iwashiro- who worked on Yoichi Sai's 'Blood and Bones,' which also starred Kitano- heightens the film's emotional impact. It is also a well-edited picture, moving at a stallion's pace from the start and never lets up.

Part of the reason Kitano waited so long to film 'Kubi' was because he could never get his ideal cast, but, as he explains, when he was "able to gather talented actors in the Kitano-group, and when such excellent actors come together, I felt like it was finally time to make it... and that's how it finally came to fruition." The cast he gathered is vast and noteworthy, which reads like a 'who's who' of premier acting talent.

Ryo Kase is chillingly effective as the psychopathic Nobunaga, clearly loving the opportunity to play such a madman. Kenichi Endo does fine work as Araki Murashige, who is the first to rebel against Nobunaga, showcasing a vulnerability that is most affecting. Fans of his work will delight in seeing Kitano's longtime collaborator Susumu Terajima, brilliantly playing Sahei, a ninja, while Nakamura Shido II is most effective in the role of Naniwa Mosuke, a mad peasant who is determined to become a Samurai general, at any cost.

Moreover, Nao Omori and Tadanobu Asano do typically excellent work as Hashiba Hidenaga and Kuroda Kanbei, accomplices of Hashiba Hideyoshi, underplaying effectively (as an aside, fans of 'Ichi The Killer' will surely enjoy seeing them on screen together again). Hidetoshi Nishijima brings a steady resolve to the role of Akechi Mitsuhide, and is very believable as one struggling, not just with his love for Murashige, but with the life he's found himself in. Finally, Takeshi Kitano, as arch-schemer Hideyoshi- disparagingly nicknamed The Ape- is marvellous, delivering a bewitchingly funny, layered performance that ranks alongside his best.

A monumentally entertaining Samurai epic, Takeshi Kitano's 'Kubi' is a gripping story of betrayal and violence. Well-written, funny and thrilling, it's blood-soaked brilliance must be seen to be believed. With striking cinematography, stunning production and costume design and a stirring score, it fires on all cylinders. Boasting excellent performances from all in its star-studded cast, 'Kubi' is, as Akira Kurosawa predicted, a masterpiece.

Wild movie which I cannot recommend to a casual audience that knows nothing about the genre or the history behind this film. I had no idea what to expect and was thoroughly confused only 20 minutes in. I was never able to catch up with the story which moved at a blazing speed. Characters appeared quickly without introduction, names flash for a second on the subtitles and they went on their merry way. The director literally serves you an entree allows you to take a bite and immediately pulls the plate away. Next plate is served again just one bite. This went on repeatedly.

This is not a good movie at all. Major plot lines just go off on their own and do not intersect. So much action and backroom plotting is occurring I had no clue who was who and why this or that. The only saving grace for me was the "Monkey". His character was super funny and the actor did a great job portraying him. Outside of that I didn't enjoy the movie as I had hoped. Advice to you non-Japanese speaking audience members take notes of names and who's side they're on. You will need it to stay on track.

Great movie about legendary feudal lord. Very much like 13 assassin (2010), and Silence (2016), bringing the samurai movie forward with contemporary film making techniques.

Darkly comic, its all about the heads. I don't provide spoilers, but you'll understand when you watch it.

Barbarically sadistic, the ancient samurai's depicted in this movie, leaves little to the imagination.

Great cast and a fantastic genre entry from the ever versatile director.

Hideyoshi was a real Shogun from the 1500's, I think the most revered and feared. Feel fortunate that I am 1st to review this title.

Hope to see more like it from director.

Kitano returns with a bit of an unusual film, for him. It might seem like a historical film at first, but it delves deeper and deeper into satire and comedy as we go. Many details are historically accurate, many are very much not, and many more is speculation or outright fiction, but these only serve to drive the point home. One of the peculiar historical inaccuracies is the age of the most famous protagonists, Nobunaga, Hideyoshi, and Ieyasu. The latter one are much older than they were in reality, while Nobunaga is younger. This can be explained by the 30 year delay in making the film, and Kitano refusing to recast himself, while the young age of Nobunaga reinforces his brash nature in the film. Many, if not all, famous people of the era are present, including Kiryu, Hattori Hanzo, even Yasuke. Also many famous events (other than the main event, the Honnoji incident) are also recounted in shorter versions than we have seen in previous films dedicated wholly to them, like the battle of Nagashino (Kagemusha) and the siege of Takamatsu (The Floating Castle, which is actually based on a similar siege 8 years later). While remaining quasi accurate to history, Kitano (or rather, Beat) Takeshi takes a satirical edge to these events, most evident in the (I think wholly made up) character of Mosuke. Everyone can be killed at any time in this struggle for power, and no one life means anything. While quite successful in balancing the historical and the humorous, I think it would have been better to skew more toward the humorous side. The costumes and sets are great, as are the cast, with the usual Kitano mainstay actors, plus everyone's favorite Shark Skin Man. Some budget restraints are evident, as we don't see huge battles head on, but rather framed as to only suggest this is part of a big battle. It's still very enjoyable, but not his best.

Takeshi Kitano's latest film, "The Head," is not so much a period piece with black jokes but rather a film that tells us that even people who are considered great are worldly in this way. The abundance of gore and the characters' complete lack of humanity and duty in the world remind one of his hit "Outrage" series.

I think that what he wanted to express in this film was to show the cheap minds of those who are considered great men, and to muddy the waters of a kind of holiness.

To begin with, Hideyoshi Hashiba, who is played by the director himself, is often portrayed as a loyal retainer of Nobunaga Oda, but in historical fact, Nobunaga was a treacherous character and a destroyer of past customs. Do we understand the feelings of his subordinates who follow such a mad boss?

I wonder if Hideyoshi, who has reached a certain position, has a strong antipathy toward him? I wonder if Hideyoshi, who became a man of status, might have strong antipathy toward him. By placing the commoner-born Hideyoshi as the main character, this film shows us how the beauty of the samurai was a beautiful lie.

I recommend this film, but you may enjoy it more if you see another film by Takeshi Kitano before seeing this one.