With its caste of row-house poor, HANA reminds one in many ways of Akira Kurosawa's classic, DODESKADEN (Mago, in particular, who brings to mind the young "star" of Kurosawa's movie). Samurai Soza's lack of pretension certainly sets him apart from most of the samurai we see in most samurai movies: he gives it the old bushido try, but, soundly trounced in front of the other row-house denizens, he doesn't suck it up and work toward avenging the insult (nor, ultimately, does he follow through on his avowed mission to avenge his father's death at the hands of another samurai). At first we see him ostensibly looking for a reason to kill; by film's end, he's looking for a reason to live. The final shot of the movie sums it all up so beautifully (and simply). If you're interested in flawless filmmaking, here it is: HANA never misses a beat.

The subtext of this novel, entertaining period film comes from a unique treatment of the famed story of the 47 Ronin (itself the source for history texts, dramas, movies, and plays). Instead of showing the flowering of the Japanese spirit of revenge, HANA YORI MO NAHO takes a more pacifist point of view. In fact, for many of the characters, the main virtue of revenge may lie in its commercial exploitation; for the remainder of the cast - nearly all of them living in a dusty slum on the outskirts of town - revenge breaks apart families, instills instinctual hatred, and only promises generations of promise unrealized.The screenplay is understated and loosely plotted. relying for the most part on light comedy to given texture to its potentially tragic subject matter. The story of the 47 Ronin has been told too often without offering any background on the common people hidden in the background. Sometimes ignoble, it's the people who rise above the violence who seem to have achieved something great - like the failed samurai who ignores his father's dying request to kill a rival. The film's visuals are dusty and dirty, but always arresting,helping to make for a realistic but appealing narrative. All in all, HANA YORI MO NAHO is a much needed corrective on an oft- told story.

I think the first reviewer misses the point of Kore-Eda's work. He has an almost documentarian's way of showing human behavior. It's decidedly not theatrical. His characters are flawed, real people. Soza-sensei's abhorrence of violence is not undercut by his fear of being sliced up. He discovers the strength to be a real human being amid what he comes to recognize as counterproductive posturing.The 47 Ronin subplot is not a distraction. It's a mirror of Soza's choosing life over revenge. Susumu Terajima hits just the right note as the surviving Ronin. If you don't know Japanese history and myth-making, it might seem like a distraction, but it is the point of the whole story, that a slavish devotion to the ideals of Bushido is in conflict with living an authentically human life.Besides, Rie Miyazawa is a total hoot in the play within a play. It is a pleasant surprise that Kore-Eda can do comedy and still keep it real. I was beginning to think that he was only good at grimness, but I was reminded of the small comic touches in "Nobody Knows" and "Afterlife." I can't remember if there was anything funny in "Mabarosi." I just remember how depressing it was.

A good film, not a masterpiece like Maboroshi, not nearly as enigmatic as Distance, not as charming as Aftelife .. but far more audience friendly.There are many characters, and it is a period piece, and is described as "A samurai movie without sword fight" by the director himself at TIFF.In fact, compared to his other movies, there are so many things going on I was ill-prepared. But the script is well thought out, there is reference to the solution early on in the film. But there is a sub-plot which I do not understand except maybe to convey regret -- that is what the hero of the film is so serious of finding how not to have in his future, when looking back at this time in his life ..later on???? There is so much comedic relief that you could say this is a comedy. But I think it is drama through and through. And a well executed one at that.