One can't say that filmmaker Harada Masato lacked ambition. Whether working exclusively from historical records of a few hundred years ago or from a historical novel as is the case here, the Battle of Sekigahara is a pivotal moment in Japanese history with many complicated people, many pertinent underlying and subsequent issues, and countless schemes, machinations, and moving parts that fed into the turmoil. However his cinematic treatment of that event and of Shiba Ryotaro's novel might turn out, the idea alone catches one's attention, not least given the long list of celebrated jidaigeki that Japan has turned out over the past several decades. Based on all such factors one may well have high expectations of a picture that would bring this drama to life. I know I did. And I therefore find myself sadly disappointed that the result is marked with substantial flaws and shortcomings that reduce its lasting value. I expected much of 'Sekigahara,' and in all honesty it's not the movie that I believe it should have ideally been.

I don't mind that in a runtime of two and one-half hours, the vast majority of the length is devoted to the escalating politicking, manipulations, small engagements, and meetings behind proverbial closed doors that characterized the build to the major conflict as side were chosen and alliances made. These are most certainly worth exploring. However, I do mind embellishments of editing, computer-generated imagery, and sped-up footage, and disconcertingly curt, brusque editing generally. I do mind the heedlessly swift pacing in plot development and direction that disallows beats, scenes, and ideas from manifesting, breathing, and resolving of their own accord, and from therefore bearing the weight and import that they should given the unfolding drama. I do mind the unnecessary framing, and narration that seems judicious and useful only about half the time. I do absolutely mind confused scene writing and dialogue that often poorly identify characters, make it difficult to track the figures involved and their relationships, the matters that inform those relationships, and the progression of the narrative - a weakness that is especially unfortunate since the anticipated action, the one aspect of the plot that does not necessarily require careful writing, is pushed to a much smaller portion of the duration. And I do absolutely mind that for as fascinating and absorbing as the drama is on paper of the course of events that culminated in the Battle of Sekigahara, in execution they are diminished not only by all these indicated troubles, but also by this: the fact that said drama and the subsequent epic battle should surely have been rendered as at least two separate features, or one that was itself far, far longer to meaningfully accommodate the two unequal halves, rather than to have been inelegantly smashed together into 150 minutes total.

For the record, it's not until we're within about the last forty-five minutes that text on-screen informs the arrival of the plot to the day of the titular battle. Even setting aside the fraction of the runtime that the battle itself fills - we can generously say it's approximately one-fifth, give or take, depending on how we deign to measure - I don't think the violence is treated well, neither in how scenes were written nor in how the material was choreographed, shot, cut, or sequenced. Given the woeful deficiencies that defined too much of the preceding drama, that the action of battle should also be plagued with faults of its own is taxing.

All this is hardly to say that there is no value in 'Sekigahara,' for that couldn't be further from the truth. The filming locations are gorgeous, and the sets are beautiful and rich in detail. So too is the costume design, hair, and makeup. Beyond the tawdry embellishments, the film overflows with practical effects, stunts, and plenty of fight choreography and otherwise action sequences that are indeed effective and worthy. We're treated to a huge cast, many extras, many horses, and many props and weapons as befits the saga on hand. Say what one will about the specifics of how it was employed, Shibanushi Takahide's cinematography is crisp and vivid; for all the concerns I have with regards to Harada's direction, when he is at his best, the outcome actually is quite excellent. Only, would that Harada's screenplay received anything near the same level of care, that his direction were far more consistent, that his editing were more mindful, that the action sequences were approached more thoughtfully, that the embellishments were declined altogether - and so on, and so on. In turn, some of the acting is just fine, and some of it is overbearing; Fuuki Harumi's score is a nice complement, but all told, I never particularly even took note of it until the denouement of the last several minutes. For all the immense gravity that this picture should have had, it never actually comes across at any point throughout the runtime. If that doesn't speak to the grave problems that drag 'Sekigahara' down, I don't know what does.

Factor in some shots or scenes that were intended to infuse a jolt of tension or thrills, but which instead only serve to tiresomely accentuate the artificiality as if this were a Hollywood blockbuster, and I earnestly wonder if I'm not being too kind in my assessment. This isn't a bad movie. It's no more than half the movie it should have been however, and by some accounts, probably less than half. Those facets that were honestly well done just represent too little of the whole to amount to anything, and I will not think on this 2017 release hereafter except to remark on how unsatisfactory it was. I had high hopes, and they were not met. I suppose I'm glad for those who get more out of 'Sekigahara' than I did, but whatever it is you want out of it, as far as I'm concerned there are many other flicks that are far more worth your time, and the reasons for checking this out are ultimately all too few.