"Nothing" doesn't take, "Death" takes.

With the exception of not having access to his 70's work (Sama Soruja & Warera no Shuyaku, plus his two episodes of Zatoichi Monogatari),and not knowing what they're like, this film is a complete 180 from Teshigahara's earlier high-energy 60's works. This is far from a bad thing, in fact, this is one of the greatest examples of seeing a director's evolution from point A to point B.

Rikyu, is a film regarding politics in 16th/17th century Japan focusing on the Grandmasters of Tea, and the politics that stem from their respective circles. One in particular, Rikyu, has shaken his circle by the way he left nearly 30 years earlier. His follower (or protege) Hontaku, passes on the stories he remembers to the Lords that are still alive and remember Rikyu. It is all deeply reflective.

And the meditative nature is what captivated me from the beginning--Possibly Teshigahara making this so on purpose, or it is by coincidence a rather amazing side effect of this particular story he wanted to tell. There is a reverence you get from watching this that almost shakes your soul; being amazed at how these people took their belief in the perfect harmonious moment so seriously (and felt so obliged to commit seppoku when necessary). Just the ultra-peaceful and reclusive shots of nature are worth the price of admission IMO, and I swear, a film like this would otherwise bore me if I wasn't such a fan of Teshigahara himself or fascinated by Japanese culture. So if you are not into either of those things you will likely find this a snooze-fest.

Ultimately, this is a very well-made (and well researched?) historical drama that takes us on a meditative and simultaneously cathartic journey. We don't get any sight of HT's more stylized technique (that you may have enjoyed from the 60's pieces) except for the very beginning and in the last 20 minutes or so, but even there, it is an evolved style; more patient, subdued, refined.

This is a very Japanese and Zen Buddhist film. The observations are almost painfully clear and intense, there is great attention to detail, it is highly ritualized and formal, and moves very slowly. To be appreciated, it must be viewed as a totality, rather than as a linear story with a beginning and an end. It is a snapshot stretched over 2 hours, and very much "there". It's a lot like a Zen garden, and most Americans will probably find it boring, but if you're into the peculiar Japanese view of time, it's such a beautiful film, it almost hurts.

Without knowing much of the history, I found this to be very absorbing - slow tempo or not - and Teshigahara's understated style is perfect. The performances (especially the title character) are top-notch, and the heavily detailed sets are stunning.

That noted, the DVD available in the US is one of the worst I've ever seen - the pan-and-scan, along with butchering Teshigahara's marvelous compositions, also renders the subtitles unintelligible in spots, and they disappear in brightly lit scenes. The DVD picture quality is grainy, washed-out and blurry, and several weird cuts (especially the scene in which Stefano leaves) betray a transfer from a hastily (or sloppily) edited source. The film is great enough that I'd encourage a viewing, but beware that (if you watch the DVD) that the quality will be atrocious.