The events of Hara-kiri can be contextualized within a span of time that saw both the end of decades of war and the unification of Japan. The Shogun of the newly unified of Japan had the momentous task of designing a social and legal system that would prevent the usurpation of power by the many fringe, yet powerful daimyo. Believing in the Machiavellian idea that "fear is simply a means to an end, and that end is security for the prince," the Tokugawa Shoguns implemented a series of policies in which petty crimes were met with harsh punishments. To any astute observer, such a legal system is sure to breed hypocrisy. Indeed, it was during this time that the bushido code's emphasis on honor dwindled. To most samurai during this time, the bushido code's high standards of honor were unobtainable, making disobedience common and sometimes unavoidable. But to acknowledge disobedience meant certain death, and was thus unheard of. It was in this unjust milieu that the events of Hara-kiri unfolded. Both Motome and the retainers of the Iyi were honorable samurai motivated by an inextinguishable desire to protect the ones they love; however, the unjust policies of the Shogun made this desire incompatible with the high standards of the bushido code, driving both parties to reluctantly defy the code. .
The use of the armor in the first scene establishes that the Iyi are honorable samurai, and shows their desire for the public to perceive them as such. The scene begins with a close up of the helmet. The camera is held at eye level, allowing the viewer to look directly into the eyes. The camera then switches to a position below the midline, close to the feet and points upwards at the helmet, the view of a person on his knees worshiping the armor. This indicates that the armor is a symbol for the clan's honor. The camera then zooms out and the lighting changes, illuminating the set, and for the first time, we are able to see the Iyi clan's symbol on the pedestal and the opulence of the room.
