Honest Candidate (2020) [Film Review]

Honest Candidate; or, Vote for Joo Sang Seok!
      But we're platonic at this point. Our home is the capital of friendzone and I'm the mayor!
When the first trailer for Honest Candidate dropped in December, 2019, I was extremely hyped because of the amazing Ra Mi Ran, but due to the raging pandemic, the premiere passed me by and, just recently, I remembered about the film and checked it out. The movie directed by Chang Yoo Jung, and inspired by a 2014 Brazilian production O Candidato Honesto is a clever reinvention of the not-being-able-to-lie formula, introduced by Liar, Liar (1997) film with Jim Carrey.

Release Info

Directed by: Chang Yoo Jung Starring: Ra Mi Ran, Kim Mu Yeol, Na Moon Hee

Language: Korean Original Title: 정직한 후보 Runtime: 104 min

Synopsis
Joo Sang Seok (Ra Mi Ran) is a third-term congresswoman who tries to get re-elected for the fourth time. Although she started out as an honest social activist, raised by her grandmother, Kim Ok Hee (Na Moon Hee), she gradually became a standard, untruthful politician, doing shady deals with other congressmen. While Joo Sang Seok hopes to win the elections, her grandmother makes a wish that Joo Sang Seok become an honest person again. As a result, the politician suddenly finds herself unable to tell a lie. In order to protect Joo Sang Seok from uncomfortable situations during the campaign, her personal advisor, Park Hee Chul (Kim Mu Yeol), and family members step into action. Eventually, they decide to use Joo Sang Seok’s truthfulness as the game-changing aspect of the elections. She becomes an honest candidate.

Lie to Me
I gave the film a try thinking that it will be a well-made remake of Liar, Liar, but it turned out to be much more than that! Honest Candidate is a fast roller coaster filled with comedy, brutal satire of modern politics, and a touch of family drama. Ra Mi Ran steals this movie from the very minute with her epic acting.

Having known the actress from Sympathy for Lady Vengeance (2005) and Reply 1988 (2015), I am completely gobsmacked by her acting range and excellent comedic timing. I could not get enough of Ra Mi Ran’s hilarious facial expressions and fits of rage. She totally rocks and carries the whole movie.

Apart from the comedy, I also appreciated the light moments with Joo Sang Seok’s husband (Yon Gyung Ho) and son (Jang Dong Jo). Evidently, the most touching scenes of the film are the ones with the grandma character, but they surprisingly work in the story. Actor Kim Mu Yeol also has an opportunity to shine, even though his role is just a supporting one. The interactions between the main heroine and the advisor are really sweet.

Director Chang Yoo Jung might not have extensive filmography, but she certainly knows how to cook up light-hearted flicks with heartwarming messages (for instance, Finding Mr. Destiny (2010) and The Bros (2017)). Honest Candidate may be considered to be a remake but thanks to a thoughtful script and brilliant performance of Ra Mi Ran it very much stands on its own.

Recommendations
If you are in the mood for a happy-go-lucky comedy without unnecessary ideological preaching, then I recommend Honest Candidate. Get that ballot and cast your vote for her. Once you hear “Candidate no.1 Joo Sang Seok” election song, you won’t be able to get it out of your head! Here’s hoping that Ra Mi Ran will continue making more movies like this one.
Overall score: 8/10

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Confessions in the Jungle: Comparing The Bridge on the River Kwai (1957) and Merry Christmas, Mr. Lawrence (1983) [Editorial]

Disclaimer: The article is filled with spoilers of both films. Please read it only if you have seen the movies.

If you had to operate on Saito, would you do your job or would you let him die? Would you prefer to see this battalion disintegrate in idleness? Would you have it said that our chaps can’t do a proper job? Don’t you realize how important it is to show these people that they can’t break us, in body or in spirit? Take a good look, Clipton. One day the war will be over, and I hope that the people who use this bridge in years to come will remember how it was built, and who built it. Not a gang of slaves, but soldiers! British soldiers, Clipton, even in captivity. ~ Lieutenant Colonel Nicholson

It's your gods. It's your bloody awful stinking gods. They made you what you are. May they rot in whatever filthy hell they came from! Damn them! Damn your gods! Damn! Damn them! ~ Colonel John Lawrence

With the category of World War II being all-time popular among academic scholars, it is not surprising that movies about POW experiences are constantly analysed and compared. With regard to the topic of Japanese campaign in Asia during the war, two movies are frequently mentioned alongside each other by film experts: David Lean’s The Bridge on the River Kwai (1957) and Nagisa Oshima’s Merry Christmas, Mr. Lawrence (1983). After having revisited these war epics, I also decided to share my insight on them. Evidently, both productions present different visions of the conflict in Asia (one being a Hollywood motion picture, the other a Japanese one), yet they complement each other in evaluation of the POW situation and the ambiguous relationship between soldiers and their captors.

The Bridge on the River Kwai is a war adventure epic based on the novel by the famous French writer Pierre Boulle (who took inspiration from his personal experiences during the war). The film tells the story of a group of British POWs, led by senior officer Lt. Col. Nicholson (Alec Guiness), who are transferred to a camp in Burman jungle, the supervisor of which is Colonel Saito (Sessue Hayakawa) who employs despotic means in order to keep the camp in order. Nicholson intervenes numerous times, but he is subjected to torture. Saito’s goal which he must fulfill is to complete the construction of a bridge over the River Kwai that will become a part of the railway line between Bangkok and Rangoon. In view of the fact that building a bridge is an impossible task for Japanese engineers, Saito eventually gives in and starts cooperating with Nicholson. The British officer takes the matter personally and is determined to construct the most reliable bridge as possible. He does not know, however, that the British command is planning to blow up the bridge…

The Bridge on the River Kwai is a conservative story about conservative men who try to stay alive in the middle of the jungle. While conflicting over the matter whether the officers should work together with privates or not, Nicholson is subjected to a great deal of suffering because he wants to protect the dignity of his men, which is guaranteed by the Geneva Convention. Saito, on the other hand, does not care about Western rules. He is only focused on his own twisted understanding of honour and the Bushido code. To him, the British soldiers are literally nothing because they let themselves get captured (Nicholson clarifies later on that they were ordered to surrender by the higher-ups). Nicholson does not respond to Saito’s threats and gifts which are meant to win his favours. Consequently, Nicholson wins this battle of convictions simply because Saito does not have any more time to waste. The bridge has to be built from scratch within 12 weeks.

Through the act of building the bridge, Nicholson wants to prove the greatness of the British Empire. Under his skillful supervision, the soldiers erect an impressive construction which is meant to last 600 years. However, Saito’s personal pride is broken in the process. The Japanese colonel is crushed and put to shame by Nicholson’s resourcefulness and leadership efforts. Just as when he considers committing suicide, the two characters share an intimate moment, alone on the completed bridge. That is, Nicholson reflects on his war experiences which constitute the majority of his adult life: “I love India. I wouldn’t have had it any other way. But there are times when suddenly you realise you’re nearer the end than the beginning. And you wonder, you ask yourself, what the sum total of your life represents, what difference your being there at any time made to anything, or if it made any difference at all really. Particularly in comparison with other men’s careers. I don’t know whether that kind of thinking is very healthy, but I must admit I’ve had some thoughts on those lines from time to time.” Saito, being well-spoken in English, remains silent and perplexed having heard this unexpected reflection from the enemy.

The cast of the film (especially Alec Guiness) frequently clashed with David Lean over many matters while shooting the picture. According to them, the novel was too “anti-British” (source). In my opinion, Pierre Boulle’s story is neither anti-British nor anti-Japanese. The book as well as the film are actually about the death of Imperial Britain. That is to say, apart from the Nicholson-Saito conflict, there is a subplot focusing on “Major” Shears (William Holden) and Major Warden (Jack Hawkins) who are on a mission to blow up the bridge. Shears (being a man who successfully escaped from Saito’s camp) participates in the assignment unwillingly. What is more, he perceives Warden as a person who will do whatever it takes to get ahead. Warden is, in fact, a representative of “new” Britain; the one that does not care about the past, the glory of colonial days, and loyalty to the King. Indeed, Nicholson has taken the matter of erecting the bridge too personally, yet his tragic death (falling on the plunger) in the film’s finale marks an end of a historical era. Old Britain has sacrificed itself for a new generation. Clipton (James Donald), a medical officer, upon witnessing the destruction of the bridge states appropriately: “It’s madness! Madness! Madness!”

In Merry Christmas, Mr. Lawrence, Nagisa Oshima tells, in a very subtle manner, a more intimate story about individual relations between men and the cultural clash between the East and the West. Interestingly, the movie was based on war memoirs of Sir Laurens van der Post, as described in The Seed and the Sower (1963), so the picture also had a literary source as in the case of The Bridge on the River Kwai.

The main protagonist of the film is Colonel John Lawrence (Tom Conti) who is kept in a prison camp on Java together with other British soldiers. Lawrence serves as a mediator between the Japanese and the British because of his unusual background (he had lived in Japan and has a Japanese wife). Because of his insight into the enemy’s culture, he is able to understand the vague decisions and nuances of his captors. He interacts on a daily basis with Sergeant Hara (Takeshi Kitano), an impulsive (yet at times considerate) officer whose actions often anger Captain Yonoi (Ryuichi Sakamoto), the supervisor of the camp.

According to the judgement of a shady military court, Major Jack Celliers (David Bowie) is incarcerated in Yonoi’s camp. From the very first moment of their encounter, Yonoi develops a kind of unhealthy interest in Celliers. He always asks about the prisoner and even observes him sleeping at night. Yet, Celliers himself does not respond to Yonoi’s fixation. Being a natural leader, he instigates a number of rebellious activities inside the camp, which greatly anger the Japanese. It turns out that both men suffer from personal trauma. Yonoi regrets not being able to participate in the 1936 coup d'etat in Tokyo, whereas Celliers cannot forgive himself that he allowed his younger brother to be bullied at school.

The plotline of the film is unfolding on these two linearities (Celliers-Yonoi; Lawrence-Hara) which run parallel to each other. Interestingly, Lawrence appears to be the unwilling confidant of the principal characters, hearing out their personal conflictions. As a result, I would argue that (instead of being a manifesto on homoerotics) the film is about the crisis of individuality. Captain Yonoi is incapable of thinking and acting for himself, whereas Celliers always steps into action because he wants to receive absolution for his past sins. The story’s culminating moment, when Yonoi is about to execute the spokesman of the POWs (Jack Thompson), but Celliers intervenes and kisses the captain on the cheeks, symbolizes the death of militarist Japan. Warmongering fanatics in charge of the Japanese Empire wanted to produce a whole generation of powerful and unbreakable patriots, but Yonoi as well as Celliers are, in fact, sensible men with strong wills, able to choose their own fate.

The complicated friendship between Lawrence and Hara cannot go unnoticed as well. However, it is not as pronounced and ambiguous as the Celliers-Yonoi one. Lawrence tries to maintain relatively healthy relations between the soldiers and the captors, but unfortunately things do get lost in translation (for instance, the case of a Dutch POW). Notice that Ruyichi Sakamoto’s memorable theme can he heard three times throughout the picture: 1) When Lawrence is escorted by Hara; 2) When Hara saves the lives of Lawrence and Celliers after the radio transmitter incident; 3) When Lawrence meets Hara (sentenced to death by the Allies) in 1946. Yonoi and Celliers may be prominently featured on the movie's poster, but the main theme belongs to Lawrence and Hara and serves to underline that both men are victims of unfortunate circumstances. Hara, albeit rough and unpredictable, did save Lawrence’s life, but the colonel is unable to return the favour. Lawrence comments on Hara’s situation in the following manner: “You are the victim of men who think they are right... Just as one day you and Captain Yonoi believed absolutely that you were right. And the truth is of course that nobody is right…”

Consequently, Clipton and Lawrence emphasise with their concluding expressions the futility of war. People had made a hell on earth for themselves in the name of abstract ideals. The only end result is the crisis of their individualities, regardless of whether they are from the West or the East. Nevertheless, this crisis can be amended by mutual understanding, or even friendship.

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Getting Any? (1994) [Film Review]

Getting Any?; or, How to Make It Big and Alienate People

     I need a car. To get laid, I need a car. That's it! I'm going to buy a car!
If you are an avid fan of Takeshi Kitano and his movies, then you probably know that he was not always an auteur filmmaker. In fact, “Beat” Takeshi started his career as a comedian, primarily doing gigs at variety shows. In the 1980s came the popular game show called “Takeshi’s Castle” in which he could also show off his off-the-wall humour. When Kitano transitioned to cinema, he began making serious dramas with a touch of his unique style, but there were a few exceptions, including Getting Any?, a 1994 comedy in which Kitano goes back to his comic roots.

Release Info

Directed by: Takeshi Kitano Starring: Dankan, Ren Osugi, Takeshi Kitano

Language: Japanese Original Title: みんな～やってるか！Runtime: 109 min

Synopsis
Asao (Dankan) is a guy who is obsessed with the idea of getting laid. In order to achieve his goal, he comes up with possible scenarios in which a woman might be willing to spend some pleasure with him. However, there’s a problem. All of these scenarios require money and specific objects/conditions to work. As a result, Asao takes up a variety of jobs and ends up entangled in many crazy situations. Will he be able to stay alive and “get any” at the same time?

Going Broke
I was aware of Getting Any? for a few good years, but I was unable to check out the film because it was a sort of rarity in Kitano's filmography. That is until the Blu-ray edition was released recently. I could not help myself and grabbed the HD copy of a film that is not frequently discussed among Kitano enthusiasts.

Well, similarly to Takeshis (2005) and Glory to the Filmmaker! (2007), Getting Any? shows in what kind of mindset Kitano operates. He prefers that mixture of old Monty Python/Pierre Richard comedies, but also likes to go one step beyond. As a result the film feels like a composition of comic strips taken straight from a magazine for teenagers. For instance, Asao tries to buy a car, Asao tries to rob a bank, Asao tries to become an actor, Asao tries to act like a hitman. Needless to say, all these situations end disastrously for the main protagonist.

Due to the episodic nature of the film, some sequences work really well, but many do not. I particularly liked Asao’s ordeal to steal some cash and his shenanigans on the set of a Zatoichi movie (Little did Kitano realise that he’ll be remaking Zatoichi for real a few years later). However, the whole sequence devoted to yakuza is just too long and too bizarre. It did not make me laugh at all. The final act, on the other hand, is a parody of Ultraman, Ghostbusters, and The Fly, with Kitano stepping in as a mad scientist trying to make invisibility possible. This part of the film (and especially the last scene) were even weirder.

To be honest, the further the movie goes, the more watered down the humour gets. I guess Kitano wanted to vent off his irritation with film critics while making this movie, yet Getting Any? is definitely not for everybody.

Recommendations
If you want to see a film about a quirky individual who goes to extremes to fulfil a dream, then I recommend Shinobu Yaguchi’s My Secret Cache (1997) instead. Getting Any? is only a passing trivia from the hallmarks of Takeshi Kitano. The only thing that keeps the film from falling apart entirely is the performance of the main lead, Dankan.Overall score: 5/10

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“But the Emperor is on high, riding the dragon now”: Remembering The Last Emperor (1987) [Editorial]

Independently financed and directed by Bernardo Bertolucci in 1987, The Last Emperor holds the title of the first Western production shot on location in the Forbidden City in Beijing. Needless to say, it also won Academy Awards in 9(!) categories. Interestingly, this historical epic, in the making of which participated not only high-profile stars but also 19,000 extras, does not enjoy the popularity of other critically-praised juggernauts, such as Doctor Zhivago (1965), The Mission (1986), Empire of the Sun (1987). This is my brief, retrospective look at The Last Emperor.

Rarely do I stumble upon a motion picture which makes a lasting impression on me. I have been aware of The Last Emperor ever since teenage years. It was frequently mentioned on TV by various film critics, but (much to my disappointment) it was never aired. My only source of knowledge about this epic production was a small clipping in “The Chronicle of Film” book. The large poster of a young Puyi in the Forbidden City looked amazing, but still, I had no means to see the film.

During my college years, when I was shyly getting into Asian cinema, I finally obtained a copy of theatrical cut (160 min) and eagerly watched this award-winning masterpiece. Indeed, the best way to describe this film is to call it a masterpiece. My appreciation for the film extended even further after having recently watched the TV cut (218 min).

The film tells the story of Aisin-Gioro Puyi (based on his 1964 autobiography) who, as a 4-year-old child, is nominated by the dying Empress Dowager Cixi to become the heir of the imperial throne. However, political reforms in China already started taking place at the beginning of the 20th century. With the passage of time, we see Puyi growing up, holding the title of the Emperor, but not being able to execute power. He becomes the prisoner of his own little kingdom until the outbreak of the Second Sino-Japanese War, in which he sees a chance for himself to become a true leader…

The early 1980s were post-Mao times during which China tried to become more open to the world, not only in terms of foreign affairs but culturally as well. Allegedly, Bernardo Bertolucci approached the Chinese government with two ideas for potential movies, yet they decided to greenlit only one, The Last Emperor, and even allowed to use the Forbidden City as a shooting location. The director himself recalled that cooperation with government officials was extremely smooth and they provided only minor suggestions during the production. Considering the highly anti-Communist undertones noticeable in the film’s finale, it seems highly unlikely that the movie would have been made today without the censorship attempts from the side of the PRC officials.

The Last Emperor’s undeniable valors are outstanding visuals, production design, and cinematography. Watching the film feels like admiring a beautiful painting which presents otherworldly times which will never return. Evidently, the director made some simplifications in the script in order to enhance the aesthetic-level of the film (most certainly, Eastern Jewel was not into licking toenails), but these only add more style and charm to the story. Please bear in mind that it is not a Chinese production (not even a Hollywood one). The film is an interpretation of Chinese history and its people by an Italian director. As a result, its grandeur resembles that of Giacomo Puccini’s famous operas like Madama Butterfly or Tosca.

The only piece of harsh criticism directed at the film which I found is that concerning the spoken language. Evidently, the filmmakers decided to use English as the main language in order to appeal to a wider audience. This creative choice certainly paid off, but many viewers are convinced that the film would have been better if the characters spoke Mandarin. Personally, I do not mind the English voice track (actually, the lines are delivered much better than in the disappointing Mulan flick from 2020). In the short making of featurette available on YouTube, you can see that Bertolucci paid a lot of attention to record scenes properly, doing even as much as 7 takes. Poor actress playing the First High Consort flipped her “Impossible! The Emperor does not wear spectacles!” line once, but apart from this one mistake, she enunciated it perfectly. If the English audio track is something that puts you off, then you can always switch to a Mandarin dub (depending on a DVD/Blu-Ray release which you have).

The music score composed by Ryichi Sakamoto (who plays a small part in the film), David Byrne, and Cong Su is completely out of this world. It really transports you to China at the turn of the centuries when tradition was clashing with modernity. Interestingly, Sakamoto provided 9 music tracks, Byrne composed 5, whereas Su contributed only 1 (but he supervised the music on the set as well). What an unusual trio of collaborators it was: Sakamoto was at the beginning of his career as a composer, Byrne was mostly known due to Talking Heads, whereas Cong Su was an expert on traditional Chinese music. It makes me happy that this magnificent soundtrack gained recognition in 1987 and was awarded an Oscar. Click here to see a clip from the ceremony.

It is quite a shame that after the film’s release, John Lone’s recognition (the actor who played adult Emperor Puyi) did not expand. This amazing actor appeared in several recognisable movies, such as M. Butterfly (1993), The Shadow (1994), and Rush Hour 2 (2001), but he has not taken new acting opportunities since 2007. At least, the beautiful Joan Chen (who portrayed the Emperor’s wife) had a steady career in Hollywood as well as on Television.

One should not forget about the extraordinary supporting part of Peter O’Toole as Puyi’s British mentor, and the role of a prison warden played by Ying Ruocheng. Coincidentally, the Chinese actor happened to be the Vice-Minister of Culture at time of making the film, which makes the scene of him bullied and humiliated by the Red Guards all the more mind blowing.

All things considered, I notice that The Last Emperor is rediscovered today by a new generation of enthusiasts of Oriental culture. Some of my students mention this film more frequently in our frivolous talks about cinema. Thankfully, Bernardo Bertlucci’s lavish historical epic lives on 33 years after its release and still amazes with its poetic modus operandi. «Enjoyed this post? Never miss out on future posts by following us»

BU SU (1987) [Film Review]

BU・SU; or, The Days of Our Lives
     Do your best at school!
Rarely do I stumble across a movie which can be easily labelled as a "weird drama". At the beginning, you suspect that the film will be a standard school romance similar to Shunji Iwai's April Story (1988). Later on, you are convinced that the plot will take a darker turn and veer into the territory of Hideo Gosha's geisha thrillers. BU・SU is none of these things. Jun Ichikawa's debut feature from 1987 is, indeed, an unconventional story about a young girl trying to get over personal trauma.

Release Info

Directed by: Jun Ichikawa Starring: Yasuko Tomita, Michiyo Okusu, Masahiro Takashima, Yuriko Hirooka

Language: Japanese Original Title: ブス Runtime: 95 min

Synopsis
Mugiko (Yasuko Tomita) leaves her home island of Izu and arrives in Tokyo to live together with her aunt (Michiyo Okusu) who runs a geisha house. Mugiko experienced some kind of tragedy back in Izu (which is confirmed by her school file), so that's why she decided to move away from her mother (who, apparently, was a respected geisha performer back in the day). The girl attends a new school, but she is withdrawn from the hustle and bustle of class-life. She is not even doing great during geisha training supervised by her aunt. Most of the time, Mugiko roams aimlessly through the streets of Tokyo with a vivid expression of bitterness on her face. It is only when classmates force her to participate in a school festival that Mugiko gets a hold of herself and decides to perform the traditional Yaoya Oshichi dance...

The Ugly Duckling
The film's enigmatic title can be roughly translated into English as "an unattractive woman" or simply "ugly". Interestingly, the main heroine (played by then up-and-coming actress Yasuko Tomita) is not by any means ugly. Having been petrified by past experiences (which are shown merely as quick and disjointed flashbacks), she is unable to seize the day and enjoy normal life. Mugiko is sad and withdrawn all the time. As a result, being BU・SU refers to the state of her mental seclusion from other people.

Jun Ichikawa plays out the story of Mugiko in an intriguing manner. The heroine does not experience some Murakami-like quirky adventure or process her trauma. Instead, little by little, she learns that the world is not entirely rotten and chaotic. At school, she becomes friends with a bullied student (Yuriko Hirooka) and an aspiring boxer, Tsuda (Masahiro Takashima). In addition, through her dance training, Mugiko also gains the acceptance of her aunt. Consequently, Ichikawa attempts to communicate a message that no matter how bad things are, there is more to life than just staying bitter.

On the whole, the film unexpectedly becomes a poignant and peaceful slice-of-life flick. The sequences that really stole my heart were the ones of Mugiko roaming through Tokyo of the Bubble Era. We get to see Ginza as well as the famous Shibuya Crossing, accompanied by catchy City Pop songs.

With regard to performances, I have known Yasuko Tomita mostly from her supporting roles in dramas, but she absolutely shines in BU・SU. In a lot of ways, she reminds of Kimiko Ikegami and her dramatic performances. I definitely need to check out more of Tomita's early movies. Honourable mention goes to Michiyo Okusu as the aunt. With her reservation and tranquillity, the actress really makes this character stand out.

Recommendations
If you are in the mood for non-violent/peaceful drama, then BU・SU is the film for you. I was pleasantly surprised by the film's warmth and subtlety when the end credits rolled in. Definitely give it a try during a quiet, wintery night. Overall score: 8/10

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The Emperor's Naked Army Marches On (1987) [Documentary Review]

The Emperor’s Naked Army Marches On; or, Divine Intervention
     You're not the only one being punished. I almost starved to death in New Guinea. My wife got injured in an accident. I killed someone I didn't want to kill. If a misfortune befalls you, it means you deserve it.
Kazuo Hara’s The Emperor’s Naked Army Marches from 1987 is one of the few documentaries that stood the test of time. I became aware of it a couple of years ago, but I was surprised to see it popping up on various recommendations lists as well as on YouTube. Needless to say, an interesting title and psychedelic poster were enough to get me interested. Having seen it, I can safely say that it is one of the best documentaries with an anti-war message out there.

Release Info

Directed by: Kazuo Hara Starring: Kenzo Okuzaki, Shizumi Okuzaki,Toshiya Nomura, Rinko Sakimoto

Language: Japanese Original Title: (ゆきゆきて、神軍 Runtime: 121 min

In contrast to many other pictures of that genre, we do not get an extensive exposition or narrative guidance. Thanks to short title cards, we are introduced to the main protagonist, Kenzo Okuzaki, a 62-year-old war veteran, former member of the 36th Battalion which took part in Japan’s campaign in New Guinea during the Second World War. Okuzaki who literally survived hell in New Guinea holds primarily one person responsible for the whole ordeal, Emperor Hirohito. It is explained later on in the picture that Okuzaki has served 13 years in prison for killing a real estate broker (this charge is not entirely explained), spreading leaflets offending the Emperor, and sling-shooting four pachinko balls at the Emperor.

However, Okuzaki’s hate for the Emperor is not the main topic of the documentary. The veteran is on a personal quest to find out the truth behind the mysterious deaths of three soldiers from his battalion. Were they killed under false pretences? Did they commit desertion? Why were they executed 23 days after the war ended? Accompanied by relatives of the victims and his own wife, Okuzaki relentlessly tracks down former members of the battalion and confronts them about the killings in front of a camera. Some tell the truth, others obviously lie, but a few speak so chaotically that they indirectly confirm the relatives’ theory; that is, the men in question were executed in order to be eaten by fellow soldiers.

The Emperor’s Naked Army Marches On tackles the taboo topic of cannibalism during World War II. The Japanese garrisons had very limited resources towards the end of the conflict, so they resorted to either stealing food or killing “white pigs” (Allied soldiers) and “black pigs” (the natives). If that did not work, they killed their own men.

Kenzo Okuzaki may appear to be a frantic man who is unable to control his temper (at times, he physically attacks ex-soldiers to get the truth out of them), but he clearly states his intention. He wants the viewers to hear the whole story so that no war would ever break out in the future. The ultimate antagonist of the documentary appears to be Captain Koshimizu who, as other soldiers confessed, personally killed the privates. The captain, however, calmly denies doing such a thing. The title card at the end of the documentary reveals that in 1985 Okuzaki tried to kill Koshimizu for his crimes, but he somehow shot the captain’s son instead (who allegedly survived). Okuzaki was arrested and sentenced to 12 years of hard labour. There is not much information on the internet about him, apart from a note stating that he passed away in 2005.

Kazuo Hara’s documentary undeniably shows that cultural depictions of the Japanese participation in the Second World War are only the tip of the iceberg. There are to date many issues left unsaid and unresolved. The passage of time only makes things worse. Kenzo Okuzaki states during one of the confrontations that if a person leads an immoral life, he or she will eventually receive divine punishment. Perhaps there is some truth in words of an individual who dared to oppose the Emperor himself.

Recommendations
I highly recommend The Emperor’s Naked Army Marches On to anyone. Even if you are not interested in history and World War II, you have to see the rare and unscripted testimonies of people who looked into the abyss of darkness. Indeed, this is one of the best documentaries ever made.
Overall score: 9/10

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