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Ichiban utsukushiku (1944)

 -  Drama  -  June 1987 (USA)
5.9
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During World War II, the management of a war industry of optical instruments for weapons requests an effort from the workers to increase the productivity during four months. The target for ... See full summary »

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Title: Ichiban utsukushiku (1944)

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Cast

Cast overview, first billed only:
...
Sôji Kiyokawa ...
Soichi Yoshikawa, Chief of General Affairs Section
Ichirô Sugai ...
Ken Shinda, Chief of Labor Section
Takako Irie ...
Noriko Mizushima, dorm mother
Yôko Yaguchi ...
Tsuru Watanabe, president of women workers
Sayuri Tanima ...
Yuriko Tanimura, vice president of the women workers
Sachiko Ozaki ...
Sachiko Yamazaki
Shizuko Nishigaki ...
Fusae Nishioka
Asako Suzuki ...
Asako Suzumura
Haruko Toyama ...
Masako Koyama
Aiko Masu ...
Tokiko Hiroda
Kazuko Hitomi ...
Kazuko Futomi
Shizuko Yamada ...
Hisae Yamaguchi
Itoko Kôno ...
Sue Okabe
Toshiko Hattori ...
Toshiko Hattori
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Storyline

During World War II, the management of a war industry of optical instruments for weapons requests an effort from the workers to increase the productivity during four months. The target for male workers is an increase of 100% of the production, but the female workers, led by the dedicated Tsuru Watanabe, ask the direction to surpass their goal from 50% to 70%. During the period, the women have to overcome illness and their personal problems to complete their quota. Written by Claudio Carvalho, Rio de Janeiro, Brazil

Plot Summary | Add Synopsis

Genres:

Drama

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Details

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Release Date:

June 1987 (USA)  »

Also Known As:

Most Beautifully  »

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Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Akira Kurosawa married actress 'Yoko Yaguchi' (born Kiyo Kato), who played Tsuru in "The Most Beautiful," after becoming close through many famed arguments during filming. They married on May 21, 1945 while Yaguchi was two months pregnant, and stayed together until her death in 1985. See more »

Connections

Referenced in Kurosawa: The Last Emperor (1999) See more »

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User Reviews

Valuable as insight into the supreme pliability of human beings
27 March 2010 | by (New York City, USA) – See all my reviews

Typical of Japanese war-time propaganda, the film suggests that Japan's fascist ideology, its inculcation of fanatical obedience, its vast perpetration of unthinkable atrocities in a systematic manner, and its aggressive military expansionism can all be replaced by Japan's supposed victimization. Rather telling in this respect is the song that the girls repeatedly sing to boost morale, a song that recalls that barbarian Mongol conquerors once tried to invade Japan from China, but that the perpetrators of such heinous deeds of aggression could not possibly co-exist under the same sky with the innocent and pure Japanese-- this, of course, is being sung during a war that was begun when an utterly unprovoked Japan invaded China and slaughtered untold numbers of its population mercilessly.

All of this would be something that one could simply shrug off as the past blindness of war, but films such as these are more disturbing today than, say, Triumph of the Will because while Germany was forced to confront the horrors it had unleashed upon the world, most Japanese films even today (and textbooks for that matter) still tend to view Japan as a victim in the war (see, for instance, Kurosawa's own Rhapsody in August so many decades later). Assisted by the policies of the American post-war occupation, Japan has never had to come to terms with what it did to the planet, and what in human history can possibly more disturbing than a lack of accountability for the worst sins humanity can commit? And by the way, I say all of this despite the fact that Kurosawa is probably my favorite director.


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