The Burmese Harp (1956)
"Biruma no tategoto" (original title)

In the War's closing days, when a conscience-driven Japanese soldier fails to get his countrymen to surrender to overwhelming force, he adopts the lifestyle of a Buddhist monk.

Director:

Kon Ichikawa

Writers:

Michio Takeyama (novel), Natto Wada

Stars:

Rentarô Mikuni, Shôji Yasui, Jun Hamamura

Nominated for 1 Oscar. Another 3 wins & 2 nominations.

Cast

Cast overview, first billed only:
Rentarô Mikuni	...	Captain Inouye
Shôji Yasui	...	Mizushima
Jun Hamamura	...	Ito
Taketoshi Naitô	...	Kobayashi (as Takeo Naito)
Shunji Kasuga	...	Maki
Kô Nishimura	...	Baba (as Akira Nishimura)
Keishichi Nakahara	...	Takagi
Toshiaki Ito	...	Hashimoto
Hiroshi Hijikata	...	Okada
Tomio Aoki	...	Oyama
Akinori Hanamura	...	Nakamura (as Nobuteru Hanamura)
Sanpei Mine	...	Abe
Takashi Koshiba	...	Shimizu
Tomoko Tonai
Tokuhei Miyahara	...	Nagai

Storyline

July, 1943: Japan's army is on the run. A platoon in Burma sings to keep its spirit up. Inspiration comes from their self taught lute player, Mizushima. At war's end, while they await repatriation at Mudon prison camp, Mizushima is sent to convince a Japanese company dug into a mountain that it must surrender. He fails, the British attack, many die, and his companions fear he's been killed. However, he has survived and disguised himself as a Buddhist priest. En route to Mudon to join his comrades, the frequent sight of dead Japanese soldiers overwhelms him. He vows to live a life of prayer, burying bones and bodies; his friends want him to return with them to Japan.

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Plot Keywords:

japanese | surrender | soldier | buddhist | repatriation | 

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Genres:

Drama | Music | War

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Certificate:

Not Rated

Details

Country:

Japan

Language:

Japanese English

Release Date:

28 April 1967 (USA)

Also Known As:

The Burmese Harp

Filming Locations:

Burma

Company Credits

Production Co:

Nikkatsu

Technical Specs

Runtime:

116 min

Sound Mix:

Mono

Color:

Black and White

Aspect Ratio:

1.33 : 1

Did You Know?

Trivia

The film was originally slated to shoot in three-strip color, but director Kon Ichikawa worried that the huge camera might break down on location and he would not be able to have it fixed, so he shot in black-and-white.

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Goofs

The 'British' officer in charge of the funerary cremation repository speaks with a decidedly Australian, not British, accent.

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Quotes

Voice of Mizushima's parrot: No, I can't go back.

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Connections

Remade as The Burmese Harp (1985)

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Soundtracks

"Ryoshu"
("Dreaming of Home and Mother")
Written by John Pond Ordway

User Reviews

"Down in Burma, the soil is red. So are rocks"

`I cannot leave the bones lying scattered on the hills.'

More melodramatic than his harrowing Fires On The Plain, Kon Ichikawa's The Burmese Harp is still an excellent film and a fascinating glimpse at another perspective of the 2nd World War than the usual (myopic and infantile) Hollywood triumphalism. As with many Japanese films from this period, from Kurosawa to Godzilla, it has an elegiac and reflective quality to it born of the shock and disillusionment that followed the war.

I personally was a little uncomfortable with the first 20 minutes of the film that were a little hokey with the singing platoon trying to slip through the forests of Burma to the Thai frontier. However, the film really begins to become compelling and very poetic with the character Mizushima's mission to Triangle Mountain and his voyage south to Mudon to rejoin his unit now in prison camp. Undergoing a symbolic `death' and injured, he is nursed by a priest, but steals the priest's garb as a disguise. However, on the way he passes great numbers of Japanese and is horrified by what he sees. When he arrives at his destination and is staying at a monastery, one monk comments, `You seem to have come through such severe hard training.' He cannot return to his unit. He is determined to bury the dead, to extend empathy to each of them and to pray for their souls. The physical journey is symbolic of a physiological and spiritual journey and is some very creative and effective storytelling. There is much more to the movie, plot wise and thematically, than this, but this is what impressed me most.

The imagery is incredible whether it is raindrops collecting and then running along barbed wire, dripping off; or the mud along the riverbanks; or the scene of Mizushima burying corpses at the river, a few villagers standing behind, watching; or the priest bathing in the river; or the shot of Mizushima disappearing into the mist. There is one moment in the prison camp which occurs during a rainstorm. I was really impressed with the natural lighting which gave me the sense of being there. I have looked out windows on days like that as those characters are and the experience "feels like that scene looks". It is incredible how evocative the Japanese films of the period were.

The film reminded me of Stone's Platoon with similar music, symbolism, characters, and melodrama. It also seems to have affinities with Apocalypse Now, in that the central concern is not action or tension (though they do not lack these qualities) but potent ideas and a sense of mystery. Both Apocalypse and Harp involve `pilgrimages' and characters transformed by the horror of the situation. They both involve characters unable to return home after this evolution. I do not know if either of these films was influenced by The Burmese Harp, but if they were they modeled on an excellent and moving predecessor.

Akira Ifukube's score is classic and will probably sound somewhat familiar to the viewer. He has scored nearly 260 films, including films in the popular Zatoichi series and many of Toho's sci-fi films.