| Tatsuya Nakadai | ... | Kaji | |
| Michiyo Aratama | ... | Michiko | |
| Tamao Nakamura | ... | Hinannmin no Shôjo | |
| Yûsuke Kawazu | ... | Terada Nitôhei | |
| Chishû Ryû | ... | Hinanmin no Chôrô | |
| Taketoshi Naitô | ... | Tange Ittôhei | |
| Kyôko Kishida | ... | Ryûko | |
| Reiko Hitomi | ... | Umeko | |
| Keijirô Morozumi | ... | Hironaka Gôchô | |
| Koji Kiyomura | ... | Hikita Ittôhei (as Kôji Kiyomura) | |
| Nobuo Kaneko | ... | Kirihara Gôchô | |
| Fujio Suga | ... | Nagata Taii | |
| Tatsuya Ishiguro | ... | Dôkutsu Taichô | |
| Kazuo Kitamura | ... | Kitagô Sôchô | |
| Toshio Takahara | ... | Chôsen e Iku Heichô | |
| Akira Yamanouchi | ... | Kira Jôtôhei | |
| Hiroshi Nihon'yanagi | ... | Noge Shôsa | |
| Kôichi Hayashi | ... | Minagawa Tsûyaku | |
| Ko Mihashi | ... | Rôkyôshi (as Kô Mihashi) | |
| Kichijirô Ueda | ... | Sekitan'ya | |
| Saburoh Bouya | ... | Zakkaya (as Saburô Bôya) | |
| Masahiko Naruse | ... | Chôsenjin | |
| Takashi Sue | ... | Ogura Heichô | |
| Kin Sugai | ... | Dôro no Hinanmin | |
| Miyoko Nakamura | ... | Zakkaya no Tsuma | |
| Yoshie Minami | ... | Rôkyôshi no Tsuma (as Yoshi'e Minami) | |
| Noriko Ishimoto | ... | Sekitan'ya no Tsuma | |
| Takayuki Shindô | ... | Hinanmin no Shônen | |
| Fumie Kitahara | ... | Buraku no Hinanmin (as Fumi'e Kitahara) | |
| Gen'ya Nagai | ... | Heitai A | |
| Hideo Fukuhara | ... | Heitai B | |
| Tadayoshi Hirosawa | ... | Ide Ittôhei | |
| Tetsuo Mizoi | ... | Hoshô | |
| Daijiro Minami | ... | Ikkenn'ya no Rônôfu (as Daijirô Minami) | |
| Kanji Ôsugi | ... | Hatake no Chûgoku Nômin | |
| Mamoru Hirata | ... | Fukumoto Jôtôhei | |
| Hideo Hirosawa | ... | Heitai C | |
| Takao Tsuge | ... | Heitai D | |
| Kôtarô Hirasawa | ... | Dassô Suru Heitai A | |
| Masatoshi Kanematsu | ... | Dassô Suru Heitai B | |
| Yuichi Kikuchi | ... | Ujii'e Jôtôhei (as Yûichi Kikuchi) | |
| Hachirô Maruyama | ... | Tsûyaku | |
| Akira Kimura | ... | Chûgokujin no Wakamono | |
| Yasuo Minami | ... | Naganuma - Chûi | |
| Hideko Aki | ... | Hinanmin no Onna | |
| Mikiko Suzuki | ... | Hinanmin no Onna | |
| Yumiko Oguri | ... | Hinanmin no Onna | |
| Kazuko Hirano | ... | Hinanmin no Onna | |
| Yoshiko Watanabe | ... | Hinanmin no Onna | |
| Yôko Hayashi | ... | Hinanmin no Onna | |
| Fumiko Kondô | ... | Chôsenjin no Tsuma | |
| Edo Kîn | ... | Sorengun Shôkô | |
| Ronarudo Serufu | ... | Chabâefu | |
| Pôru Rafaero | ... | Tôbatsutai no Shikikan | |
| Wiriamu Bassun | ... | Shisatsu Sareru Hoshô | |
| Henrî Ban | ... | Manjûya | |
| Hideko Takamine | ... | Hinanmin no Onna |
Directed by | |||
| Masaki Kobayashi | |||
Writing credits | ||
| Zenzo Matsuyama | (screenplay) (as Zenzô Matsuyama) & | |
| Koichi Inagaki | (screenplay) (as Kôichi Inagaki) & | |
| Masaki Kobayashi | (screenplay) | |
| Jumpei Gomikawa | (novel) (as Junpei Gomikawa) | |
Produced by | |||
| Masaki Kobayashi | .... | producer | |
| Shigeru Wakatsuki | .... | producer | |
Original Music by | |||
| Chûji Kinoshita | |||
Cinematography by | |||
| Yoshio Miyajima | |||
Film Editing by | |||
| Keiichi Uraoka | |||
Art Direction by | |||
| Kazue Hirataka | |||
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| The Human Condition II: Road to Eternity | The Human Condition I: No Greater Love | Farewell My Concubine | Empire of the Sun | Japan's Longest Day |
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| Full cast and crew | Company credits | External reviews |
| IMDb Drama section | IMDb Japan section |
Ningen no jôken is a masterpiece film but is also painful to watch most of the time. Nonetheless, it is a tour de force to be lauded for its direction, cinematography and acting at every turn. Most of those commenting in previous discussions mention the virulent anti-war sentiment of the film which is abundantly evident. It was interesting that much of the film is autobiographical, inspired by Kobayashi's war experiences. He too refused to be an officer when he qualified, and stayed a private throughout the war. An interesting point came up when I was watching the fourth DVD in the Criterion edition of The HumanCondition which is a series of three insightful interviews. During his comments the director Masahiro Shinoda mentioned that he thought at the time, the romantic love Kaji had for his wife, Michiko, was overly sentimental and unrealistic. He thought that it was due to the fact that Kobayashi and his peers were born of another age whose romanticism was the norm and unsullied by his generation's sobering war experience. He said that he had also consulted the internet to see the opinions of the film among contemporary young people in Japan today, and found that they too, thought the love unrealistic. He felt the love should have been more erotic and less idealized. The remarks of another commentator solidified my opinion of this issue about Kaji's love. That writer stated that the title really means more like "condition for being human." This confirmed my opinion that Kobayashi's point of the film is that what makes one human, in the best sense of the word, is love. Otherwise we devolve into some type of cruel bestiality found in the phrase 'man's inhumanity to man.' This inhumanity is evident throughout the film, whether in the sadism of the other Japanese soldiers, the cruelty of the guards to the Chinese prisoners, or in the malice of the of the Russian overseers. However, the Kaji character is set apart: he sticks to his ideals, he is humble, he displays selflessness as seen when he gives his food to another or when leading the men and puts them ahead of himself. He is a type of everyman whose being is elevated above merely satisfying physical needs and responding to base instincts. He remains an ennobled human not a saint above the fray, but his love gives him the will to live, to continue on and to even do good when surrounded by evil. Love is the condition for being human.