The Human Condition I: No Greater Love (1959)

A Japanese pacifist, unable to face the dire consequences of conscientious objection, is transformed by his attempts to compromise with the demands of war-time Japan.

Director:

Masaki Kobayashi

Writers:

Zenzô Matsuyama (screenplay), Masaki Kobayashi (screenplay)

Stars:

Tatsuya Nakadai, Michiyo Aratama, Chikage Awashima

5 wins & 1 nomination.

Cast

Cast overview, first billed only:
Tatsuya Nakadai	...	Kaji
Michiyo Aratama	...	Michiko
Chikage Awashima	...	Tôfuku Kin
Ineko Arima	...	Shunran Yô
Keiji Sada	...	Kageyama
Sô Yamamura	...	Okishima
Akira Ishihama	...	Chin
Kôji Nanbara	...	Kô (as Shinji Nanbara)
Seiji Miyaguchi	...	Kyôritsu Ô
Tôru Abe	...	Watarai Gunsô
Masao Mishima	...	Kuroki Shochô
Eitarô Ozawa	...	Okazaki
Kôji Mitsui	...	Furuya
Akitake Kôno	...	Kôno Taii
Nobuo Nakamura	...	Honsha Buchô

Storyline

In the World War II, the pacifist and humanist Japanese Kaji accepts to travel with his wife Michiko to the tiny Manchurian village Loh Hu Liong to work as supervisor in an iron ore mine to avoid to be summoned to the military service. Kaji works with Okishima (Sô Yamamura) and he implements a better treatment to the laborers and improves the mine production. When the feared Kempetai (The "Military Police Corps", the military police arm of the Imperial Japanese Army from 1881 to 1945) brings six hundred Chinese POWs to the mine, Kaji negotiates with their leaders expecting them to control their comrades. However the methods of Kaji upset the corrupt system in the site, and the foreman Furuya (Kôji Mitsui) plots a scheme to use the naive Chen (Akira Ishihama) to turn off the electrical power of the barbwire fences to allow the prisoners to escape. When seven prisoners are falsely accused of an attempt of fleeing, a cruel Kempetai sergeant uses his sword to behead the prisoners. When ...

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Plot Keywords:

1940s | japanese | pow | chinese | ore mine | 

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Taglines:

An extraordinary picture of man's fate and man's hope...

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Genres:

Drama | War

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Certificate:

Not Rated

Details

Country:

Japan

Language:

Japanese Mandarin

Release Date:

14 December 1959 (USA)

Also Known As:

Human Condition I: No Greater Love

Filming Locations:

Hokkaido, Japan

Company Credits

Production Co:

Ninjin Club, Shochiku

Technical Specs

Runtime:

208 min 107 min (part 1) 108 min (part 1) 99 min (part 2)

Sound Mix:

Mono

Color:

Black and White

Aspect Ratio:

2.35 : 1

Did You Know?

Trivia

A significant theme of Masaki Kobayashi's "Human Condition" trilogy is the obsessive love, bordering on worship, of the protagonist, Kaji, for his wife, Michiko, played in all three parts by Michiyo Aratama. Film director Masahiro Shinoda attributes the prominence of this theme to the impact upon Kobayashi's generation of the legendary French filmmakers of the 1930s, with their preoccupation with romantic love. However, according to Shinoda, this romantic idealization of the heroine was, for his own more cynical generation of Japanese film fans, a major stumbling block to their appreciation of the film. It was only later that Shinoda decided that he had no right to question Kobayashi's commitment to a feminine ideal, and accepted this aspect of the work as artistically valid.

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Goofs

At one point a Japanese guard begins to whip Kao, yet the motions he makes are just a flailing of his arms, visibly missing the actor. Kao retaliates by throwing a rock at the guard, but the rock never strikes the guard. However, the actor playing the guard overreacts as if he has been struck.

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Quotes

[first lines]
Michiko: This isn't like you.
Kaji: Why?
Michiko: You're running away. Don't you want me?
Kaji: Of course I do.
Michiko: And I want you, too. Yet we can't marry-...
Kaji: How many times must I explain?
Michiko: Because you might be called up? I wouldn't care if it was the day after. Of course I'd cry. I'd cry bitterly. But happiness only lies in marrying the one you love.
Kaji: Alright. I'll take you back to my dormitory. You'll stay with me tonight. Alright?
Michiko: Yes, I'll go.
[...]

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Connections

Referenced in Century of Cinema: 100 Years of Japanese Cinema (1995)

User Reviews

The struggle for humanity in an inhuman environment

An interesting film that portrays the struggles of an idealistic young Japanese man who is challenged to employ his idealism in the service of the Japanese war effort in WW II. A key aspect of this struggle is the protagonist's struggle within himself. Kaji, the young man, seeks to humanize the brutal conditions at a mining operation in Manchuria. Further complicating matters is the profound sense of national prejudice that shapes the relationships between the various characters. To the workers & Chinese prisoners, regardless of his professed ideals, Kaji is Japanese and therefore an oppressor. Although Kaji tries to win their trust, his own frustration enables him to strike a young Chinese helper, reinforcing the image of the brutal Japanese. This weakness is a key underlying theme. Even late in the film, when he takes a very brave stand against some executions, his effort is a bit late and his stand is successful only when the Chinese prisoners take up the protest. He struggles because her fears he cannot live up to the ideals he expresses.

Kaji is also confronted with the another irony. Although he opposes the war, he has chosen a route of avoidance rather than resistance. This is emphasized early in the film during an evening with a friend who is about to be inducted. His friend comments that, although they opposed the war, neither of them was brave enough to face the penalty for resistance of life imprisonment. Shortly thereafter, he takes the mine job to get a military exemption. Yet, if he is successful, the production improvements in the mine only fuel the Japanese war machine.

A valuable film because it explores areas of the pacific war that are not well know in the west. Also an interesting observation in the danger of half-measures when taking a moral stance. Kaji is ultimately confronted with the fact that you cannot avoid the war, only oppose it or aid it. I look forward to viewing the next film.