7.9/10
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Black Rain (1989)

Kuroi ame (original title)
Not Rated | | Drama | 1 February 1990 (USA)
The story of the aftermath of the Hiroshima bombing, based on Masuji Ibuse's novel.

Director:

Shôhei Imamura

Writers:

Masuji Ibuse (novel), Shôhei Imamura | 1 more credit »
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26 wins & 5 nominations. See more awards »

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Cast

Cast overview, first billed only:
Yoshiko Tanaka Yoshiko Tanaka ... Yasuko
Kazuo Kitamura Kazuo Kitamura ... Shigematsu Shizuma
Etsuko Ichihara Etsuko Ichihara ... Shigeko Shizuma
Shôichi Ozawa Shôichi Ozawa ... Shokichi
Norihei Miki ... Kotaro
Hisako Hara Hisako Hara ... Kin
Keisuke Ishida Keisuke Ishida ... Yuichi
Masato Yamada Masato Yamada ... Tatsu
Tamaki Sawa Tamaki Sawa ... Woman in Ikemoto-ya
Akiji Kobayashi ... Katayama
Kazuko Shirakawa Kazuko Shirakawa ... Old Woman with white flag
Kenjirô Ishimaru Kenjirô Ishimaru ... Aono
Mayumi Tateichi Mayumi Tateichi ... Fumiko of Ikemoto-ya
Toshie Kusunoki Toshie Kusunoki ... Kane
Reiko Nanao Reiko Nanao ... Rui
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Storyline

Mr and Mrs Shizuma, and their niece Yasuko, make their way through the ruins of Hiroshima, just after the atomic bomb has dropped. Five years later, Yasuko is living with her aunt and uncle, and her senile grandmother, in a village containing many of the bomb survivors. Yasuko does not appear to be affected by the bomb, but the Shizuma's are worried about her marriage prospects, as she could succumb to radiation sickness at any time. Written by Will Gilbert

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

Not Rated | See all certifications »
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Details

Country:

Japan

Language:

Japanese

Release Date:

1 February 1990 (USA) See more »

Also Known As:

Black Rain See more »

Filming Locations:

Yoshinaga, Okayama, Japan See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby SR

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

There was a color epilogue filmed that takes place in 1965 that was cut from the final version of this film. Takashi Miike has stated in an interview that director Shôhei Imamura, who behaved in a very demanding manner throughout the shoot, felt that though he did not wish to cut this alternate ending, that he needed to anyway, and that is why it was cut. See more »

Quotes

Shigematsu Shizuma: "An unjust peace is better than a just war." It's important to note that this is said cynically.
See more »

Connections

Referenced in Independence Day (1996) See more »

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User Reviews

 
terror and pity
29 July 2002 | by allan825See all my reviews

The opening of Imamura's masterpiece avoids mere sensationalism in its depiction of the unfathomably horrifying events of August 6th, 1945, in which 90% of Hiroshima and tens of thousands of lives were annihilated in an instant. Instead, Imamura emphasizes the unprecedented strangeness of the catastrophe, focusing on such portentous images as the diabolic mushroom cloud louring silently in the distance and the black rain that spatters a beautiful young woman's face. The rest of the film traces the ramifications of the latter incident, bringing the atomic holocaust and its aftermath (over 100,000 people died of radiation poisoning) down to the intelligible level of the plight of Yasuko (Yoshiko Tanaka) and her small "community bound by the bomb."

The survivors strive for normalcy and continuity, most notably by attempting to find a suitable marriage for Yasuko, but the imminent possibility of radiation sickness shadows every aspect of their lives. Yasuko's potential suitors, naturally enough, shy away from a young woman, no matter how attractive, who might suddenly grow sick and die. Genuine love, when it finally does appear, does so unexpectedly and ambiguously. We are left wondering if love across class lines is more a token of Yasuko's status as "damaged goods" or of a common humanity, thrown into bold relief by harsh circumstances, that transcends class divisions.

The film's classically restrained style intensifies the impact, the spare, eloquent interior shots reminding us that Imamura began his career as an assistant to the great Ozu. Imamura's mastery is evident, for example, in the paired scenes of Yasuko bathing, the first emphasizing her lovely back and legs, the second how her hair is falling out. The shots stand almost as bookends to the narrative's trajectory, distilling its tragic essence. The film's documentary-style realism is violated for expressive purposes several times, perhaps most notably in a scene that lays bare the troubled interior life of a shell-shocked veteran. Both the score by the renowned avant-garde composer Toru Takemitsu and the stunning black and white photography contribute greatly to the film's brooding atmosphere. When, in the final shot, Yasuko's uncle (Kazuo Kitamura), the film's laconic narrator, looks to the vacant sky for a rainbow as a sign of hope and regeneration, the black and white imagery suddenly becomes so poignant that it is almost unbearable. Few films from Japan (or anywhere else, for that matter) could be compared to the great, humanist Japanese masterpieces of the 1950s. This film is one of them. When I finished viewing it for the first time, I sat stunned, unable to move for at least five minutes, overwhelmed as I was by the emotions great tragedy should inspire: terror and pity.


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