Displaying a growing complexity of thought regarding their part in the war, Sensuikan I-57 kofuku sezu (Submarine I-57 Will Not Surrender), is decidedly different from previous Japanese films about the war that I've seen up until now. Immediately after Japan's defeat there seemed to be a certain deference to the victors in portrayals of military action but director Shue Matsubayashi, a veteran sailor from the war himself, takes an entirely opposite approach and delivers a film that could have easily been made during the war proper. Perhaps it isn't a coincidence that the US was also entering into a phase where World War II films were once again becoming in vogue and this - call it nostalgia - for those terrible days was becoming possible and borderline rosy.
In the absolutely final days of the war one of the last surviving subs of the Imperial Navy is pulled from action to escort a western diplomat (Andrew Hughes), who is willing to plead Japan's case to the Allies, to a rendezvous in the Atlantic. None of the battle hardened veterans are thrilled with the idea and are even less so when the diplomat's daughter (a one and done Maria Laurenti) also comes on board. There's a fascinating back and forth between the crew and Laurenti, in fact between everybody, ranging from duty, obligation, understanding, and the samurai spirit. Really intriguing stuff. Even the opening depiction of an attack using one man kamikaze mini-subs was a bit of a shock. I don't recall ever seeing that before.
Production value and style are generic Toho, lots of models and the like but it's easy to suspend modern SFX expectations and to just go with it. While the basic story may be a tad generic the between the lines bits make this worth seeing.
In the absolutely final days of the war one of the last surviving subs of the Imperial Navy is pulled from action to escort a western diplomat (Andrew Hughes), who is willing to plead Japan's case to the Allies, to a rendezvous in the Atlantic. None of the battle hardened veterans are thrilled with the idea and are even less so when the diplomat's daughter (a one and done Maria Laurenti) also comes on board. There's a fascinating back and forth between the crew and Laurenti, in fact between everybody, ranging from duty, obligation, understanding, and the samurai spirit. Really intriguing stuff. Even the opening depiction of an attack using one man kamikaze mini-subs was a bit of a shock. I don't recall ever seeing that before.
Production value and style are generic Toho, lots of models and the like but it's easy to suspend modern SFX expectations and to just go with it. While the basic story may be a tad generic the between the lines bits make this worth seeing.
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