The Human Condition Trilogy

The Human Condition (3/3) – Escaping Death/Wandering in the Wilderness

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the-human-condition-film-poster

Masaki Kobayashi’s monolithic trilogy, The Human Condition (1959-61) is a legend in cinema history. Based off of the six part novel by Junpei Gomikawa (which has never been translated into English, fun fact), the 9 hour trilogy is an epic chronicle of one pacifist’s journey through the last years of Japan’s involvement of WWII and its defeat, while exploring and navigating the brutal heart of darkness of the governing systems of imperialism and aggression, alongside its often vicious and intolerant perpetrators. Seen through the eyes of Tatsuya Nakadai who plays Kaji, we take an ardently non-conformist journey through Japan’s savage heart.

Using the recently re-released Arrow Films version (found here) I will be detailing the experience of the 9 hour epic in three parts. Each film is divided according to its Japanese version into two parts, making for six parts in total, the names of which title the entry.

A final reckoning with death is everyone’s last stop. The infinite paths of life can take you in almost every direction, in any combination, with everything in between ready to distract and re-direct you. But no matter how complex or confusing your path may be, you and everyone and everything around you will inevitably weave your way towards the same point. Whether something comes beyond it, whether you run from it and try to circumvent it, whether you walk willing into its arms or if you’re taken there by a cruel twist of fate is all part of your games with life. But you will always arrive at that door. And it will always open. And you will always have to go through it.

A.O Scott said in his 2008 review that “Kobayashi’s monumental film [referring to the whole series] can clarify and enrich your understanding of what it is to be alive.” Kaji (like all of us) is fated to die. And as he reaches that point, as his soul is stripped bare for a 9 hour and 47 minute celluloid odyssey, I really did gain some clarity in what it means to be alive, or at the very least, I managed to see the flames which drive us onward in the dark of night.

A Soldier’s Prayer (1961, Dir. Masaki Kobayashi) is the final installment in The Human Condition/Ningen No Joken. In film history, often the last film in a series has usually faltered in quality in comparison with the first or second installment. Regardless of your opinion of The Godfather Part III (1990, Dir. Francis Ford Coppola), it is a laughable challenge to make a case for it being a better film than The Godfather (1972, Dir. Francis Ford Coppola). Spiderman 3 (2007, Dir. Sam Raimi) may be a dream or a nightmare in your eyes, but it is tough to argue its a better made film than the first one, Spiderman (2002, Dir. Sam Raimi). That is not the case with A Soldier’s Prayer, this in my eyes is easily the most intense and well crafted of the three, if only because it builds on the already well established expertise and foundations of the first two.

It does this in two ways. The style of the film evolves in this part, most prominently in Yoshio Miyajima’s cinematography, which morphs from its stark realism into these hallucinogenic dutch angles, as characters traverse the increasingly feral landscapes, with increasingly feral desperation. The first episode in the film is one of its most harrowing, as Kaji leads a group of refugees and defeated soldiers through a seemly endless forest, food dwindling, tensions fraying and people dying. As they wander the terrain, the camera’s impact increase tenfold as it becomes disoriented, falling off its axis and looking at its subjects in increasingly strange angles. They begin to brush with death from sheer exhaustion, and even the camera struggles to stand. The cinematography is still just as exquisitely precise, but after two films of realist looking, the switch is powerful.

The soundtrack slowly begins to segue into a more nebulous world as well. Not only does the work of the composer Chûji Kinoshita grow increasingly intense and overwhelming when it is used, but Kaji engages in a series of internal monologues and visions of his imagination, mainly to do with his primal goal driving him home of his devotion to his wife Michiko (Michiyo Aratama). Beyond the sound, the lighting of the film becomes far more impressionistic and influenced by techniques of chiaroscuro, as Kaji’s battle and his character become increasingly darker. This is a far cry from the fresh-faced Kaji who came to improve labour conditions in the prisoner’s work camp, in No Greater Love, and the technical choices of the film are incredibly well orchestrated to reflect that, right up until its final seconds.

Meanwhile, as I’ve been hinting at, Kaji’s trajectory continues on one of the cruelest downward spirals ever committed to celluloid. True there are many stories of suffering, of characters inhabiting worlds somehow even uglier than the one Kaji lives in, but watching every step of Kaji as he is laid low by the world around him, as the half dreams of the socialist republic are destroyed piece by piece when Kaji finds his role reversed, now a prisoner in a war camp rather than managing the prisoners. Every act of his rebellion, resistance to the ugly and vicious world surrounding him, is betrayed the moment he turns his back. His pain lies not just in that people can’t be as good as him, but that people are so indifferent to the concept of good at all. Kaji reckons with the realisation that only the strong survive, but the cost they pay is one he can hardly bear.

When I spoke on part two, Road to Eternity, I talked about Kaji reaching his breaking point to survive. Here however, Kaji breaks well and truly because his pacifism shatters into an act of furious vengeance, rehabilitation giving way to the bursting dams of retribution. Kaji furiously beats a man to death with his own prisoner’s chains, before leaving him to drown in the latrines, a man responsible for the purposeful death of Kaji’s friend and surrogate son, Terada. Kaji becomes unbearably human as the weight of the injustices he had to endure forces him to snap, he can no longer turn the other cheek to the violence he has suffered through. It’s both intensely cathartic and deeply sad.

The film expands even further beyond Kaji here, as he encounters figures beyond his immediate surroundings. Refugees fleeing the fighting are cut from all cloths, and their wounds bleed too. In this existential world, there are no heroes and villains, only humans who are capable of both. This reaches its crisis when Kaji and his soldiers enter a town made up almost exclusively by soldier’s wives. In what many would simplistically as a detour into a fantasy harem, Kaji understands the morbid revelations told to him by one of the more outspoken wives, as oaths of fidelity and marriage are broken against the terror of the abandonment the women suffer. The conflicting ideals and desires and fears are the stuff of humanity, and the film’s scope is enriched more so than the previous installments simply due to the range and variety of people encountered.

A Soldier’s Prayer really is a reckoning. A reckoning with death yes, but also with every theme and instance of suffering Kaji and the audience endured. Due to the novel’s and film’s immense popularity, it’s said that Kobayashi received letters reportedly begging him to give Kaji a happy ending. What really cuts through this, is not the fact the letter was written, but where the letter came from, a sense of profound empathy and a desperate hope to allow Kaji some grace, some respite from his sufferings. And Kobayashi’s unwillingness to compromise is reflected in Kaji’s unwillingness to give up, right up until his last breath. What it cleared up for me then (in being alive), was the reckoning that life contains many sufferings with only glimmering moments of relief snatched from its jaws, no matter who you are. You may never win, but resistance is not futile. For all of Kaji’s trials, what makes them worthy is his ability to inspire, not through physical violence or shrewd trickery, but by sheer force of will.

Even if Kaji is just a fictional construct, a character in a story that was put together in the head of another man, who’s played by an actor (with legendary eyes) it doesn’t matter. Kaji is an idea. And you can’t kill an idea. It will just wander in the wilderness until its rediscovered. Go rediscover it.

Kaji

-Alex

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The Human Condition (3/3) – Escaping Death/Wandering in the Wilderness

The Human Condition (2/3) : Nostalgia/The Fog of War

Alex, , , , , , , , , , , , , , , , , , , , , Leave a comment

the-human-condition-film-poster

Masaki Kobayashi’s monolithic trilogy, The Human Condition (1959-61) is a legend in cinema history. Based off of the six part novel by Junpei Gomikawa (which has never been translated into English, fun fact), the 9 hour trilogy is an epic chronicle of one pacifist’s journey through the last years of Japan’s involvement of WWII and its defeat, while exploring and navigating the brutal heart of darkness of the governing systems of imperialism and aggression, alongside its often vicious and intolerant perpetrators. Seen through the eyes of Tatsuya Nakadai who plays Kaji, we take an ardently non-conformist journey through Japan’s savage heart.

Using the recently re-released Arrow Films version (found here) I will be detailing the experience of the 9 hour epic in three parts. Each film is divided according to its Japanese version into two parts, making for six parts in total, the names of which title the entry.

Why is this story called “The Human Condition”? It is impossible to encapsulate all the infinite variations and possibilities of conditions a human being could go through. Even if everyone is linked through six degrees of separation, can you really claim to build artworks which speak of the experience of every human, of their conditions? A claim in that direction could be the absence of colour in the film, since its tones are only that of the white-black spectrum. Technical choices aside though, what gives this story its right to lay claim to the experience of the “human condition”?

Entry two, Road to Eternity (1960, Dir. Masaki Kobayashi) has its own answer, just as its previous installment did, No Greater Love (1959). To crudely reduce the films to a single word and a single theme, if No Greater Love was about resilience, resilience in the face of an entrenched corrupt and mismanaged system of factions, then Road to Eternity is about survival, and surviving those systems. Kaji’s fate and his soul has been darkened by his previous encounters, his already innumerable failures to protect his ideals and himself through pacifism. Here Kaji’s pacifism is pushed to its breaking point, as the desire to survive eventually forces Kaji into the corner; to fight or to die.  And while he does his best to fight power with non-violence, to martyr himself for those around him at his own physical and mental expense, even Kaji must come to terms with the violent and brutal conflict which drives every human.

The technical choices I don’t have much to say on, simply because what has been said before continues to be the case here. Kobayashi (in an interview found in the Arrow release booklet) said he found the best cinematographer in Japan to film the series, Yoshio Miyajima, and his deep-focus multi-layered compositions continue to fill your eyes, arresting images through placement of the action in front of the camera, rather than any mechanical wizardry of the camera itself. So too does the music and soundscapes remain austere and sparse, the ambient noise of the world minimal, with the dialogue continuing to take precedent. Even the battle scenes are a far cry from the dense muddy clashing landscapes of sound and vision in say, Saving Private Ryan (1998, Dir. Steven Spielberg).

There is no spectacle of war here, no feast for the eyes, not in my opinion at least. Is this because of directorial intention, or simply the cinematic limitations of the time? After all, the way of shooting film by the time of Saving Private Ryan, not only the technology but the psychology and methods of directors nearly 40 years later would barely have been imagined in 1960. Not only that, but the psyche of the Japanese, and the way they viewed their war is miles away in the psyche of how Americans viewed their involvement in the war. Disentangling this issue seems fruitless, since it’s probably a mix of those two elements and more.

No doubt as to how Kobayashi and the story’s original progenitor, Junpei Gomikawa see the war though. Kaji swaps labour supervision for military ranks, and is exposed to a system which creates even more hostility and bitter resentment. Japan’s imperialistic mentality flaunts itself here, as cruel veterans and vicious commanding officers punish the recruits, to weed out the weak and create soldiers “worthy of Japan”. The suffering reaches its peak as a soldier Kaji was looking out for, Obara (Kunie Tanaka), commits suicide. Kaji presses for condemnation, but it’s no use. What changes in Kaji is his despair turns outward, as he begins to become willing to take matters of retribution and justice into his own hands. And hanging over all this, is the dream of the Soviet Union and socialism, a world which treats its men “like human beings”. Kaji’s hope no longer lies in reforming the world, but in a world where his reforms have already taken place.

But a martyr refuses a quiet death, and he continues to resist, taking over command of a battalion to prevent the same cruel treatment inflicted upon him happening to others. And his punishment at the hands of veterans climbs and climbs, until even unflinching defender Kaji breaks, in one of the films most powerful and well shot scenes, a man with nothing left to lose. Finally finding himself on the battlefield, undernourished, unprepared, and facing certain death, Kaji reaches the end of his transforming, as reality’s crushing weight comes down finally on him. Running into the wasteland of the scarred battlefield, Kaji screaming “I’m a monster, but I’m still alive” is mutely blood-curdling. Many more violent deaths have been filmed, been shown to us onscreen, but few have carried so much weight, not in narrative terms necessarily, but in terms of morality. Kaji’s beliefs are sundered apart from his actions, as his pacifism submits to the most primal instinct; the desire to survive, at any expense.

All this is naturally, bleak and depressing and tough to sit through. Suffering is a natural part of living. so why would you make a film, three films, or write a six volume novel about the relentless suffering endured by a single figure, to compound it happening to a single figure, watching him come apart at the seams under an unendurable weight, like Atlas holding the world?

Because Road to Eternity, is about “the human condition”, and its refusal to let up or compromise on the suffering endured by Kaji, and Obara, and everyone in the film is a reflection, a reflection of every act of cruelty and unfairness that worms its way into the hearts and minds of every man in every society, regardless of who you are. The painful reckoning is that what happens in the world so often, is not right. It’s not right, it’s not kind, and it’s not fair. But it happens regardless. It has to happen. It’s a game that everyone is rigged to lose.

What is noble is to try to win anyway. To battle the impulses of nature, to try to be more despite the stains of living, that’s what is admirable.

-Alex

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The Human Condition (2/3) : Nostalgia/The Fog of War

The Human Condition (1/3) – No Greater Love/Fury

Alex, , , , , , , , , , , , , , , , Leave a comment

the-human-condition-film-poster

Masaki Kobayashi’s monolithic trilogy, The Human Condition (1959-61) is a legend in cinema history. Based off of the six part novel by Junpei Gomikawa (which has never been translated into English, fun fact), the 9 hour trilogy is an epic chronicle of one pacifist’s journey through the last years of Japan’s involvement of WWII and its defeat, while exploring and navigating the brutal heart of darkness of the governing systems of imperialism and aggression, alongside its often vicious and intolerant perpetrators. Seen through the eyes of Tatsuya Nakadai who plays Kaji, we take an ardently non-conformist journey through Japan’s savage heart.

Using the recently re-released Arrow Films version (found here) I will be detailing the experience of the 9 hour epic in three parts. Each film is divided according to its Japanese version into two parts, making for six parts in total, the names of which title the entry.

No Greater Love (Ningen No Joken I in Japan) is the first experience and introduction into the world which Kaji inhabits. And Kaji is onscreen for almost 90% of the film’s running time, anchoring us in place around the constant swirling cast of characters which move alongside him. Given a chance to be exempt from military service, Kaji and his wife Michiko (Michiyo Aratama) move to a mining camp in Manchuria to govern the labour management, who Kaji believes are being ill-treated and thus causing low productivity.

Not just that, but it becomes Kaji’s battleground as he fights an ideological war on how human beings should be treated. For the first in a war epic, there’s little to no experience of anything you might see as traditional warfare. Instead Kaji takes on the welfare of Chinese POW’s against tyranny, corruption, fervent nationalism, hostility from the POW’s and the snakes in the grass which threaten to take him down. Make no mistake, in entering any part of The Human Condition, you are entering a world of moral and ethical conflict.

Kobayashi’s technical work on display here is very simple, very clear. Strong, multilayered deep focus compositions abound throughout the entire film. The film stages its action very classically, but by doing so keeps everything in focus, making sure not to drive the film into Kaji alone. The film follows Kaji, but Kaji spends little time on anything else beyond the welfare and the warfare of his friends (who could be enemies) and his enemies (who are enemies). Because so much of the action takes place through different depth planes, shots seem to breathe and the editing of the film is set to a slow pulsing rhythm which only rarely feels at times it drags. Of course, to the hyper sensitive, hyper frenetic editing paces of today’s visual media, the film will naturally feel slow.

But its slowness allows time to ponder and reflect on the events unfolding. So too does its sparse, austere sound. Technological limitations of its time mean audio tracks were mixed in mono sound, with the third and last film being the first in Japan to release with a stereo sound mix. Technological details aside however, the film is constantly quiet. Dialogue fills the space and the sound of brutal thuds and slaps on flesh recur, and the musical score reveals its melancholy tone, or allows for a few fleeting seconds of joy to burst through the screen. Mostly though its sound is devoid of distraction, which keeps the film more “pure” if you would like. The clatter and din of reality may be absent, but then this isn’t a documentary.

Kaji’s clash with the forces of reality is incredibly prevalent however, as the film chains us to him as we watch his ideas meet the muddy and soiled nature of real men and women against his unbreakable spirit. His unwillingness to compromise continually places him in danger, aggravates his situation, allows him to be played and fooled by those willing to exploit his desire to protect others from harm. You could imagine how this might get repetitive after 2 out of its 3 hours, but Kobayashi mines the source material (how much, if any was written purely for the film I cannot say) and brings to life not only engaging subplots, which explore ideas that can’t be expressed through Kaji, such as the story of the prostitute (comfort-girl) who falls in love with a hardliner idealist POW whose story becomes a symbol of both manipulation by shrewd higher-ups and love blossoming in the unlikeliest of circumstances.

Not only that, but the subplots also produce enough variance while being able to continually hammer away at the same bitter theme; the suffering encountered in being human. Like the encroaching tide, each wave which approaches Kaji is both the same and completely different, and all of it washes over him. It’s a profoundly existential film, or maybe that’s just my reading of it, but I found it awash and brimming with that continual torment of being alive, the incessant negotiations of a landscape of people who are often indifferent or hostile to your concerns. Watching a particularly naive and fresh-faced Kaji endure biting pain is a testament to the resilience of any of those who have suffered under similar chains. The rule of those who are unkind, brutal, sadistic or perhaps just plain incompetent and inefficient. The conflict that rips Kaji apart (driving him to near death) is those that care more about the word of law and how to apply it/circumvent it and the spirit of the law.

Resilience seems to be the key theme, at least in No Greater Love. Each character is profoundly resilient, both the good and the wicked. They care greatly about survival, but like Kaji, not all of them care about themselves. Kaji’s survival is a spiritual one, of trying to retain his humanity in the face of increasingly difficult and inhumane conditions. Michiko tries to retain her husband’s survival along with her survival of her self, as forces Kaji to stop being blind to her. Kao (Shinji Nanbara) and Wang Hen Li (Seiji Miyaguchi) (names are akin to the ones presented in the Arrow version) represent the strain for survival under the net of imprisonment. The Kenpeitai (Japanese military police) enforce the survival of strict miltary discipline and imperial honour, at the expense of anything else. While other characters may be driven by more base motives, they are no caricature villains in this. Just the ugly, dark natures involved in existence.

Despite all this, the reason for its power lies in its ability to stay true to the world. The world is not unrelenting in its pain. Even if it’s only fragments, moments snatched away from the jaws of darkness, there are powerful moments of joy and of triumph. A river ebbs and flows, and even the darkest world needs a little bit of light to illuminate it. Kaji exists like a candle in the black and white frame, almost glowing at times with determination and resistance in the face of physically and spiritually overwhelming odds. Of course it is bleak, but the bleakness of the world motivates Kaji into being, drives him to near obliteration to stand up and do what is right. Perhaps its bleakness lies in the fact that we know it to be so true, but that should never be the end of the story.

For people like Kaji, it’s only the beginning. And even though he may be a fiction, an idea and an ideal, having a star to look up to is a refreshing change of pace from wallowing in the mud.

-Alex

P.S If you liked this please follow us on twitter here for updates. Also we have a DONATE button on the side and if you have any change to spare would be appreciated!

The Human Condition (1/3) – No Greater Love/Fury