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      Constrained by the draconian Film Law, which imposed restrictions on content and expression, Japanese cinema faced profound ideological challenges in the early s. Seeing only poetry in the situation, he begins to speculate on what the woman who dropped it might be like, whereupon the lady in question Kinuyo Tanaka returns to the spa from Tokyo in contrition. Released in the week of the anniversary of Pearl Harbour and given a human hook in its narrative involving the training of two brothers, its dramatic reconstruction of the aerial attack using model work by Eiji Tsuburaya, the special effects wizard behind Godzilla , was considered so convincing that the US occupation authorities reputedly assumed the footage was genuine and seized all prints of the film at the end of the war.

      This tender account of a humble rickshaw man who falls in love with a young widow is one of the finest and most moving films produced during the war years. A renowned director in pre-war days, Mansaku Itami father of the late 20th-century satirist Juzo Itami was too ill to helm this project, but nevertheless furnished it with a superb script that gave full expression to his liberal principles.

      Indeed, it was cut by the militarist censors, who disapproved of its unabashed humanism. Director Hiroshi Inagaki imbued the film with convincing period atmosphere and elicited a superb central performance from Tsumasaburo Bando. He would remake the film in with the great star Toshiro Mifune in the lead; for most viewers, though, this earlier version remains the definitive one. Made during the final stage of the Pacific War, when the film industry was under state control and subject to strict censorship, Army is intended to convey the patriotic commitment of an average family.

      The father Chishu Ryu and mother an astonishing Kinuyo Tanaka are proud to send their son to the Manchurian front for the glory of the empire and the honour of the family. Debunking the ideological illusion of self-sacrifice and duty of the rest of the film, the last scene not only presents the love and suffering of a mother, but also becomes a milestone of emotion, ambiguity and resistance against the dehumanising representation of jingoism in propaganda films.

      Of course, Kinoshita paid for his audacity and did not direct another film until after the war. Its similarly slight narrative unfolds as a series of comic vignettes set to rousing military songs as the eponymous hero, born from a peach in a Japanese folktale, oversees the battle preparations of his airborne and seaborne squadrons of pheasants, monkeys, rabbits, dogs and other animals.

      Chilling stuff, but fascinating nonetheless. Depictions of the floating world ukiyo — the culture of pleasure and decadence centred around the red light districts of the Edo period — had been central to Japanese cinema since the pioneering days. Yet in the immediate aftermath of the Second World War, the occupying American forces banned period films for what was seen as their nationalistic celebrations of the past.

      For his second postwar production, Kenji Mizoguchi seems to have broken the cordon with this self-reflexive biopic of the 18th-century printmaker Kitagawa Utamaro, known for his portraits, scene-painting and erotica.

      Though a versatile filmmaker who worked in many genres, Shimizu is celebrated above all for his films about children. This independently produced masterpiece, shot against the backdrop of a Japan scarred by war, is certainly the most urgent and probably the most moving of them all. It tracks the journey of a group of war orphans led across western Japan by a demobilised soldier to the orphanage where he himself was raised.

      The backdrop of springtime underlines the sense of necessary change as time moves on, but as the camera lingers in hallways and rooms after the actors have left them, the sensation of absence is crushing. A landmark release from the year-old Akira Kurosawa, Rashomon is heralded as the film that brought global attention to Japanese cinema and its star, Toshiro Mifune, following its unveiling at the Venice Film Festival in , where it won the Golden Lion.

      Mikio Naruse stands shoulder to shoulder with the greats of Japanese cinema, even as the bulk of his work remains difficult to see in the west. His run of masterpieces in the s sees him in contention here for nearly every year of the decade, but represented something of a comeback. Adapting a Japanese novel from the 17th century, this period drama depicts the inexorable fall of a woman in a feudal and patriarchal society, from being a young noble daughter to becoming an elderly, derelict streetwalker and beggar nun.

      Oharu, played by Kinuyo Tanaka at the peak of her performing career and her collaboration with Mizoguchi, suffers cruelty and injustice beyond words, losing everyone and everything that matter to her. Nevertheless, all along the way, she fights for survival and maintains her human dignity and morality against those who intend to humiliate her. In a seemingly straightforward plot, peasants hire seven ronin — masterless samurai — to protect their village from a bunch of plundering bandits.

      Despite the tragic story, the third film directed by Tanaka is a striking, well-crafted melodrama portraying the struggles of a middle-aged woman and mother facing divorce, illness and death. It was scripted by the young novelist Shintaro Ishihara, and launched his rakish younger brother Yujiro to stardom in his first lead role. Yujiro subsequently married co-star Mie Kitahara while Shintaro later retreated into the world of politics, achieving some notoriety as the outspoken Governor of Tokyo between to Yuzo Kawashima is the missing link between the classic Japanese cinema and the s New Wave.

      Inspired by the tradition of comic storytelling, or rakugo, Kawashima integrates characters from its classic repertoire with elements of the turbulent history of a midth century Japan on the verge of dramatic transformation, while also nodding slyly to the experience of the postwar Japan in which the film was made. Comedian Frankie Sakai, a regular collaborator of the director, gives a splendidly vital performance. This deliciously wicked satire on the new cut-throat competitiveness of the postwar corporate world depicts the employees of three rival confectionary companies and their efforts to outdo one another with a series of increasingly ambitious, not to mention ludicrous, promotional campaigns.

      The whole enterprise looks set to be brought to its knees, however, when the younger of the pair rebuffs her romantic advances, prompting her to capitalise on her newfound public popularity and go it alone. Yasuzo Masumura fills his widescreen scope frame with garish colours and hectic compositions in this marker point of modernist cinema.

      If The Burmese Harp was a humanist treatise on individual action and responsibility, Fires on the Plain unflinchingly illustrates the depths of dehumanising atrocity at the Philippine front in the final days of the war. Stark widescreen compositions lay bare the panorama of horrors through which the hollow-eyed, tubercular protagonist trudges, on an agonising quest to retain his sense of self between an opening slap to the face and the infernal descent towards cannibalistic insanity that follows.

      With virtually no dialogue, the hypnotic The Naked Island portrays the stoic routines of a family living isolated in a tiny island, tirelessly carrying water for their meagre crops. The extraordinary performances of Nobuko Otowa and Taiji Tonoyama, and the haunting sounds of their physical work accompanied with the cyclical music score by Hikaru Hayashi, make of The Naked Island an intense sensorial experience.

      It will leave your hands aching and your throat desperate for a sip of water. Susumu Hani had worked on documentary in the s, and the influence of the documentary form is very much apparent in his feature debut, an understated and affecting study of the lives of juvenile delinquents in a reform school.

      Its non-judgemental, carefully observant approach was to prove typical of Hani, who was to go on to realise a series of intricate dramas on themes of female emancipation and adolescent psychology, and to explore themes of culture clash in films set in Kenya and Peru. But this jidaigeki from Masaki Kobayashi, the director of the Human Condition trilogy and Kwaidan , stands as one of the most thrilling and sophisticated examples of the genre — a tense masterpiece of the widescreen frame.

      In it, an amateur entomologist goes bug-hunting in the dunes only to find himself trapped in the home of a strange young widow. As he becomes stuck in an increasingly surreal tryst, surrounded only by mountains of sand, a strange form of Stockholm syndrome starts to settle in. This monumental crime thriller, adapted from a novel by Tsutomu Minakami, opens with the recreation of a real-life typhoon that in sent the ferry between Hokkaido and the Japanese mainland plunging to the bottom of the sea with much loss of life.

      Mariko Kaga, in multiple roles, holds the film together with her haunting central presence. Number Three Killer is a member of the Tokyo underground with a fetish for the smell of steamed rice. Branded to Kill follows the hits of this nihilistic hero played by Joe Shishido through a delirium of breathless action, exuberantly exhibited in black-and-white widescreen Nikkatsu Scope. Considered by many the ultimate yakuza thriller, the film cost Seijun Suzuki his position as director in Nikkatsu studios, but also transformed him into a counterculture cult figure of world cinema.

      Nikkatsu accused Suzuki of making films nobody could understand, and perhaps they had a point. But who needs meaning when greeted with such a feast of visual bravado and startling editing? His film also critiques the societal structures that granted them such terrible power. A stimulating filmmaker and sharp critic, Toshio Matsumoto left behind a rich trail of experimental shorts in which he sought to dismantle the traditional visual aesthetic of cinema.

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      Working in vital partnership with his wife and star, Mariko Okada, he realised a sequence of films probing themes of politics and transgressive sexuality. Widely considered his masterpiece, it juxtaposes the life and loves of an early 20th-century anarchist with the experiences of two students researching his theories in the late s. Seventies exploitation never looked so stylish as when realised within the Japanese studio system, which fell back on more sensationalist fare to get it through the decade.

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      It was a game changer for the legendary actor Ken Takakura, previously typecast for his roles in Toei-produced yakuza films of the 60s including our choice, A Fugitive from the Past. Taking home a slew of domestic awards on release, The Demon tells the horrific tale of a father driven by his sadistic wife to abuse his children after their mother — his mistress — abandons them. This feverish, Dr.

      It features national rock star Kenji Sawada in the main role of Makoto, who assembles an atomic bomb in his tiny apartment with stolen plutonium and uses it to make demands on the Japanese government, among them allowing The Rolling Stones — then barred from Japan for narcotics possession — to play a concert in Tokyo. Though more evidently cast in the arthouse mould than the action B-movies he is remembered for, his first independent production, Zigeunerweisen, is much more representative of the Suzuki spirit.

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      His father warns his son not to visit the siblings after dusk, as it turns out that their mother Mariko Kaga is a sex worker receiving clients at night. Playing out like a blues song, Muddy River offers gorgeous black-and-white visuals to offset the pathos and desperation of its evocative setting. The late Nobuhiko Obayashi began his career as a pioneering figure in Japanese experimental film in the s before making his feature debut with the surreal, nay bonkers, haunted house tale Hausu — still his most famous film in the west.

      In the s, his work branched out in a more commercial direction. This scabrous, funny and visually inventive satire on the Japanese family and the bourgeois obsession with academic achievement was the first major work of director Yoshimitsu Morita, a fascinating presence in late 20th- and early 21st-century Japanese cinema.

      Yusaku Matsuda gives an outrageous performance as the tutor hired to coach a wayward adolescent; sadly this talented actor died of cancer, aged only 40, in Juzo Itami son of the respected pre-war director Mansaku Itami was long established as an actor, and had won acclaim playing the father in The Family Game the year before, when he made his belated directorial debut at the age of 50 with this pointed black comedy.

      One of the rare masterpieces of the s, this brooding, breathtaking fable is the most significant work of independent filmmaker Mitsuo Yanagimachi, who mingles the earthy and everyday with the mysticism of Shinto lore. A lumberjack in a remote fishing village resists the development of a planned marine park, stirring tensions in the community, as the story builds slowly and implacably towards a devastating climax.

      An admirer of Mizoguchi and Robert Bresson, Yanagimachi directed a sequence of austere and haunting dramas. Playing for the most part without dialogue, it drifts between illusion and allusion, toying with the conventions of both the silent film and hardboiled detective genres in a mobius-strip narrative that leads the viewer through a maze of such baroque locales as a carnival fairground and a deserted film studio.

      The sets are by Takeo Kimura, known for his work with Seijun Suzuki in the s, while cameos from a host of veteran talent include the benshi silent film narrators Shunsui Matsuda and Midori Sawato. Despite losing footage shot in New Guinea, Hara spent five years editing the remaining material to produce this extraordinary documentary, still screened every summer in Japan, reaching new young and curious audiences.

      Adapted from his own manga of the same name, its exhilarating mix of explosive and precisely animated action and a paranoid, dystopian narrative had a lasting effect on sci-fi, inspiring a new wave of cyberpunk anime and many western imitators. The cult director has gone on to make a number of vivid deconstructions of sexual repression and a will towards violence see the equally gruesome Tokyo Fist, , but Tetsuo will forever be his rawest: anarchy seared onto black-and-white celluloid.

      Schoolgirls have become a fetishised icon in Japanese cinema in the modern era, but The Cherry Orchard predates all that. Following an Italian fighter pilot cursed to live as a pig after the First World War, its plot may appear simple compared with much of his filmography, but there are complex emotions at its heart. Porco Rosso favours romantic adventure over sombre realism, in an unforgettable and high-flying anime that walks a delicate line between brightly-coloured derring-do and a melancholic reflection on lost love.

      An offbeat yakuza thriller, Sonatine sees the prolific TV superstar-turned-auteur throw his best punches as both performer, playing a tragic gang boss, and writer-director, as he offers up his poetic brand of minimalism, machismo and violence. His portrayal of a kingpin caught in a war between clans is full of despair, laying the groundwork for a nihilistic finale. It focuses on a year-old boy with an unrequited crush on his straight best friend; he in turn has feelings for a new girl in school, who has her own secret… Hashiguchi charts the shifting dynamics of the triangle with poise and precision in this gently paced and freshly observed film.

      Superstar Koji Yakusho had himself worked as a municipal clerk before taking up an acting career, so was a good fit for the role of Sugiyama, the deskworker who glimpses a beautiful woman real-life ballerina Tamiyo Kusakari giving social dance lessons from the window of his commuter train and decides that he too must learn to waltz. Dancing provides Sugiyama the kind of joy that had always eluded him, and this uplifting story of reinvention turned out to be hugely appealing to audiences worldwide, making it a substantial hit.

      Few directors have managed to articulate such an air of cold desperation and emotional abandonment from the cityscapes of post-Bubble-era Tokyo as Kiyoshi Kurosawa does in Cure. Evil seems to linger behind each blank building facade or facial expression in this unique take on the psychological thriller, whose spare and detached approach often feels like it is holding back on the very thrills the genre trades on.

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      Testament of Youth Episode 3 of 5 Daisy Mason. Sunday Youth Worship Pilgrim Youth characommunity. This week we are joined by historian Olivia Smith, one half of the brilliant Khaki Malarkey podcast, to examine 's 'Testament A British woman recalls coming of age during World War I.

      The Movieclips Trailers channel is your destination for the hottest new Testament of Youth: go behind the scenes Mondor Renee. Mark Kermode reviews Testament of Youth kermodeandmayo. Based on Vera Brittain's classic memoir. Opening in L. The film is based on Vera Brittain's First A Song of the Times. Movement music to spark Revolutions and the minds of the Youth. Testament of Youth is on Rebel Rae's Testament of youth Mars Giulia Magri. Song: Mars, Sleeping to last I've decided to upload this video today 11 november to commemorate and always remember all Testament of youth FT Reporter Clips.

      An extraordinary Stop the war Testament of Youth Zii Na. Testament Of Youth, such a beautiful film. New other. Make an offer:. Stock photo. Brand new: Lowest price The lowest-priced brand-new, unused, unopened, undamaged item in its original packaging where packaging is applicable.

      All those beautiful dreams were to be shattered one after the other. All except one: Vera wound up becoming a writer. A writer but a pacifist as well. See all 7 brand new listings. Buy It Now. Add to cart. Sold by nada59 About this product Product Information Testament of Youth is a searing story of love, war and remembrance, based on the First World War memoir by Vera Brittain which became the classic testimony of that war from a womans point of view.

      A powerful and passionate journey from youthful hopes and dreams to the edge of despair and back again; a film about young love, the futility of war and how to make sense of the darkest times. Show more Show less. Condition: Any condition Any condition. See all 10 - All listings for this product. Ratings and reviews Write a review. Most relevant reviews. Testament of Youth.

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