Very few figures in cinema during WWII were as delicate, and at the same time, profoundly expressive as Masaki Kobayashi. As a director, the portrayal and apparent exposé of his country’s atrocities formed Kobayashi’s reputation as an undisguised manifestation of integrity and brutal honesty. His films exist not only serve as reminders but as unyielding indicators to the forces of human capability. Moving towards this grand idea of ultimate, unbiased perception, his work gradually matured and progressed; displaying a more aggressive focus on clarity amidst his fiction as time went on.
With Black River, this vision is pronounced rather acutely through a unique look at a certain post-war US Air-Naval base in Japan. The coexisting lives of the G.I.’s and Japanese heightened the intensity of life during a difficult transition after the war. The atmosphere is heated, both metaphorically and literally, as a singular motif—an umbrella—establishes both mood and theme. The symbolic nature of the film is that of security and comfort, or lack thereof, and; as the core characters seek shelter from the hurricane of gang violence, economic troubles and forlorn yet irresistible love, they are unable to do so, and so must linger--surrounded--with no protection to shield them from the storm. This adversity will lead to Kobayashi’s status as one of the most imperative filmmakers in Japanese cinema.
The protagonist of the film, the young and joyful Nishida (Watanabe Fumio), is a new tenant with a studious and persistent mind. At the first sight of Shizuko (Ineko Arima), the umbrella-wielding beauty, by way of circumstance, he seems quite embarrassed to be in the company of such a lovely young lady yet upon a second encounter he makes it a point to encourage another meeting in the near future. They part ways in feverish innocence.
With Black River, this vision is pronounced rather acutely through a unique look at a certain post-war US Air-Naval base in Japan. The coexisting lives of the G.I.’s and Japanese heightened the intensity of life during a difficult transition after the war. The atmosphere is heated, both metaphorically and literally, as a singular motif—an umbrella—establishes both mood and theme. The symbolic nature of the film is that of security and comfort, or lack thereof, and; as the core characters seek shelter from the hurricane of gang violence, economic troubles and forlorn yet irresistible love, they are unable to do so, and so must linger--surrounded--with no protection to shield them from the storm. This adversity will lead to Kobayashi’s status as one of the most imperative filmmakers in Japanese cinema.
The protagonist of the film, the young and joyful Nishida (Watanabe Fumio), is a new tenant with a studious and persistent mind. At the first sight of Shizuko (Ineko Arima), the umbrella-wielding beauty, by way of circumstance, he seems quite embarrassed to be in the company of such a lovely young lady yet upon a second encounter he makes it a point to encourage another meeting in the near future. They part ways in feverish innocence.
“Killer” Jo (Nakadai Tatsuya), an illustrious local and portent of violent behavior, looks down upon this quaint departure from his balcony and sees this as an opportunity to make an appearance. Long has he sought after Shizuko and this budding romance between her and the “new guy” must not progress. It’s great to see Nakadai in a more vibrant and fun role than that of his somber, looming persona that stole the show in Kihachi Okamoto’s Sword of Doom (1966) or his similarly ominous and intense portrayal of Hanshiro in Kobayashi’s masterpiece Harakiri (1962).
Quite a different dilemma is mounting at the dormitory where Nishida is currently housed as the complexity in living expenses is proving much too difficult to maintain a healthy lifestyle. Many of the tenants are suffering and, to make matters worse, the landlady, along with the help from none other than “Killer” Jo, has crafted a ploy to “legally” demolish the homes to make way for a public bathhouse. These conditions, enhanced by Kobayashi’s use of dark rooms vs. harshly lit, open spaces and his comprehensive, tantalizing dialog, illuminate the films violent and tragic tone.
Quite a different dilemma is mounting at the dormitory where Nishida is currently housed as the complexity in living expenses is proving much too difficult to maintain a healthy lifestyle. Many of the tenants are suffering and, to make matters worse, the landlady, along with the help from none other than “Killer” Jo, has crafted a ploy to “legally” demolish the homes to make way for a public bathhouse. These conditions, enhanced by Kobayashi’s use of dark rooms vs. harshly lit, open spaces and his comprehensive, tantalizing dialog, illuminate the films violent and tragic tone.