AKA : Biruma no tategoto | The Burmese Harp | Harp of Burma | L'arpa birmana | El arpa birmana | La harpe de Birmanie
Year : 1956
Country : Japan
Language : Japanese | English
Subtitles : English, French, Greek, Hungarian, Portuguese Brazilian, Spanish, Romanian, Russian, Turkish
Film Genre : Drama | Music | War
Director: Kon Ichikawa
Cast: Rentarô Mikuni, Shôji Yasui and Tatsuya Mihashi
Plot: The Burmese Harp it's an adaptation of the celebrated 1948 novel by Takeyama Michio, a writer who openly opposed Japan's tripartite alliance with Germany and Italy during WW2. It proved an important film for a number of reasons: it was a huge hit on home turf, it won a major prize at the Venice Film Festival (where it was also nominated for the Golden Lion, the festival's top prize), and landed a nomination for Best Foreign Language Film at the 1957 Academy Awards, bringing its unknown director to international recognition. It also humanised the ordinary Japanese soldier to an international audience who had previously seen them largely as death-or-victory fanatics to be killed rather than reasoned with. For the domestic audience it both portrayed and accepted the Japanese in defeat, confronted their losses, and dared to suggest that in extreme circumstances, fighting to the last man was a poor alternative to surrender.
It is the lyrical story of a Japanese soldier in Burma at the close of World War Two. The soldier, Mizushima (Shôji Yasui) is sent on a mission by his captain to inform another unit that Japan has surrendered, and to convince them to stop fighting. When the unit refuses to give up and are destroyed by the British Army, only Mizushima remains alive, and must come to terms with his nation's defeat. Pretending to be a Buddhist monk, he undergoes a religious conversion when he comes face to face with the staggering amount of death and destruction he sees as he travels across the region in search of his unit. Mizushima becomes determined to honor and bury the dead, but is torn between remaining in Burma to live a life of service or returning to Japan to help rebuild his own country.
The film takes its name from a harp acquired by the main character. He has become an expert harpist and plays while the soldiers sing beautiful chorales with a lush sound. While the depiction of the soldiers is idealized, The Burmese Harp transcends its limitations to become a universal testament not only to the madness that prevailed in Burma, but to the unspeakable horrors of all war. Ichikawa, in spite of the fact that film became a classic, loved the story so much that he made it again in 1985. The Burmese Harp is post-war humanist film drama at close to its best, one that movingly explores the consequences of war and the process and self-healing without feeling preachy or unduly sentimental, despite ample opportunity to sink into both. Its focus on character and the universality of key story elements make its international success seem less surprising in retrospect, while the confidence and storytelling skill of its director make it feel only right that it brought him the recognition and acclaim that it did. There's far more to the film than the above summary might suggest, in character detail, symbolism, religious allegory and suggestive layering, and it remains one of the great pacifist works of the post-war period.
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