Kobayashi Masaki was not afraid to speak his mind as a filmmaker. 'The human condition' was blistering in its anti-war sentiments; 'Harakiri' and 'Samurai rebellion' were fiercely critical of the feudal Japanese society that is commonly romanticized, and of any society or group that would mirror it. Who else would we expect to make a film that speaks to the experiences of Japanese soldiers who were convicted as war criminals, and the notions of accountability that one way or another were central to all such legal proceedings? With this in mind, even as its release was delayed for three years, I don't think 'The thick-walled room' is entirely as strident or emphatic as some of Kobayashi's other works, but make no mistake that it still speaks very plainly to its particular interests. In some measure the picture impugns prisons at large for their inhumanity, but directly depicts mistreatment of prisoners by U. S. military police and courts; reflects the inconsistency with which Japanese war criminals were treated, with pointed differences for those in positions of authority compared to the soldiers below them; addresses the unilateral, conditional circumstances by which the Allies eased off their punishment of Japan, ironically including persecution of pacifist leftists at the same time that the agents of a fascist government remained imprisoned; touches upon the farce of war profiteers not only not being punished, but being celebrated; and so on.
As would be the case with 'Inn of evil' in 1971, I think the focus is broader here than in the other mentioned features as Kobayashi scrutinizes Japan's history and in turn our own. Still the intent is unmistakable, and even with a slightly different feel, the title is just as deliberate and thoughtful in laying out its narrative and its core substance. We also see the filmmaker's eye as an artist in how this is crafted, if perhaps less refined here compared to his later endeavors, for no few shots and scenes are striking in how they were composed, a credit as well to cinematographer Kusuda HIroyuki and all those operating behind the scenes. His vision as director is strong in realizing Abe Kobo's rich screenplay with its compelling narrative, strong scene writing, and complicated characters, and if the result is to any degree specifically lesser than his most esteemed movies, the difference is not a significant one. Between all the combined efforts of the excellent production design and art direction, stunts and effects, costume design, hair and makeup, and editing, some moments are especially brilliant, to say nothing of the vivid performances of everyone in the cast. Truthfully, 'The thick-walled room' doesn't necessarily leave as substantial an impression as Kobayashi has elsewhere, but it really is just as worthy when all is said and done, a testament to the endurance of the human spirit even in the most extreme contexts and the contemptible smallness of those who would willfully do harm to others, and dodge responsibility.
Discuss the details as we may, this holds up splendidly well, and the skill and intelligence that went into it is undeniable. I'd expect no less of Kobayashi, really. I might stop short of saying it wholly demands viewership on the same level as the man's absolute best, but all things considered, the distinction doesn't mean that much. Suffice to say that if you have the opportunity to watch then this is well worth checking out, and still easily stands very tall above vast swaths of too many other flicks. 'The thick-walled room' is a solid classic, and I'm pleased to give it my high recommendation.
