Ichimai no hagaki

In a career that spanned about 70 years, Kaneto Shindo directed 45 films and wrote 171. That is, 171 of his scripts were turned into films. 171.

This was the last movie he made, a year before he died at age 100. He wrote it, of course. He was 99 years old when he directed this film. He was 99 years old when he directed this film. He was 99 years old when he directed this film. He was 99 years old when he directed this film. He was 99 years old when he directed this film. He was 99 years old when he directed this film.

It tells the story of two bunkmates during WWII. One is being shipped off to the front in Manila and has just received a postcard from his wife. He tells his mate, Matsuyama, that he will not survive, and to return the postcard to his wife, letting her know he received it. Any response he would make would be heavily censored. Out of sheer luck, Matsuyama never seen battle, survives the war, and heads off to return the postcard to his mate's widow. Despite a multitude of tragedies and some serious displays of emotion, this is a lighter, kinder Shindo, one I'm not used to. I'm reminded of Kurosawa's final films, 'Madadayo' and 'Rhapsody in August.' The films have a straightforwardness in style and narrative and pace in common. That's not to say that this is a boring, frivolous film. Not at all -- it is entirely engaging and emotionally involving. 8/10.

This was the last film of Kaneto Shindo, who died just a few days ago, age 100, and was known for such landmark films as Onibaba and Black Cat.

Shindo knew war...he was one of only six survivors of his 100-man unit in the Japanese navy during WWII. And as recounted in a recent obituary in the NY Times, he felt the weight of his 94 compatriots keenly, and sends them a final prayer in this last film of his.

The first third of the film is relentlessly grim. The Morikawa family is hit harder than most by the war: eldest son Sadazou is conscripted, and en route to the Philippines and certain death, receives a postcard from his wife Tomoko, but is unable to send her a meaningful response, due to strict censorship. He dies, his younger brother Sanpei is also conscripted and also dies, and the elderly father and mother die in short order, leaving Tomoko quite alone in a farmhouse by herself.

Before dying, however, Sadazou has asked a bunkmate to bring the postcard back to his wife if he does not return. This fellow, Matsuyama, has been betrayed by his wife and father, and when he finally brings the postcard to call on Tomoko, can only marvel at the latter's constancy in contrast.

A mooted move to Brazil and other unexpected plot twists keep the viewer guessing. Some humor is injected by a would-be paramour of Tomoko's. All in all, a film that brings home the pointless waste and enormous suffering inflicted by war.

The final takeaway: In the end, we bury our dead, we try to pay our respects, but we have to find our own way forward as best we can.