No man is an island, but for 29 years, until his final surrender in 1974, Hiroo Onoda came as close as any man could. Leading an ever-dwindling band of Japanese holdouts who refused to believe their nation had lost the war, Onoda continued to carry out minor guerrilla attacks on the residents of the small Philippine island of Lubang for almost three decades, until it was just him left, hiding in the underbrush, subsisting on a diet of zealotry and whatever he could scavenge or steal.
It’s a famous, fabulously knotty, semi-surreal story, fraught with allegorical potential, but despite some length and pacing issues, it is somewhat surprisingly made, by French director Arthur Harari, into a potent, satisfying saga of old-school, muscular filmmaking. Part John Ford, part Sam Fuller, the film’s old-fashioned approach is oddly impressive: To tell this kind of story in such blunt-edged, straightforward style is a distinctive...
It’s a famous, fabulously knotty, semi-surreal story, fraught with allegorical potential, but despite some length and pacing issues, it is somewhat surprisingly made, by French director Arthur Harari, into a potent, satisfying saga of old-school, muscular filmmaking. Part John Ford, part Sam Fuller, the film’s old-fashioned approach is oddly impressive: To tell this kind of story in such blunt-edged, straightforward style is a distinctive...
- 7/30/2021
- by Jessica Kiang
- Variety Film + TV
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