Behind the Rising Sun

Unlike boilerplate propaganda films of WWII, this one has some complexity. I suspect Washington DC was smelling victory in 1943 and was correctly concerned with post-war occupation and how the American public would react. Thus, as other reviewers point out, the enemy is depicted as Japan's medieval warrior society and not the Japanese people as a people. The movie's propaganda aspects center on familiar stereotypes (cruel soldiers and inhumane policies), but more importantly, these ugly aspects are also portrayed as the result of a conditioning process (Taro), and not the result of some genetic, sub-human flaw as in typical propaganda films of the time.

This distinction opens the possibility that a reformed social order with better values and socializing process can produce a more modern and democratic people better attuned to Western ideals (Tama, Reo, & the early Taro). The end result thus suggests that the Japanese people may be human after all, yet suffering from what may be termed a "social disorder"-- A disorder that a good dose of American-style democracy can remedy under an astute post- war occupation regime, such as Gen. MacArthur's turned out to be. Now, no matter how self- congratulatory these political assumptions may be, the result turns out to be shrewdly visionary in an historical sense.

Of course, this is a pretty heavy load for what is essentially an RKO programmer. Nonetheless, the subtext plays out in a screenplay more shaded than most. I suspect audiences expecting something more typically simplistic were a bit put off by the ambiguities. Still and all, there are familiar American stereotypes to anchor the audience—the good-hearted Irishman (O'Hara), the competitive sportsman (Lefty), and the enterprising reporter (Sara). Revealingly, they're shown as getting along quite well with those liberally minded Japanese who will share power during the post-war period.

This mixture of crude stereotype along with the more subtle humanizing aspect creates a rather awkward combination that doesn't work very well for the movie as a whole. Perhaps this is why the film remains pretty obscure in movie annals. Nonetheless, two episodes remain memorable for me. It's easy to overlook architect O'Hara's passing observation about sturdy Western construction materials. These, he points out, can withstand natural calamities that Pacific islands are prone to, such as earthquakes and floods, better than traditional, less substantial, Japanese materials. To me, this illustrates the potentials of a genuinely cooperative internationalism outside this particular one-sided context. Also, the central action scene of a gangly American boxer (Ryan) vs. a Japanese martial arts expert (Mazurki) may not be very convincing, but it certainly is eye-catching.

Now, I'm in no position to judge the historical accuracy of the events depicted here and claimed as fact-based by the prologue. Nonetheless, the movie remains an interesting one for its generally humane message in a time of real war.

Today (even in 1943) this film is very racist dealing with Japanese son educated in US goes back to Japan and takes part in atrocities there and in China. The whole China sequences are very grisly and actually disturbing, such as nailing the baby to the door by his/her pigtail along with the usual raping and pillaging of the Chinese countryside. They even keep the Chinese drugged up with free heroin handouts from trucks that pull into the villages. There is just one "good" Japanese character in the movie, the female secretary who works for an American architect caught in Japan with some Western reporters when WW2 finally erupts. But then these characters get tortured and sentenced to death. On the whole film it is NEVER boring...never. It has very good production and fine actors (even though Japanese are all played by white Europeans a la Charlie Chan). Now get this! RKO was asked by US government to make a picture that would portray Japanese in a real and fair way instead of the crop of anti-Japanese pictures that were made already so to stave off racial hatred toward this group. It was rampant in US (not so, for Germans though, interestingly films about Nazi's always had numerous "good" Germans, never in propaganda Japanese films who were usually portrayed as sub human hordes.)Anyway this was Hollywood's answer to the problem. Unbelievable! Film though is considered an excellent yet hysterical example of WW2 propaganda at the time.

I wasn't expecting much from a Tom Nea movie, but this was an instructive bit of propaganda. dougdoepke in his review here makes some excellent points. The Japanese people are portrayed as being the victims of rigid class system. In this film it is the Japanese who are the racists. Aside from that, I enjoyed seeing Gloria Holden and Don Douglas, who died too young....Some of the air raid footage looked as if it was recycled from "Bombadier."

Well, where do I start? I would like to point out some erroneous statements by the first viewer commenting. He states that the introductory statement says it is "100% true" and "authentic". Actually, its says "true-to-life", which I would construe to be similar to today's films saying that the movie is "based on...". It states that the film is not biographical, but the incidents depicted did occur. We know from historical works that the Japanese were responsible for many atrocities in China, especially Manchuria...the giving of opium to the starving villagers, the bayoneting of infants and toddlers, the raping of Chinese women and the setting up of houses of prostitution to "service" the Japanese Army & so on. So as Hollywood has always done, they take real facts and fictionalized & personalized them to give them more impact. A statement by the previous commenter, about how all the major roles were played by white actors, while actors of Japanese heritage played lesser/support roles. Well, as far as I can tell by cast listing, there were no Japanese actors in the movie. Philip Ahn (Korean descent), Benson Fong and the other Asian actors are Chinese ancestry. J. Carroll Naish had played other Asian characters throughout his career. Tama was played by Mexican-American actress, Margo (married to Eddie Albert).Tom Neal makes a very strange Japanese, even for the time...For a propaganda film, it is more even handed in its portrayal of the Japanese characters and the upheaval in Japanese society then many war films of its day. There are two story strands, the brutalization of Taro, from a americanized frat boy to a murdering martinet and the humanizing of his father, Reo Seki, who comes to see the loss of son and his son's happiness in marriage to Tama, a farmer's daughter and the destruction of the rigid social order of his beloved country... The Russian is portrayed positively; the German a bit dismissively; and the three Americans (woman reporter, the male engineer, the baseball coach), are all different faces of American society: the brave American (the woman reporter); the status-quo American (the engineer) and the "ugly" American (the baseball coach).

"Know the worst about the Japs!" screamed the original ads for this delirious WW II time capsule, a violent, rabble-rousing propaganda piece purporting to show how Japan rose to become a world terror. But with the first act of Japanese savagery, the film's true intent becomes crystal clear: to foment outrage and demonize the enemy by dishing out heaping helpings of barbaric cruelties. Atrocities on the menu include gang rape, wince-inducing torture, bayonet practice on babies, the mass slaughter of innocents, and the likes of Tom Neal, J. Carrol Naish and Abner Biberman playing sons of Nippon in heavy Asiatic makeup.

By turns, unintentionally hilarious and horrifyingly brutal, the film is never less than gripping thanks, in large part, to Edward Dmytryk's deft direction. Worth the price of admission alone is a blistering, brilliantly edited ten-minute ring fight between an American boxer played by Robert Ryan (a real-life college boxing champ) and a towering Japanese judo expert played by Mike Mazurki. It's a genuine showstopper, expressly designed to whip homefront theater audiences into a frenzy of cheers, cat-calls and general bloodlust. With Gloria Holden, Margo and Richard Loo (wonder of wonders, a genuine Asian).