No Regrets for Our Youth

Obstensibly it is a story about Hun, played by Setsuko Hara, who falls in love with a spy, in a time of great turmoil and protests to combat fascism. What makes it a 10 star film is that as it goes along it becomes much more absorbing, with the characters becoming deeper in their beliefs. Here it is: Setsuko Hara does an amazing job playing the young girl. This is her first great role and I was astounded by the depth of her performance. She plays sweet, young, very pretty, but over the course of the film, which spans approximately 11 years, she falls not on hard times, but wields a meditation on personal sacrifice. Having only seen her up to now in Ozu films, I thought she was one of the greatest. Now, I know she was. She plays this character with everything. She even credibly ages over the film. You have to give Mr. Kurosawa credit also, of course, but Ms. Hara's performance makes this an incredible film, which only gets better as it goes along. This film is now part of a box set, and very highly recommended. Any complaints, which I'll mention but are very minor, are sometimes the subtitles are wrong and the film is at times blurry when there is movement (I have this film on an earlier box set, maybe these problems have been rectified). Just know that this is an incredibly absorbing film starring the excellent Setsuko Hara and directed by the great Akira Kurosawa. That alone makes this worth the price of admission, and it delivers wonderfully.

I could hardly believe the actress playing the mercurial Yukie would soon be playing the serene and self-effacing Noriko in Yasujiro Ozu's home drama classics such as "Early Summer" and "Tokyo Story". Such was Setsuko Hara's versatility and malleability that she could move easily between Ozu's saintly goddess and Akira Kurosawa's passionate, reluctant heroine in this 1946 anti-war melodrama. In his first post-WWII film and the only one he ever made focused on a female protagonist, Kurosawa (with co-writer Eijirô Hisaita) has fashioned an emotionally ripe, politically charged and time-spanning story around Yukie, the daughter of a college professor, a one-time idealist who loses his job in face of the growing fascism engulfing Japan in 1933. Beautiful and skating precariously on the surface of her life, she finds herself caught between two men, both former students of her father - Noge, the son of peasant rice farmers, who becomes a secretive anti-war activist, and Itokawa, the conservative prosecutor and a symbol of the passive conformity that allowed Japan to enter a no-win war.

Yukie is excited by Noge's political passion, and they begin an intense, inevitably short-lived affair. When Noge goes to prison, she becomes politically enlightened to Japan's oppressive state, and after he dies, she decides to take his ashes to his parents and stay with them to work the fields. She endures a great deal of hardship, both from his uncaring parents and neighbors, who harass the family of a "traitor". Against the odds, Yukie endures and triumphs and despite a brief sojourn back to Kyoto, realizes her life is far more fulfilling with the peasants. Much of the plot is rather convoluted and the storyline jumpy, as the politically motivated Kurosawa seems more interested in drawing certain emotional responses from the viewer. Clarity is only a secondary consideration here, as he busily applies much of the visual flair that he would exhibit with greater impact in his later masterworks like "Rashomon" and "Seven Samurai".

Even at this early stage in his directorial career (it's only his fifth film), there are a number of his stylistic touches evident - a series of quick freeze shots to illustrate Yukie's traumatized response behind a closed door to Noge's surprise departure; the use of a slow exposure camera that causes an unearthly (and sometimes irritating) blurring effect when people are in motion; people lying in a pastoral setting staring skywards (mimicked recently by Chinese filmmakers like Yimou Zhang); Yukie's oddly exaggerated, out-of-sync piano playing; and large crowds rushing down steps in an Eisenstein-like manner. However, the film gains real emotional heft toward the end when Yukie struggles in the rice fields with Noge's mother (played almost unrecognizably by another Ozu regular, Haruko Sugimura) under Yukie's mantra of the dead husband/son, "No regrets in my life, no regrets whatsoever". It's a moving sequence which brings the story to its resonant conclusion.

Proving why she was one of Japan's favorite post-WWII film stars, Hara is superb in showing Yukie's initial flightiness and evolving political consciousness. The other performances are reasonable but hardly as memorable - Susumu Fujita as Noge, Akitake Kono as Itokawa (whom Yukie rejects at the end as unworthy to know where Noge's grave is due likely to his pro-war stance) and Denjiro Okochi as Yukie's father. The combination of the illustrious Kurosawa and the incandescent Hara is certainly compelling enough to warrant viewing.

The daughter (Setsuko Hara) of a politically disgraced university professor (Denjiro Okochi) struggles to find a place for herself in love and life, in the uncertain world of Japan leading into WWII.

One character was inspired by the real-life Hotsumi Ozaki, who assisted the famous Soviet spy Richard Sorge and so became the only Japanese citizen to suffer the death penalty for treason during World War II. It is this aspect that makes the film particularly interesting, as it reflects on the role Japan played in the world from 1933-1945.

The film as a whole is interesting for being made so soon after World War II. Clearly the budget and production value is limited, but you might expect a country ravaged by war would be too busy with other things to make movies. Not so when you have a man named Kurosawa.

In my opinion, all of Kurosawa's films from 1946 through 1966 (I've seen about 18 which are available on video) are highly recommended. They are not only good the first time through, but hold up to multiple viewings. The star of No Regrets For our Youth is Setsuko Hara, who also starred in Kurosawa's The Idiot and in several Yasujiro Ozu films including Tokyo Story and Early Summer. From what I have heard on the commentaries, she was a big, big star in Japan and it's easy to see why. She conveys a tremendous amount of emotion and generates great sympathy for her characters. She was outstanding in Tokyo Story. We also have a short appearance by Takashi Shimura as a bad guy.

I was very impressed by how the film made the characters convincing in both the first act where they are college students, and then again nearly 10 years later. The characters have changed not only in appearance but in personality and mannerisms. It made the passing years very convincing.

The film is interesting from both an historical viewpoint and as a pure drama. This was made just a year or so after the Japanese surrender in World War II, and we get a good feel for how the militaristic government in Japan was able to gain the unquestioning support of most of the population. Some things never change, do they?

Highly recommended, although if you are starting out on Kurosawa, you may want to try something from the 1955 to 66 period.

NO REGRETS FOR OUR YOUTH is quite different from the period pieces that made Kurosawa famous in the 1950s and 1960s. Set during WWII, the movie follows Yukie, the spoiled daughter of a liberal professor. She lives an enchanted, comfortable life, yet she is also keenly aware that her life is empty. The thought of following a conventional path (marriage to a steady breadwinner, children) bores her. She is drawn to a social activist named Noge, whose life on the edges of society is dangerous but seemingly thrilling-- and from there, she is taken from her gilded bourgeois life and thrown into the world to find a way to live her life consciously and with purpose.

Kurosawa's oeuvre is generally chided for being too male-focused, but in Yukie, his only female protagonist, he gives us one of his finest heroes. Her transformation over the course of the movie is brilliantly played by Setsuko Hara. Her mannerisms and expressions allow her character to age credibly, more so than other movies I can think of where the audience watches a character age over many years. Yukie is idealistic, but also practical and steadfast.

As a film, NO REGRETS is executed with flair: Kurosawa has yet to develop his own signature style fully at this point in his career. I found a lot of debt to Soviet and European art cinema on display here, especially in the montages. He is not yet the master filmmaker he would become, but this is an astonishing early effort, heartfelt and assured. But it would be a shame to only see this movie as a stepping stone towards better things, for it is a fine piece of work in its own right.