OBA
(THE LAST SAMURAI) - 2011
A REMARKABLE TRUE STORY
Based on an amazing true story, ‘Oba the Last Samurai’, follows the story of Captain Sakae Oba, who, after a massive defeat during the battle of Saipan in 1944, leads surviving soldiers into the jungle of Mt. Tapochau where they set up camps for civilians and resisted capture for 516 days, continuing to fight four months after hostilities had officially ceased.
The film follows a two pronged narrative from the
perspectives of both Japanese and American forces, a unique structure that
lends the film its own identity. Shot by two different units helmed by Hideyuki
Hirayama and Cellin Gluck, the film seamlessly integrates the distinct
aesthetic of each director into a cohesive whole; a majority of the Japanese
shots are wide, sweeping shots with a lot of breathing room, whereas scenes
focusing on the U.S personnel are more tightly framed and claustrophobic.
‘Oba’ the movie is concerned with the personal toll
of war rather than glorifying the horrors of battle, with heavy emphasis on the
emotional states of the soldiers. Despite the declaration of peace, Oba and his
troops remain mentally at war, with each handling their situation in different
ways - Superior officers throw themselves onto their swords to avoid the shame
of being captured while others steadfastly refuse to surrender, seeking revenge
on Allied Forces for the deaths of their friends and loved ones.
Conversely, the U.S forces attempt to secure the
island and end the conflict with Oba's men by trying to convince them that the
war is over and lend aid to the wounded, but Oba and his troops refuse to
believe that Japan could have fallen, believing this to be a trick by the U.S
Military to lure them out to slaughter, leading to a stalemate.
TORA! TORA! TORA!
(THE ATTACK ON PEARL HARBOR) 1998
TORA! TORA! TORA! is the Japanese signal to attack - and the movie meticulously recreates the attack on Pearl Harbor and the events leading up to it.
Opening scenes contrast the American and Japanese positions.
Japanese imperialists decide to stage the attack.
Top US brass ignore its possibility. Intercepted Japanese messages warn of it - but never reach FDR's desk.
Radar warnings are disregarded.
Even the entrapment of a Japanese submarine in Pearl Harbor before the attack goes unreported.
Ultimately the Day of Infamy arrives - in the most spectacular, gut-wrenching cavalcade of action-packed footage ever.
It's the most dazzling recreation of America's darkest day - and some of her finest hours.
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