Disc One: "No Greater Love" (1959)
Kaji (Tatasuya Nakadai) is a young man who is a pacifist and a socialist. He marries his sweetheart Michiko (Michiyo Aratama) despite the uncertainties in the future. Kaji agrees to work as a mining supervisor in an iron and ore mining site in Japanese-occupied Manchuria to avoid getting drafted to fight a war he doesn't believe in. Kaji becomes partly successful in reforming the working conditions in the mining site, although his ideas are often contested by his superiors. Things become more complicated when Chinese prisoners of war are forced upon the site by the Kempeitai (military police) to use as laborers. Kaji tries but fails to reconcile his humanistic theories with the realities of forced slave labor under Japan's Imperial system.

Disc Two: "Road To Eternity" (1959)
After the climactic confrontation with the Chinese prisoners caused Kaji to lose his exemption from being drafted in the military and the fact that Japan is losing the war which makes the country more desperate for military servicemen, Kaji is now a hardened idealist. Despite being trained to fight a war he doesn't believe in, Kaji proves himself a capable soldier and tries to implement his humanistic idealism to the treatment of other enlisted men who are being brutalized by the veterans. The film reaches its unforgettable climax as Kaji is sent to the front line to fight off the advancing Soviet army.

Disc Three: "A Soldier's Prayer" (1961)
The Japanese Kwantung army is shattered as Kaji, along with several survivors embark on an epic journey on foot through miles of forest, desert, and fields southward in the hopes of reuniting with his wife. After Kaji survives perils including starvation and untrustworthy allies, he gets captured by Soviet forces that echoes the treatment of the Chinese prisoners meted out by the Japanese in the first film. Kaji eventually becomes disappointed that communism which he hoped would be the catalyst for human liberation, seemed no different from the oppressive systems he had struggled against. Kaji escapes into the winter wasteland in the hopes of reuniting with his wife Michiko.

The Review:
Hailed as "One of the Greatest Films Ever Made", "The Human Condition" is one film whose experience may seem inspirational but it also proves utterly depressing. This trilogy embodies both the flaws and strengths of humanity as it unrelentingly brings the faces of morality and decency into opposing sides against the natural instincts of men. The film may also prove to be inspirational as love and decency seemingly tries to find a way to survive amid the bleakness of whatever situation fate may deal one into.

The First film is the longest film of the three as Kaji takes his theories to improve the working conditions of the mining site. This is Kaji at his purest form as he tries to bring his theories into procedure. This is also where the main protagonists are faced with moral dilemmas as they try to weigh the rights and the wrongs. I loved the scenes when Kaji begins to question himself for his own decisions and the more he gets deeper into the situation with the Chinese prisoners, the more difficult it gets for him to face his wife. Kaji manages the rations and rewards the prisoners with prostitutes. The film makes a powerful statement in pointing out the potential successes of working together as embodied by the Chinese, but mistrust and suspicion becomes the main opposition for two races to work together. It also bleakly portrays the two sides of human nature as there are those who would stand to profit or take advantage of any situation at the cost of others; as kindness and understanding may sometimes prove to produce mixed results.

The second part of the film portrays Kaji in the military, under suspicion because of his revolutionary ideas. The film exposes the politics in the military and the way, soldiers tend to mimic their superiors in the way they treat new recruits. In my opinion, this part is the most damaging critical indictment of the army. Kaji represents the reasonable side of the picture as he tries to protect the new recruits whose ages range from 40 years and above. At times, the majority of the Japanese authority are too willing to turn a blind eye to the problems faced by the new recruits as the veterans appear adamant in abusing them. The adage; "Survival of the Fittest" comes to mind, as Kaji is brought to the breaking point. Kobayashi also brings some visceral scenes of brutality and violence in this film. The Soviet advance into China brings both veterans and new recruits on the same side as they try to work out their differences.

"Road To Eternity" also defines the word courage. Kaji's main goal is to survive that may make him seem a coward in the eyes of some but inside, he is courageous enough to admit that this fight is meaningless. For Kaji and his allies, it becomes disgraceful to die in a war like a dog. Kobayashi may also be making a commentary against blind obedience and that the Japanese army were more occupied in believing in their ‘honorable' war, than facing reality that their goals may indeed prove to be unjust. For Kaji, fighting this battle is more for a fight for survival than fighting for his own country.

"A Soldier's Prayer" may well be the darkest and the most depressing movie of the three. While it does have its inspirational side, as it also exposes the strengths of humanity. Kaji finds reasons to hope, and to dream of freedom; in the hopes of reuniting with Michiko. This chapter also brings Kaji face to face with his morals as he is oftentimes forced to make decisions for the good of the many rather than the needs of the few. Children and old people have no place in this world, as the group is faced with starvation. This chapter also brings the consequences of being on the losing side of the war, as Japanese refugees are left aimless, hungry as the women are raped and abused, not just by Soviets but also by the Japanese themselves. There is a very disquieting sequence as a young girl retains of hope of reuniting with her parents despite being raped by the soldiers of the Red Army. She finds those hopes dashed when she becomes victimized by the very soldiers who were supposed to protect her. I found it hard to see some Japanese women offer themselves up as sex slaves to survive, at least until they can find male protection.

I suppose Kobayashi wanted to make a commentary on the manner that people tend to look out for themselves. It was real disturbing to see the Japanese prey on their own countrymen, most specifically in the POW camp. It was quite sad to see the Japanese prisoners become more abused by their fellow countrymen than by their own captors. Kaji and Terada would take food scraps to add to their rations, reported as sabotage by their Japanese superiors. Kaji tries to stay true to his own unwavering beliefs, but it is the evil done by his own countrymen that pushes him over his limits. Anger, envy, greed and pride are the film's main themes as the prisoners of war become faced with a situation worst than those experienced by the Chinese in the mining camps. Worst not because of the hardships, but made worst because of the fact that it is the Japanese abusing the Japanese.

Kaji is superbly portrayed by Tatsuya Nakadai. The man embodies the pride that one takes from himself, that pride slowly fades when forced into situations that makes him question his own soul. Education and principle are indeed virtues but one would never know just how one can react to a dilemma until faced with one. It is difficult to stay true to oneself when faced with a truly testing situation. Michiko embodies the soul of the Japanese wife; true and faithful. However, the film brings a certain question as to her true whereabouts. Did Michiko manage to escape or did she fall prey to the tests of the flesh?

"The Human Condition" is Japanese cinema at his best. It is very difficult to sit through the film due to its very depressing themes but one has to also see that sometimes from such desperation, courage and honor may still be born. Masaki Kobayashi bravely brings the questions of humanity into exposition; in the face such trials, can courage and hope still prevail?

A raw indictment of its nation's wartime mentality as well as a personal existential tragedy, Kobayashi's riveting, gorgeously filmed epic is novelistic cinema at its best.

Highest Possible Recommendation! [5 Stars]

A 29 year old widow named Noriko (Ryoko Asagi) lives with her senile father in law, Shukichi (Horyu Nakamura) on his farm. Shukichi believes that his favorite cow, recently deceased is still alive. Trying to keep him from further heartache, Noriko pretends to be his cow and lets him milk her--a satisfying arrangement for the both of them. However, Shukichi's daughter Mitsuko (Yumeka Sasaki) discovers the bizarre relationship and threatens to put an end to it.

Written and directed by Daisuke Goto, "A Lonely Cow Weeps at Dawn" is truly bizarre and honestly, a little disturbing. It uses the relationship between Noriko and her father in law to portray emotions and that feelings often sneak up when you least expect it. The film's narrative is quite simple and truth be told its message is very real. One may wonder as to why Noriko would subject herself to a humiliating position, but the film does make it abundantly clear. Hideo, Noriko's dead husband died at the same time as Shukichi's favorite cow. I suppose the two feel rather dependent on each other for comfort, and they feel alienated from others. Director Goto uses the "milking cow" metaphor to express the need for happiness and denial from hurtful truths.

Goto also incorporates a dose of a relationship that would be frowned upon--a doctor (Haruki Jo) is having sex with his nurse, Chiriko (Sakura Mizuki). The doctor is several years her senior and such a relationship will undoubtedly be frowned upon, but their blossoming relationship says a lot to people who should go with their heart and the hell with what people think. Shukichi and Noriko's relationship is much more complex, and no doubt be more condemned. People should just mind their own business I say.

This is a Japanese pink film and one wouldn't be hard-pressed to dismiss its narrative because of the truly graphic sex scenes. The sex scenes are gratuitous and the nudity is strong. The infamous hand over the female crotch area appears to be the signature of pink films and there are scenes of semi-penetration with almost full frontal nudity that are almost highly visible. All three actresses got to show their stuff and they did look like they were enjoying the scenes of vigorous sex. Those looking for pervy kicks won't be disappointed.

However, the acting by our two leads is quite strong. Ryoko Asagi looks very simple but she maintains that very erotic personality. Asagi was excellent in her portrayal as the "torned" widow of Shukichi's son Hideo. She manages to flesh out her character with a display of sadness and raw emotion even with the film's 58 minute run time. Horyu Nakamura is somewhat funny at times but at the same time a tad repulsive, I thought Goto was challenging us to feel pity for him. Yumeka Sasaki plays the daughter who is obviously all mixed up. She was raped by the land developer, Namamitsu (Hajime Seiji) which is why she left but she still agrees to have sex with him after many years. Quite an odd turning of events don't you think?

"A Lonely Cow Weeps at Dawn" is a different kind of art house cinema. It's easy to dismiss it as a sleazy skin flick and I think this would be the wrong approach to this film. The film does have some very human and compelling characters, even though they are a bit bizarre; one has to look past the very gratuitous sex scenes to appreciate its engaging narrative. The film's final act maybe easily misunderstood, but I thought it added a whole new level in emotional impact and an exercise in the proper morals--giving up your own happiness for someone's welfare. Sad, bizarre but truly bold in its execution, and while not a film for everyone, I did enjoy the film.

Recommended.

In the 1930's, the Chinese province of Fo Shan is a thriving place of martial arts schools, with various sects of different styles. Fo Shan is said to be the place where the famous Wong Fei Hung learned his art and therefore this place has a reputation. Ip Man (Donnie Yen) is a very accomplished martial artist but he keeps to himself, maintains a low profile and quietly spars with friends at home. But after an acknowledged victory over a fighter from the Northern quarter, Master Jin (Fan Siu Wong), Ip Man becomes an instant hero in Fo Shan. Time passes and in the late 1930's, following the Japanese invasion, Ip Man's property was confiscated by the Japanese army and his family is forced to live an abject existence. One day, general Miura (Hiroyuki Ikeuchi), a fanatical practitioner in Karate, witnesses the skills of this Wing Chun master. The general becomes obsessed with Ip man, and demands that the Chinese style of Wing Chun be taught to the Japanese army. But Ip man refuses and instead challenges Miura to a duel. Ip Man has to uphold the benevolence of his art and protect Chinese dignity. The battle for national pride is about to begin….

The one thing I know for sure is that Ip Man is indeed Bruce Lee's first teacher in Hong Kong for many years, and that Ip man was indeed asked to teach the Japanese; the rest of the significant historical details in this biopic is a little questionable. Yip and screenwriter Edmond Wong does get some details right, but please keep in mind that this is an action film first and foremost--it is hardly a historical drama. The action direction by Hong Kong legend Sammo Hung is indeed amazing, and it is the film's main draw. The story has the usual elements of honor, family, loyalty and pride and offers very little that is fresh--but this doesn't mean that it made the film any less exciting.

There is very minor characterization involved. The film has three acts, and the first has Ip Man's status in the Fo Shan province. He is a business man and he doesn't teach his art, there are hints that he used to compete, but he decided to keep a low profile because of his wife, Cheng (played by Lynn Hung). His relationship with his wife and son is somewhat estranged at times because of his love for sparring--she throws a tantrum whenever he fights; Ip Man is a humble man, and shows his wife the respect due her. The second act portrays the effect of the Japanese invasion on the people of China, and on the life of Master Ip and his family--which leads to the film's min encounters. While Donnie Yen may indeed lack the necessary acting ability to portray him dramatically--he sure has the presence of a highly trained martial artist. Director Yip did the right thing in focusing more on fights than dramatic impact. There are also some touches of social commentary seeing as how some Chinese prey on their countrymen and they only look out for themselves.

As I've said, Sammo Hung's action choreography is indeed phenomenal and it sure helps when you have a cast of real-life martial arts practitioners and action-honed actors such as Yen, Louis Fan and Hiroyuki Ikeuchi, who holds a Kuro Obi in Judo in real life. Sammo Hung maintains a nice balance between finesse, realism and downright brutality--the fights are very intense and very focused. It is a mix of the usual wire-fu and occasional acrobatics. Highlights include, Ip Man taking on 10 Japanese fighters in one time, the fight between Fan Siu Wong and Yen is quick but exciting, complemented with some subtle doses of humorous cracks. The fights are exquisitely shot, with multiple camera angles in a perspective view to close ups, so you can see all the hard-hitting action. There are also times when an opponent is thrown in the camera's view and I thought this added a lot of style and intense attitude. Wilson Yip and company knows how to shoot fight sequences and their skill proves the film's showstopper.

The action encounters are nicely placed and Wilson Yip needs to be credited for maintaining an excellent pace with its balance between action and drama. While this film is historically inaccurate, for the most part, it does succeed as an action film--a very well done at that. The film does ultimately fail as a character-driven, true-to-life biopic. Donnie Yen's "Ip Man" is more about his capabilities as a fighter than who he really was as a man, which is no doubt due to fact that it wanted to maintain a China-friendly film. The film's structure more of a popcorn action film than an emotional biopic of a man who made his mark in using his fists to unite the Chinese people. It plays too fast and free to fully realize the film's potential as a "based on true events" type of deal.

Despite some flaws in the script, and the filmmakers relying too much on the audiences' good beliefs rather than developing Ip Man as a man than as a caricature of a folk hero; (no doubt an attempt to match Wong Fei Hung in "Once upon a Time in China" and Huo Yuan Jia in "Fearless") to portray him as an inspirational role model/saint. "IP MAN" is a truly exciting film which is just full of action and the energy it exudes is just so much fun to watch. I am rather very interested in seeing as to what Wilson Yip and Donnie Yen would bring "IP MAN 2", which would hopefully show more of his experiences in Hong Kong (which may include his time with Bruce Lee). Of course, by that time, I've read that Wong Kar-Wai's version of "IP MAN" will be released and will hopefully have more historical significance as well as action thrills.

Still, this film comes with a "Highly Recommended" rating from me, it does rule as martial arts action film. [4 ½ Stars]

Note: The original language of the film is bi-lingual, with both Cantonese and Japanese spoken.

In a post-apocalyptic future, the D3 corporation had performed devilish experiments to raise the dead. These undead creatures started preying on living humans and humanity is on the brink of extinction. Aya, (upcoming sex siren Eri Otoguro, "Shaolin Girl") is the heiress of the ancient Imichi clan of assassins. Aya cuts her way through zombies created by mad scientist Sugita, on the path to vengeance in search of her sister Saki (Chise Nakamura, "Swing Girls") to avenge the death of their father at the hands of her own sister. Joined by longtime companion, Katsuji and a leather-clad, shotgun-toting woman named Reiko (Minami Hashimoto), Aya is determined to come to a resolution on the conflict between her and her sister Saki. Aya is an amazing swordswoman, Saki is her equal with a Katana sword --what would be the outcome?

The film isn’t to be taken seriously at first glance. I haven’t read the Japanese comic nor have I finished the game; but it is so obvious that this film has been inspired by a comic and the effects are very reminiscent of the video game. The swordplay is a blend of “Dynasty Warriors”, the effects can be compared to “Fist of the NorthStar” and even “DragonBall Z”. When Aya unleashes her “inner” power or mystical “Chi“, her surroundings are set to explode--dirt is being spewed forth and rocks are flying. The flashes and light trails emulates the sword strokes, limbs and blood hit the camera view and extreme close-ups are used to express pain. The fight choreography by Go Ohara is quite good and hard-hitting--and contain a very good amount of Blood and GORE. I rather like the birds eye view of Aya‘s encounter with a zombie army and the final encounter between Aya and Saki is very exciting and fun to see. The fights are the film’s main draw aside from the sexy female trio. Anime-inspired fighting poses is the trio’s forte and boy, do these women look good when they wield a sword.

“OneeChanbara’s” plot is very simple and is quite similar to other Japanese films of this type. I do commend director Fukuda’s decision not to dawdle too much on Eri Otoguro, Chise Nakamura and Minami Hashimoto’s “star appeal” and charisma. The film’s screenplay does have a lot of emotion. The past is told in the form of flashbacks and there is a lot of emotion to be had. The loss of a loved one due to them becoming the “undead” has a lot of emotional potential and the director does manage to flesh them out. Killing a loved one is quite difficult--especially when one is guilty for their current situation.

The zombies in the film aren’t your usual “shambling” undead. They are fast-moving and some of them have been enhanced to perform martial arts and to wield a weapon. There is a zombie who looks like a “Go-go Yubari” reject and one who looks like he is a “Jin Kazama” reject from “Tekken 4” video game. These change of mood doesn’t hurt the film but rather shows its roots from the pages of manga. The main villain himself is a cardboard anime villain. Dr. Sugita is the head of a corporation intent on playing “God”. The sibling rivalry between Saki and Aya is decently developed and builds up its climactic climax. Reiko is a little underdeveloped and Katsuji seems like a minor plot device to lighten the mood somewhat.

The film is a little “campy” at times, but it doesn’t lose its forward momentum. The film is very simple and the plot has been built around the encounter with zombies and the action sequences. There is some sex and nudity to be had--but I was disappointed that Eri, Chise and Minami kep their clothes on. The film is very action-packed and fast-paced. Despite its weaknesses in storyline the film is never boring and does provide the expected entertainment from a manga-inspired movie. Make sure you remember the source material when you are watching this film--Youhei Fukuda is no Ryuhei Kitamura but he does manage to put together a film does justice to its roots.

Still, a katana-wielding woman in red bikini with a cowboy hat, scarf and leather boots proves very sexy. Eri Otoguro is the right woman for the job; joined by Minami Hashimoto and Chise Nakamura--these three Japanese women can make any man’s blood boil with excitement.

“Onee Chanbara” may not be a film for everyone but it sure is fun to watch!

Recommended! To fans of the game and to fans of Japanese cinema [3 ½ Stars]

Sun-Woo (Lee Byung Hun, "J.S.A.") is an impeccably dressed enforcer for a notorious crimelord called Kang (Kim Yeong-Chul). Sun-woo is instructed to watch over his mistress Hee-Soo (Sin Min-Ah, "Volcano High") to find out if she’s making whoopee with another man. His orders are crystal clear: if he catches her cheating on Kang with another man, he is to contact Kang at once or finish them off himself.

The plot takes off when Sun-Woo does catch her with her boyfriend and he decides to let them both live. This gesture of pity and goodwill brings a world of pain onto Sun-Woo as the entire organization sets its goals to punishing him for his “act of betrayal”. Beaten, bloodied and kicked out of the gang, Sun-Woo survives the brutal ordeal. Hee-Soo convinces him that he had made the right choice, and Sun-Woo embarks on a brutal, bloody trail of vengeance from which no one is likely to survive. But a strange fact remains; Sun-Woo has been a faithful servant to Kang for years, why would he suddenly have a change of heart? Love and lust had nothing to do with it.

“A Bittersweet Life” is a beautiful, wholly engaging cinematic masterpiece. It blends the “hardboiled cool” of classic film noir with highly stylized action reminiscient of a John Woo film.

Before Sun-Woo decides to ignore his boss's orders we watch as he slowly comes to an epiphany. However, we're not quite privy to the depth of this realization until the final scene of the film, in which everything that has come before soon makes simple, perfect sense. The film becomes a visceral, wall-to wall action film when Sun-Woo goes against Kang; the carnage goes to overdrive. Nice touches, like a quiet moment wherein Sun-Woo placidly savors a slice of chocolate cake before ‘going to work’, adds a load of style, at the same time sets a moody atmosphere.

As brutally, violent this film is, it’s quite refreshing that the filmmakers didn’t lose their sense of humor. Interestingly enough, it contains a variety of comic moments interspersed throughout all the blood and gore. "A Bittersweet Life" can be oddly funny at times with its share of cleverly paced moments of black humor.

Lee Byung-Hun does a convincing job inhabiting the character of Sun-Woo. The actor brings a certain depth to his anti-hero role, which is an achievement considering that a fully-realized characterization of Sun-Woo hampered by the fact that his motivations must not be revealed until the ending. Even so, Lee conveys a sense of the character’s life, even if it isn’t something readily apparent by the script. Viewers will have to also take into account that the film is a (Sun-Woo's) character study of a person who lived most of his life in the shadow of violence which in turn may make one an empty shell. The things that most people may take for granted may be considered so "fulfilling" to someone with Sun-Woo's life.

IN CLOSING: "A Bittersweet Life" is a visual and aural feast for its audience. Beautiful as it is, some folks may find it superficial. Thankfully, that actually seems to be based on how the film is constructed, as everything is meant to build towards the film’s conclusion in which the TRUE motivation behind Sun-woo’s quest for revenge is revealed. Quite visceral, sometimes lyrical and even comical, “A Bittersweet Life” is a complete cinematic experience and contains a climax to bring it to a “bittersweet” close. To sum it up, it is terrific.

HIGHLY RECOMMENDED!! (4 ½ stars)