As the Empire of the Sun crumbles upon itself and a rain of firebombs falls upon Japan, the final death march of a nation is echoed in millions of smaller tragedies. This is the story of Seita and his younger sister Setsuko, two children born at the wrong time, in the wrong place, and now cast adrift in a world that lacks not the care to shelter them, but simply the resources. Forced to fend for themselves in the aftermath of fires that swept entire cities from the face of the earth, their doomed struggle is both a tribute to the human spirit and the stuff of nightmares. Beautiful, yet at times brutal and horrifying. Isao Takahata's powerful antiwar film has been praised by critics wherever it has been screened around the world. When their mother is killed in the firebombing of Tokyo near the end of World War II, teenage Seita and his little sister Setsuko are left on their own: their father is away, serving in the Imperial Navy. The two children initially stay with an aunt, but she has little affection for them and resents the time and money they require. The two children set up housekeeping in a cave by a stream, but their meager resources are quickly exhausted, and Seita is reduced to stealing to feed his sister. Despite his efforts, she succumbs to malnutrition. Seita painfully makes his way back to the crowded city, where he quietly dies in a crowded railway station. The strength of the film lies in Takahata's evenhanded portrayal of the characters. A sympathetic doctor, the greedy aunt, the disinterested cousins all know there is little they can do for Seita and Setsuko. Their resources, like their country's, are already overtaxed: anything they spare endangers their own survival. As in Barefoot Gen, no mention is made of Japan's role in the war as an aggressor; but the depiction of the needless suffering endured by its victims transcends national and ideological boundaries. Takahata's extraordinary film suggests a flower on the grave of countless children who, like Seika and Setsuko, died needlessly in wars they neither fought nor understood. (Unrated: suitable for ages 12 and older, violence, emotionally intense material) --Charles Solomon
Manufacturer: Criterion Collection
Color: black & white
A riveting psychological thriller that investigates the nature of truth and the meaning of justice, Rashomon is widely considered one of the greatest films ever made. Four people recount different versions of the story of a manâ€™s murder and the rape of his wife, which director Akira Kurosawa (Seven Samurai) presents with striking imagery and an ingenious use of flashbacks. This eloquent masterwork and international sensation revolutionized film language and introduced Japanese cinemaâ€”and a commanding new star by the name of Toshiro Mifune (Yojimbo)â€”to the Western world.