The Burmese Harp (1956) User Reviews

"Down in Burma, the soil is red. So are rocks"

[rmahaney4 · 9/10 · 20 February 2002]

`I cannot leave the bones lying scattered on the hills.'

More melodramatic than his harrowing Fires On The Plain, Kon Ichikawa's The Burmese Harp is still an excellent film and a fascinating glimpse at another perspective of the 2nd World War than the usual (myopic and infantile) Hollywood triumphalism. As with many Japanese films from this period, from Kurosawa to Godzilla, it has an elegiac and reflective quality to it born of the shock and disillusionment that followed the war.

I personally was a little uncomfortable with the first 20 minutes of the film that were a little hokey with the singing platoon trying to slip through the forests of Burma to the Thai frontier. However, the film really begins to become compelling and very poetic with the character Mizushima's mission to Triangle Mountain and his voyage south to Mudon to rejoin his unit now in prison camp. Undergoing a symbolic `death' and injured, he is nursed by a priest, but steals the priest's garb as a disguise. However, on the way he passes great numbers of Japanese and is horrified by what he sees. When he arrives at his destination and is staying at a monastery, one monk comments, `You seem to have come through such severe hard training.' He cannot return to his unit. He is determined to bury the dead, to extend empathy to each of them and to pray for their souls. The physical journey is symbolic of a physiological and spiritual journey and is some very creative and effective storytelling. There is much more to the movie, plot wise and thematically, than this, but this is what impressed me most.

The imagery is incredible whether it is raindrops collecting and then running along barbed wire, dripping off; or the mud along the riverbanks; or the scene of Mizushima burying corpses at the river, a few villagers standing behind, watching; or the priest bathing in the river; or the shot of Mizushima disappearing into the mist. There is one moment in the prison camp which occurs during a rainstorm. I was really impressed with the natural lighting which gave me the sense of being there. I have looked out windows on days like that as those characters are and the experience "feels like that scene looks". It is incredible how evocative the Japanese films of the period were.

The film reminded me of Stone's Platoon with similar music, symbolism, characters, and melodrama. It also seems to have affinities with Apocalypse Now, in that the central concern is not action or tension (though they do not lack these qualities) but potent ideas and a sense of mystery. Both Apocalypse and Harp involve `pilgrimages' and characters transformed by the horror of the situation. They both involve characters unable to return home after this evolution. I do not know if either of these films was influenced by The Burmese Harp, but if they were they modeled on an excellent and moving predecessor.

Akira Ifukube's score is classic and will probably sound somewhat familiar to the viewer. He has scored nearly 260 films, including films in the popular Zatoichi series and many of Toho's sci-fi films.

a movie to carry with you

[jason-167 · 9/10 · 9 July 2005]

Living in Thailand at the age of 10, I saw this movie broadcast on TV. Thirty years later I still think of it. And eventually I became a dharma student. Coincidence? I think not! Such is the awesome impact of this movie. More than an important anti-war film, it can really bring out some seldom expressed feelings - not because of carefully crafted scenarios which bring moral indignation against war, confusion or cruelty, but instead showing a more natural horror of war's results. After watching the film for the third time, I still feel a deep visceral pang when Mizushima covers his face and runs past yet another mountain of rotting bodies he finds on the shores of the river.

What's really sad is that you can't get the movie on DVD!

A universal testament to the horror of war

[howard.schumann · 9/10 · 1 December 2003]

Based on a novel by Michio Takeyama, The Burmese Harp was the first film that brought director Kon Ichikawa to international attention. It is the story of Mizushima (Shoji Yasui) a Japanese soldier in Burma at the close of World War Two who is sent on a mission by his Captain to inform another unit of the Japanese surrender and to convince them to stop fighting. When the unit refuses to give up and are destroyed by the British Army, only Mizushima remains alive and must come to terms with his nation's defeat. Pretending to be a Buddhist monk, he undergoes a religious conversion when he comes face to face with the staggering amount of death and destruction he sees as he travels across the region in search of his unit. Determined to honor and bury the dead, Mizushima is conflicted about remaining in Burma to live a life of service or returning to Japan to help rebuild his own country.

The film takes its name from a Burmese harp acquired by Mizushima. He has become an expert harpist and plays while the soldiers sing beautiful chorales with a sound so lush it feels as if it is coming from the Mormon Tabernacle. While the depiction of the soldiers may be idealized, The Burmese Harp transcends its limitations to become a universal testament not only to the madness that prevailed in Burma, but to the unspeakable horror of all war. Ichikawa, in spite of the fact that film became a classic, loved the story so much that he filmed it again in 1985.

The Burmese Harp is a poignant elegy to the failure of Japanese imperialism.

[tlarry858 · 10/10 · 19 October 2002]

The Burmese Harp (Biruma no tategoto) is a poignant elegy to the failure of Japanese imperialism in World War II and a plea for a more humanistic world. Because it is a Japanese film and portrays events from the perspective of a proud, yet defeated nation, the story it tells is doubly moving. Released in 1956, director Kon Ichikawa's film was made while Japan was still recovering from the effects of war and a full decade before the nation's economy improved on world markets and the international prestige of Japan's technology began its remarkable climb.

Born on November 20, 1915, Kon Ichikawa is considered one of Japan's leading directors. Ichikawa's first major film, A Girl of Dojo Temple (1946), was a puppet version of a Kabuki play. The American Occupation authorities confiscated the film because its script had not been submitted for their approval. Ichikawa's early films were often comedies or satires-a rarity in Japanese cinema-and earned him the appellation of the "Japanese Frank Capra." Ichikawa first achieved fame in the West with The Burmese Harp, which won the San Giorgio Prize in 1956 at the Venice International Film Festival.

The events depicted in The Burmese Harp are on the surface quite simple. The viewer becomes aware of the film's symbolic and allegorical nature only later on in the film. The story concerns a small band of Japanese soldiers who are fighting in a remote part of Burma, unaware that the unconditional surrender of Japan took place three days earlier.

One of the band, Private Mizushima (Shoji Yasui), plays a harp to wile away the time and to entertain his comrades. The ranking officer, Captain Inouye (Rentaro Mikuni), is a former musician, and his soldiers relish the music of the harp and the joy of singing together. But this love of music signifies more than just a temporary release from the stresses of men at war. The men's singing becomes a leitmotif throughout the film and a symbol for the community of spirit that binds them all together. Music functions in the film as a semi-religious, semi-mystical force that has the power to unify and to heal.

Melody is equated with the life of the spirit and the joy of home and happier times. The discord of war is heightened by the presence of this music in the midst of palpable fears, where sudden death is not the most frightening, and a painful, lingering death from starvation or wounds is a very real possibility for each man. In a wonderful early scene, Mizushima and his comrades confront British troops as night falls. In the midst of a small celebration, the men learn that British troops are nearby and watching them. But the Japanese continue singing casually in an effort to gain time to ready themselves for battle. But the disguise is not really necessary, as the British themselves burst into song and the two nationalities blend in an instance of peace and harmony with renditions of "There's No Place Like Home."

The Burmese harp itself is a central symbol in the film that serves to define Mizushima and his quest. The harp is an element of stability in the lives of all of the men. But have the men have gained their separate peace?

A Japanese elegy

[jandesimpson · 17 January 2003]

This is a film about the immediate aftermath of war from the perspective of the defeated. A Japanese company exhausted by their retreat through the Burmese jungle learn of their nation's surrender. At the request of their allied captors one of their number, Mizushima, agrees to journey to a mountain stronghold where another company is still holding out and engaging in combat. He tries to persuade his compatriots to lay down their arms and narrowly escapes death when they are massacred after refusing to give in. Appalled by the carnage around him, Mizushima decides not to return to his colleagues or country. Disguised as a Buddhist monk, he embarks on the task of laying to rest the war dead that would otherwise fall prey to the vultures. There is nothing in the way of plot beyond this. "The Burmese Harp" is that rare thing, a war film that does not rely on action. Rather does it attempt to define the innate dignity of a former aggressor attempting to salvage some sort of meaning through reparation rather than taking the comfortable course that peace can offer. Ichikawa's tender tribute to a form of saintliness sometimes totters on the tightrope of sentimentality and oversimplification - did ever weary soldiers sing more beautifully! - but by the end the message overrides all doubts. We are witnessing a proud expansionist nation coming to terms with collapse and attempting, through the powerful symbol of Mizushima, to expiate its past. Ichikawa made this film towards the end of the golden age of monochrome. that of Welles, Reed, Wyler and Ford. Like those giants he gives us wonderful closeups. "The Burmese Harp" abounds in evocative images of Burmese villagers, Buddhist monks and Japanese soldier that once seen leave an indelible impression within the mind.

This Film Touches Deep, One of The Best Ever

[talas1 · 10/10 · 15 February 2003]

The grainy black and white can't hide the beauty of this film. Luscious and dealing with the deepest human feelings of war and death and rebirth. This movie is one of the all time greatest ever made. If it doesn't touch your soul, you're missing out and must be numb, cause the acting and the passion and the deep feelings the whole cast puts into their roles is musical in it's beauty. The lush settings and the burmese culture stand out as a slice of history we shouldn't miss.

Loved it.

[marino_touchdowns · 9/10 · 3 November 2011]

Last Thursday night I was sitting in a tiny Amtrak station in Bloomington, Illinois waiting for my train to take me to my beautiful girlfriend in Chicago. As I sitting there, I was joined by a group of stereotypical sorority girls from Illinois State University. For almost an hour I was subjected to their countless stories about meaningless sex, Lady Gaga and the "pounding of shots" that they were so excited to soon be doing in the windy city. By the time we boarded the train, I had realized that I was alone in the car with these five exhausting females. I scurried to the far back to make sure that I could secure a seat by myself and far away from these strangers.

My efforts were in vain because one of them spotted my fraternity letters and found it necessary to try and sit next to me. "You're a frat boy, you may enjoy some of my stories". I could not think of any other way to make her leave me alone, so I whipped out my laptop and started watching my next film from the 1077. "What 'cha watchin'" she asked. I answered - "a black and white Japanese anti-war movie made in 1956". After hearing this, it did not take her long to jump out of her seat and rejoin her group of woo-girls. The Burmese Harp saved the day.

Little did I know that this movie would not only save me from two hours of annoyance, but it would also be an extremely rewarding viewing experience. Though I was watching it on my laptop, I was still in awe of the Criterion DVD quality and the flawlessness of the hushed black and white. The cinematography is simple and the landscaping of Burma is vast and magnificent looking. It was easy to see that the filmmaker was not interesting in a mass amount of dialogue. It was the striking subtlety in the visual style that properly denoted the overall theme of the movie.

The Burmese Harp is about a Japanese soldier stationed in Burma during the days immediately following the end of World War II. He has developed a love for playing the harp and uses it to signal danger to his troop. His playing is also used as a way to raise moral in the lonely mountains of Burma. Music, whether instrumental or vocal, plays a major role in the film. In fact, it seemed like the majority of the communication was presented through song. The sound of the harp is soothing and easy on the ears. It is a beautiful instrument that compliments the smooth visuals.

The story is also vividly entertaining in is simplicity. After retreating to the British, the soldier - Mizushima - is sent to try and convince another Japanese troop to surrender. He fails in doing this and the entire troop is eventually killed by British forces. This leads to Mizushima, and his harp, being separated from his fellow soldiers and he is now left to roam the countryside of Burma. As we walks, he meets a spiritual leader and realizes the devastatingly high amount of Japanese casualties caused by the violence of World War II. He sees the bodies of thousands of soldiers with his own eyes. He is traumatized and dedicates his life to giving them a proper burial.

The Burmese Harp is the first film by Kon Ichikawa to be seen outside of Japan. It is also one of the first Japanese movies to receive critical acclaim in the United States. What really makes it stand out is that it was the first example of an anti-World War II statement being made by the Japanese through cinema. We forget that everybody is hurt by war, and that the lines are not always as clear as good versus evil. The men in the Japanese army had families, kids and dreams of their own. They just wanted to return home - though they would find that home hardly existed as they knew it before the war.

Yes, I may be in debt to The Burmese Harp for saving me from the incoherent ramblings of a loud and proud party animal, but I also legitimately enjoyed it on almost every level. This is a great movie and could serve as an outstanding introduction into Japanese, Asian or world cinema. I am a big fan. I immediately bought the Criterion DVD. You should borrow it sometime...

war as existential crisis

[LunarPoise · 8/10 · 5 January 2012]

Towards the end of WWII, a group of Japanese soldiers struggle through the chaos of national disintegration, trying to reach the border through the Burmese jungle. Their Captain is musically trained and forms them into an ad hoc male choir in order to maintain morale. Foot soldier Mizushima plays the titular instrument and as such become a talismanic figure in the group. When he later disappears and suffers an existential crisis, his fate comes to obsess the group as a whole.

Ichikawa's iconic piece contains a strong anti-war theme that survives beyond its 1945 setting. Mizushima's troop are timeless, soldiers dreaming of homes, wives, town festivals; clinging to nostalgia to guide them home and fighting on for each other rather than any greater cause inspired by the imagined national community. Much more identifiable with the period are the troop holding out against the British even after national surrender, fanatics looking to die for an Emperor who has forsaken them rather than return to their families and rebuilding of the community. Among these men, there are no songs.

Mizushima's conversion from soldier-musician to selfless monk symbolises a state of reflection that follows all armed conflict. The film has been criticised for failing to confront the barbarism of the Imperial army, but this lack of identification with specific national failings is what gives the film a theme that transgresses to other cultures, conflicts and evils - the coming to terms with a life to be lived in the aftermath of horror. The flaws on the Yamato spirit may not be interrogated, but the atrocities of war are present, most visibly in Mizushima's encounter with the rotting flesh of fallen comrades being picked over by scavenger birds.

The framing is impeccable, and those looking for a quintessential Japanese aesthetic will be surprised by the extensive use of closeups. The music is spare and suitably evocative of military camaraderie and frightened young men coping far from home. Mizushima's journey is both symbolic and highly plausible, as is the reaction of his brothers-in-arms. Great cinema in its own right, and at the very top of the tree in anti-war movies.

Good film.. But not Buddhistic

[aisultanzhumabek · 7/10 · 8 April 2018]

The war theme was quite popular during the post-war period in different kinds of arts, especially film production. Therefore, we can observe lots of films, which were under strict censorship of governments, about the particular battles, persons or big events with a purpose to agitate a patriotism and undermine the reputation of the ex-enemy. Therefore, on the background of these films, Kon Ichikawa tried to shoot a film about the war, without single propaganda for or against anyone. Instead, he "filled" the film with the abstract thoughts about life, which are tightly connected with Buddhism, during the war and, literally, lots of songs and hymns. That is why you could get it as Japanese musical about war with some deep meaning. Due to the shooting date, I cannot properly assess the picture and sound quality: the main thing - you see and hear something. However, there is no doubt about the cast. The play of every soldier of Captain Inouye's group was felt as a representation of real soldiers of WWII because you could see individual thoughts and feelings towards particular events around them. Moreover, Rentaro Mukini, who had a starring role, showed the exemplary model of commander, who cares about the people's lives more than heroic actions with the clear death of the whole troop. Still, Mr. Yasui, who played the central personage of the whole film - Mizushima, made a great effort to persuade the audience that there could be a sudden enlightenment and decision to stay at Burma, despite that you have a chance to go back home. Sudden decision to become a monk. Certainly, the director was inspired by Zen Buddhism, especially the Rinzai school and its idea of gradual enlightenment. According to broad claim, this film was as recognized Buddhistic, due to the several signs as the speech of the monk "Burma is Buddha's country". But, I could not agree with it. The presence of temples and monks adds certain level spirituality and, in this case, serves as vital bond in the screenplay for more dramatic upshot rather than a sacred message to the audience. To sum up, the audience of this film is certainly sufficiently narrow. If you want to be in this group, you must have: 1) certain interest in the World War II history; 2) desire to watch the 2-hour-long black-and-white grainy film; 3) patience toward simple and obvious plot. At the end of watching, you can surely say that you watched worthy Buddhistic film from respected Japanese director.

Burmese Harp

[lailaduisenova · 8/10 · 9 April 2018]

Burmese Harp directed by Kon Ichikawa in 1956 is a drama movie with documental elements. It takes place in a Burma where Japanese soldiers , and especially Mizushima, are primary characters. It discusses the issue of patriotism, when regarding the Japanese soldiers and their surrender to the British army by the World War II. It also includes details that open up the theme of Buddhism and shows it by some aspects in a film. Basically, it is the time of summer in 1945, and tensions between Japan and British people are present. Mizushima's troop became aware that it is way better to surrender, as British will probably attack and it will be needless death for Japanese soldiers in this War. Though some troops are agreed to surrender, there is another group that is against such decision. Thus, Mizushima was sent by the commanders to the mission. Unfortunately, Mizushima was suppressed by the British militaries and forced to convince rest of the Japanese soldiers in Burma to rise the white flag or in other way, there will be massive bombarding of those soldiers. However, it was impossible for Mizushima to convince the soldiers and as a result there was a death of lots of people. Mizushima was hardly injuried and was healed by the Burmese monk. Consequently, protagonist himself turns out to be the monk and pursue the end goal of going back to Japan only after burying his fellow Japanese brothers in a proper and respective way. It is important to point out how the topic of patriotism and Buddhism is risen in a "Burmese Harp". Firstly, the fact that Japanese soldiers was ready to surrender for the sake of safety of their county worth telling that it is pure patriotism, eternal love, pride for the nation and of course self-sacrifice. BY self- sacrifice I mean how it is nothing for soldiers to drop out their pride as a human, as a soldiers , as a fighters just to keep Japanese safe. Other Japanese troop is also patriotic ones, but in another glance, for them patriotism was equal to the infinite love for the nation, so that they can even die for Japan if it serve some good future and safety. However, as for many Japanese people in general, the only proper, respective and not wasted death is death in a fight, in this case in a War with the British. They find Mizushima who came to offer them choice to surrender as a disrespect and betrayal. It could also be find in an episode where the troop discusses moment when they saw some Buddhist monk whose face resembles with their brother who was considered as dead one. As their hope for the Mizuhsima to be alive was disagreed by the commanders who propose that a single thought that MIzushima is not dead, consequently not died in a fight for the nation, is the same as to say that it was useless death and it is highly disrespectful for Mizushima's spirit. If considering elements regarding Buddhism, the viewers of the film can notice lots of episodes with the presence of the statues of Buddha, there was 2 different once in a temple of the monk who took care of the Mizushima: Buddha showing peaceful sign and Buddha in a para-nirvana. There are also numerous episodes with the temples and other statues. The moment with the Mizushima himself in a steppe where he wanders for a long time, with an injured leg and almost starved to death, when some laymen make him offerings as a food. However, what I personally find strange is how Mizushima eats the offered food. It is obvious that he was starving for days, but the episode of how he eats the food hardly show the patience and lack of desire that monk should possess. This could be argued as Mizuhsima is not a true monk to some extent and probably not achieved most of the goals that Buddhist monk should accomplish. This also could be understand as him becoming a monk not because his strong belief in Buddhist religious traditions or etc, but simply because of the respect and admiration towards the monk that saved his life, it is probably matter of the circumstances. The details and symbols also play major role in a "Burmese Harp" as they show more emotional and mental atmosphere and conditions of the characters. For example, it is interesting how weather conditions illustrate the atmosphere in a movie. It was rainy when troops were together and recalled Mizushima or discussed his death or possibility of being alive. This shows the deep sorrow and sadness that his fellow Japanese soldiers feel so that the audience also will sad and feel the damping atmosphere. Or there was a heavy and dark clouds as the rain with a thunder is coming when the moments were too sorrow, depressed and regarding the death. The Harp itself , I consider, is a symbol of peace, friendship as the music is the language of love and people do not need any words while making it when they want something to express. The theme of peace could be seen when there was a possibility that enemies are coming to the troop, when they start to sing as a choir and laugh in order to distract coming people. However, they see that it is not the enemies but Burmese and they join them in a choir. Generally, I consider that this movie is of a high quality, both from the cast side, montage, design and scenario. I felt everything that I should have been and I think that I had a great time while watching this film even though it is of 1956 production which is pretty old. Nevertheless, I reckon that the topic of Buddhism was not fully uncovered here or analyzed only superficially

The Burmese Harp

[jboothmillard · 7/10 · 14 July 2015]

I found this Japanese film in the 1001 Movies You Must See Before You Die book, I was hoping it would be another foreign film I would never have found otherwise and was enjoyable, directed by Kon Ichikawa (An Actor's Revenge, Tokyo Olympiad). Basically, set during the Second World War, Japanese soldier Private Mizushima (Shôji Yasui) is the harp player in a group composed by Captain Inouye (Rentarô Mikuni) who raise morale for the Burma Campaign by fighting and singing. They are offering shelter in a village, eventually realising that British soldiers are watching them, with their ammunition retrieved and the forces advancing, Captain Inouye tells the men to sing, laugh and clap to trick the British into believing they are unaware of their presence, the British soldiers do not fire, they sing along, the war has ended, and the Japanese surrender to the British. As Australian captain at a camp asks Mizushima to talk down a group of soldiers still fighting on a mountain, he agrees and has 30 minutes to convince them to surrender, he is almost shot by them before they realise he is Japanese, he climbs up and informs the Defense Commander (Tatsuya Mihashi) the war is over and to surrender. But after conferring with their commander, they decide to fight to the end, even after Mizushima begs them, he asks the Australians for more time, but him creating a surrender flag is taken the wrong way and they believe he is surrendering for them, he is beaten unconscious and left on the floor, he is the only survivor following a bombardment. An Old Monk (Eiji Nakamura) helps Mizushima to recovering from his injuries, one day he steals the monk's robe and shaves his head so he will not be spotted by a soldier, he journeys to the camp where his comrades were sent, but he finds many Japanese soldiers dead on the way, he buries them. Captain Inouye and his men cling on to the belief that Mizushima is still alive, eventually the buy a parrot to speak a phrase with Mizushima's name, and an Old Woman villager (Tanie Kitabayashi) takes it to a monk they suspect is actually Mizushima in hiding, she returns with another parrot with a reply rejection phrase. The old woman also gives the captain a letter, saying that Mizushima has decided not to go back with them to Japan, because he continues to bury the dead, while studying as a monk and promoting the peaceful nature of mankind, but he states when he has finished burying the fallen soldiers, he may return to Japan. Also starring Yûnosuke Itô as Village head. I was just about able to follow the story, about the young musician/harpist renouncing his homeland to remain in Burma as a Buddhist monk during World War II, sincerity does occasionally turn into sentimentality, but there are good military and musical scenes, and more than anything this epic film has great landscapes that accompany the great music, an interesting war drama. It was nominated the Oscar for Best Foreign Language Film. Very good!

Japan's new way

[lee_eisenberg · 9/10 · 22 June 2008]

Many in the United States have heard about how Germany (and maybe about how Italy) had to do a lot after World War II in order to deal with the residual effects of their actions during the war. It's also worth looking at how Japan had to do the same. Kon Ichikawa's "Biruma no tategoto" ("The Burmese Harp" in English) does a good job with this.

In July, 1945, a Japanese platoon in Burma gets captured by the British army. One of the men - named Mizushima - has to go to the mountains to convince another Japanese platoon to surrender. But the latter platoon refuses to do so and all the members get killed in a shootout. As Mizushima walks back to his platoon, he comes across the bodies of more soldiers who perished in the war. Thus he sees his new mission in life: no longer can he be a soldier, but becomes a Buddhist monk, with the aim of healing all affected by the war.

I see Mizushima as representing what Japan as a society had to do following its defeat in WWII. Aside from the fact that the Land of the Rising Sun has had to be a pacifist country (the US forced it to have a constitution prohibiting military intervention), the bombing of Hiroshima made the Japanese people averse to militarism in general. Certainly this movie's anti-war stance makes it all the more relevant in this day and age. I recommend it.

Half a Century Later ????

[[e-mail] · 6/10 · 16 June 2008]

This movie did not move me nearly as much as it seems to have moved others, perhaps because it resembles in certain respects other stories about World War II survivors. I can't help wondering how I would have reacted if I'd seen it when it was originally released. I suspect I would have found it much more affecting then than I do today. To be sure, the locale is more exotic than many other war survivor movies (though one suspects it was not actually shot in Burma). The gritty black-and-white film gives it a bit of a newsreel quality. But despite the left-over bones on the landscape, it does not make for a particularly powerful antiwar statement. All it really tells us is that Japanese soldiers were people too and one of them felt a pull to a more spiritual calling which he obeyed rather than return home with his wartime comrades.

Japanese soldiers as officers and gentlemen, plus one Buddhist

[gleywong · 4/10 · 15 June 2003]

This is a justly famous film and well-received by reviewers, however, I could not watch the film without a sense of ironic detachment, especially when it is a Japanese filmmaker who is making a movie about his country's soldiers during WWII, and in a spot made notoriously hot for their enemies, Burma.

I could not but feel that whatever the good and pacifist intentions of the scriptwriters and director, that there was a disingenuousness about the depiction of Japanese soldiers as polite and caring gentlemen who could do no wrong. The key character here who saves the film is Mizushima, the one soldier who defects to become a Buddhist priest, and is not only outstandingly musical, but also able to "look like a native" Burmese, when wearing a sarong. Mizushima has the symbolic role of the Japanese conscience after the aftermath of WWII, when countries who were attacked and subjugated by the Japanese were still reeling from the atrocities suffered at their hands. The fact that only one female, that of an old Burmese woman, appears in this film -- she conducts friendly exchanges of fruit with the soldiers -- is another ironic detail, when one remembers that scores of women and young girls were raped and prostituted by Japanese soldiers in virtually everyone of their occupied countries.

Is one to take the skillful filming -- all the poetic shots of scenery and of actors' faces admired by other reviewers -- at face value? Mizushima, the soldier who fails to convince the holdouts to surrender (the only reference to Japanese fanaticism), is the only one who undergoes a spiritual change by the war and who suffers any guilt: he not only rejects further killing and his life as a soldier, but he alone rejects his nationality; this is signified by his desire not to return to Japan with his fellow soldiers at the end of the war. As part of the cast, there is a role for a pair of talking parrots, who have been trained to mimic the pleadings of his compatriots to return to Japan. They offer a light but additionally ironic touch to contrast the difference in Mizushima's and the other soldiers' attitudes. Nowhere in the film, except in the stance of passive resistance that the Buddhist priest is known to take, do the soldiers or the filmmakers acknowledge the aggression of their own country as the cause of the war and reason for all these deaths. On the other hand, the "enemy" is also emasculated of his adversarial role by the filmmakers' particular stance, and the viewer is made to feel that the Japanese seem to have felt no enmity toward them. Was I alone in this reaction?

Music, moreover, plays a particularly important role: hearty choral singing-- especially using the tune "There's no place like home" -- and harp playing are offered as palliatives to the director's pacifism. In this movie, the harp is a fascinatig symbol. Now I have never heard a Burmese harp, but have listened to much harp music. I wonder whether the music heard over the soundtrack could possibly be that of the instrument that we actually see: what we see is a relatively simple lyre, with no more than an octave range of strings; it undergoes considerable banging about as a result of being carried around on the shoulder, and we never hear it being properly tuned. Yet when the soldiers sing and the harp joins in, it sounds like a Healy concert harp with deep bass resonance. While I enjoyed and admired the music, I also felt that the director was manipulating the listener's emotions more than necessary.

Am I being too literal? Should I be suspending judgement and accepting the whole movie as an allegory? I wonder. When a film is shot in sharp and shadowy black and white, as if it were a documentary, and we see actual scenery and sunsets, it is difficult to suspend judgement, yet that is what the director is asking us to do.

The upshot of my reaction is that, I feel it is a film worth viewing for the forceful viewpoint of the director, but that the viewer need be forewarned that it represents a white-washed, factually romanticized, conscience of the filmmaker. On a very distant opposing scale of values, may I recommend the films of Ozu Yasujiro. His post-war films speak eloquently of the effects of war on the daily lives of people of conscience, yet without histrionics and without having to even mention the word "war" or "soldiering."

Of four **** stars, I would give it three***.

A unique use of WWII as a stage

[futures-1 · 5 June 2006]

"The Burmese Harp" ("Biruma No Tategoto") (Japanese, 1956): What a powerful film. Directed by Kon Ichikawa ("Fires on the Plain"), this story is set during the last days of WWII, in Burma, with a troop of Japanese soldiers. They are weary, confused, but very bonded. When they learn their country has surrendered, with mixed emotions they submit and head to a P.O.W. camp to be detained until arrangements for their fates are made. One of them volunteers to go find a die-hard troop still "dug in" and unwilling to surrender, and ask them to give up, lest they be destroyed by who are now the victors. Thus begins his journey of spiritual awakening. Think of this as the story of Siddhartha, but on a clear, human level. It is gorgeous in its black & white compositions and lighting, slightly theatrical in its scenarios, and quite emotional. "The Burmese Harp" is a unique use of WWII as the stage for larger issues. Superb.

A little sentimental, but a treat for eyes and ears

[marie_D · 9/10 · 1 April 2000]

"The Burmese Harp" is the story of a Japanese soldier who gets separated from his unit at the time of the Japanese surrender in Burma. The plot deals with his attempts to come to terms with the aftermath of the war as he journeys to rejoin his unit. The film has a powerful, if a little sentimental, anti-war message.

What makes this film unique is the beautiful music throughout. You will hear the most unusual and thrilling rendition of "Home Sweet Home" by a group of Japanese soldiers. There is other great choral singing, as well. The harp also plays a prominent part in the movie. In addition, there are some thrilling shots of the Burmese countryside and of Burmese Buddhist temples.

Well worth watching.

Some War Classic To Remember! An elegy as well as an inspiration to all Japanese soldiers who lost the spirit and courage during WW 2.

[SAMTHEBESTEST · 8/10 · 27 June 2021]

Biruma No Tategoto / The Burmese Harp (1956) : Brief Review -

Some War Classic To Remember! An elegy as well as an inspiration to all Japanese soldiers who lost the spirit and courage during WW 2. The Burmese Harp is far different from other war dramas made that time. If you remember 'The Bridge On The River Kwai' which released in the same year as this and became a global sensation. Then let me tell you this like a Japanese version of that film with much more hard-hitting climax. I know comparing these two films doesn't make any accurate sense but I still i did cause I want people to watch this film considering the high standard of that Hollywood flick. The Burmese Harp is nothing less, rather i would say some people might just find it better than expected standard. In the War's closing days, when a conscience-driven Japanese soldier fails to get his countrymen to surrender to overwhelming force, he adopts the lifestyle of a Buddhist monk to hide from British force. The way it ends is truly heart touching for every human being who knows the sensitivity of the situations of war, patriotism and humanity. I was tears in those last 5 minutes and i am sure everyone who will see it or have seen it would go through the same. It is a poignant elegy of surrendered mindset of Japanese soldiers but by the time it ends it becomes an inspirational chapter. That was something new in War Genre for sure. It's a big bunch of actors and all of them have done well but i personally loved Shoji Yasui the most. His Mizushima will remain with me forever. The film has many dialogues to remember, the words have power to hit you hard and teach something about humanity. Yokoyama's cinematography is fantastic. Kon Ichikawa has done tremendously well as a director. A thank you note for him for such a heart touching and progressive film with some real motive for country other than just filmmaking.

RATING - 8/10*

By - #samthebestest.

While far from perfect, it is an exceptional anti-war film

[planktonrules · 9/10 · 28 February 2009]

Before I review THE BURMESE HARP, I should point out that I had previously watched another Japanese anti-war film, FIRES ON THE PLAIN ("NOBI"). I mention this because it definitely colored my view of BURMESE HARP, since FIRES did a much better job of conveying the horror of war--so much so that BURMESE HARP seems to pale a bit in comparison. So, if you like the message in BURMESE HARP, then seeing FIRES ON THE PLAIN is an absolute must.

This film is set in the final days of WWII. The focus of the film is a small company of Japanese soldiers who are mostly trying to avoid being killed as well as find something to eat. Within this groups is a soldier who is almost like a mascot, as he carries a small harp with him and uses it to raise the morale of these dispirited troops. When they receive word that the war is over, the harpist (Mizushima) volunteers for one last mission--the try to convince some hard-core Japanese soldiers that the war is finished. However, these men don't believe him and soon they are attacked and killed--leaving Mizushima alive but wounded. As he makes his way back to the internment camp where his comrades are being held, he comes upon many war dead--so many that his mind seems to snap. From then on, instead of returning, he decides to don the robes of a Buddhist monk and travel the land burying the dead and dedicating his life to peace.

When it comes to the technical aspects of the film, the music is wonderful and gives a rather surreal edge to the movie. Additionally, the cinematography is excellent as well. There is one problem, however, and that is that the film is poorly paced. In other words, while an exceptional film, it probably would have been better had it been trimmed a bit (the Leonard Maltin Guide also stated this--I read its review after I saw the film). I really think the message could have been more powerful had 15 or so minutes of the film had been trimmed--and this is something I rarely feel. Normally, I love longer films.

By the way, this isn't so much a criticism of this particular film, but when I saw it I found myself a bit torn. Although many Japanese soldiers suffered and died in the war and it was a great loss, I wondered how many Japanese-made movies talked about the Rape of Nanking, their forcing Korean women to be "comfort women" (i.e., sex slaves) and the wide-spread killing of prisoners of war? If you know of any such films, let me know.

Red rocks of Burma

[aruzhanmeirkhanova · 10/10 · 8 April 2018]

A well-known Japanese director Kon Ichikawa, in his masterpiece "The Burmese Harp", reveals how small groups of Japanese soldiers reacted to the end of the World War II. The off-screen voice, which belongs to one of these soldiers, narrates how he alongside his comrades had to face difficulties not only on the battlefield, but also after the War had come to an end. Hoping to return to Japan and "rebuild" it, his group surrenders to the British, while the other one refuses to do so. All of the attempts to persuade this second group were in vain for the soldier Mizushima, the main hero of the movie, who could skilfully play the harp and accompanied the songs of his fellowmen. In half an hour, British bombarded the non-surrendering Japanese troops, whereas Mizushima managed to survive. Although he seemed to have got lost and the evidence pointed to his death, his comrades didn't abandon the attempts to find him. When they finally managed to do so, they discovered that while feeling guilt for his failure to prevent the death of the soldiers, Mizushima becomes a monk and decides not to return to Japan unless the bodies of his countrymen are scattered in Burma.

This movie should be viewed as more than simply a narrative about the desperate monk and the soldiers, who had to cope with the consequences of the World War II. Each character and each scene symbolizes the Japanese view on their nation during this significant historical event. For instance, the group of Mizushima is portrayed as it had to surrender, but nonetheless had a great goal to come back to Japan and "rebuild" the motherland. The group of soldiers expressed its patriotism even more explicitly, by refusing to give up and preferring death for the sake of Japan. Such elements of the movie are particularly important in a way that each of the two groups of soldiers seems to represent the Japanese spirit and a strong sense of the national identity.

A harp being another central element of this film seems to serve several functions. It is an instrument, which during the most difficult moments of war acted as a therapy, raising the spirits of the fighters. Moreover, it is a tool and language of communication, which sends different signals to the soldiers and is difficult to understand by the outsiders. It is also a distinctive feature of Mizushima, by which his comrades managed to distinguish him while being in search. And the way in which it is depicted in the movie makes it not a less significant hero than Mizushima.

The role of Buddhism in this movie, however is more implicit. One might get an impression that a few references of the words "Buddha" and "sutra" makes the Buddhist context less significant, while the temples and statues, shown in the movie have a decorative function. Yet, such conclusions might be misleading. Although they contain partial truth, and even Mizushima as a monk, has little to do with the commonly accepted characteristics of monks, other than his appearance, the most important message of the movie still coincides with the Buddhist understanding of the world. In one of the final scenes, when the Captain is reading the letter of Mizushima, the Buddhist observer can easily identify the First Noble Truth that "life is suffering". This truth concerns not only the life of Mizushima, but all of the people who witnessed the war. It is definitely true that Mizushima's decision to remain in Burma was motivated by the self-imposed duty to bury his dead countrymen in an appropriate way, which in its turn is a deal of honour. Yet, it is also probable that the internalization of the Buddhist ideas influenced his decision to adhere to the monastic way of life. For these reasons, it would be incorrect to undervalue the role of Buddhism in this movie.

Mizushima, being the central character of the movie, is worth being noted separately. He is the embodiment of the true Japanese soldier, an impression that comes to mind first while watching the movie. This is a complex character, who experiences an internal struggle and dilemma regarding his comrades. Although it seemed rational to come back home, his devotion to his fellowmen and his honour prevented him from returning to Japan. His even more serious decision to devote his life to the Dharma, Buddha and the Sangha make his heroic image even more appealing.

In general, the fact that it was the mid-20th century product does not make its quality less worth-praising. Most probably, this is due to the realistic delivery of the atmosphere of the War period and the actors, most of whom, had undergone these times themselves. The efforts put by the movie crew seem to have been justified, due to the worldwide recognition and mainly a positive reception of the film. After all, this is an exceptional drama, with a breath-taking plot and full of different ideas that give a spectator some "food for thought".

Beautiful Use of Music

[gavin6942 · 7/10 · 9 May 2016]

In the War's closing days, when a conscience-driven Japanese soldier fails to get his countrymen to surrender to overwhelming force, he adopts the lifestyle of a Buddhist monk.

In Japan, Nikkatsu, the studio that commissioned the film, released it in two parts, three weeks apart. Part one (running 63 minutes) opened on January 21, 1956, and part two (80 minutes) opened on February 12, both accompanied by B movies. Its total running time of 143 minutes was cut to 116 minutes for later re-release and export, reputedly at Ichikawa's objection.

I have only recently become aware of Nikkatsu, and more so in the context of their gangster films. This is really quite a feat, and the use of music is excellent. I appreciate these stories of post-war Japan (and the surrounding countries). Such a marked difference from post-war America, which was mostly celebration... everywhere else was destroyed.

Well done horrors-of-war movie

[cherold · 8/10 · 23 November 2017]

I was a little skeptical of in the beginning. Early on the soldiers sing while the main character plays a "Burmese harp." It comes across as overly sentimental and saccharine, especially since the harp on the soundtrack is clearly a full orchestral harp (go to youtube if you want to hear a real Burmese harp, which sounds more like a guitar and is played with a that more plunk-y approach often found in Asian music).

But the movie gets quite good quite fast, beginning with the Japanese soldiers' ingenious response to discovering they are surrounded by English soldiers.

Even though this is meant to be a sincere drama, the movie really likes it's clever, somewhat artificial touches, like the parrots. I like them as well, and the story is intriguing and well told.

This movie is often billed as an "anti-war" movie, but I would say it's more a "horrors of war" movie. Anti-war movies are those like All Quiet on the Western Front that portray war as a horrible madness, unnecessary and cruel. This is a brave stance, as most people consider war a necessary evil. It is less brave to say war is terrible and destructive, because even famous generals will tell you that.

The movie, for that matter, seems mainly focused on how horrible war was for the Japanese. I'm suspicious of the scene in which the Burmese welcome the Japanese soldiers pleasantly into their village, because in general what soldiers do is take skimpy resources from the locals, which are given under duress. And while yes, the movie has a vague homily to creating peace right at the end, that is never really the focus; this is about one shell-shocked soldier rather than about a systemic problem.

While I can pick at the movie's subtext (something ably done in the IMDb user review of [e-mail]), it is fluid and well filmed, with affecting scenes and a compelling story. While the director leans a bit too much on artifice, typified by the false sound of the titular instrument, overall this is an excellent drama well worth your time.

The soft-hearted killers ...

[Chinesevil · 6/10 · 26 October 2021]

A typical movie of that era, sentimental but very unrealistic.

There is no real war, nor you see how ferocious the Japanese were against unarmed people. The musical element is poetic and the scenarios of nature compensate for the mediocre actors.

Haunting Anti-War Allegory Reveals the Uniquely Japanese Identity After WWII

[EUyeshima · 8/10 · 24 April 2007]

As the flip side to David Lean's "The Bridge on the River Kwai", filmmaker Kon Ichikawa's 1956 anti-war parable takes place in the same sweltering Burmese jungle but at the very end of the war in 1945. By this time, the British troops have the upper hand, and a demoralized Japanese battalion led by the indefatigable Captain Inouye has peacefully surrendered. However, there is a fanatical unit of Japanese soldiers cloistered in a nearby mountain, and Private Mizushima accepts a risky mission to convince them to surrender. He fails valiantly and is left for dead after a hailstorm of gunfire. What happens next is tracked in two intertwining story lines - the first is the spiritual journey of Mizushima as he is traumatically affected by the overwhelming number of casualties he sees on his way back to the prison camp where the rest of his troop has been sent; the second is about Inouye and his men and how they use music to reconcile themselves to defeat and rebuilding their lives after the war.

Considering how graphic many of the images are, it's hard to believe that the screenplay written by Ichikawa's wife Natto Wada was actually based on a young adult novel with an almost fairy tale tone. Yet, some of the more fanciful elements remain in the movie, in particular, the magical affinity that Mizushima shows when he fluently plays a handmade harp and the insistent use of the overly familiar "Home, Sweet Home" as a connective plot device between the opposing sides of the war. If one can embrace such contrivances, then the rest of the allegorical movie begins to resonate on a deeper level. What helps immeasurably is Ichikawa's clear-eyed sense of narrative flow as Wada's script reveals the character transformations in human-size terms. The one drawback to this subtle approach is the overly symbolic leap that Mizushima makes from dutiful soldier to pacifist Buddhist monk. It feels far more like the personification of a country's postwar metamorphosis than an honest change in outlook, whereas Inouye's overwhelming feeling of accountability over Mizushima's fate grounds the film in a more certain reality.

The two key performances reflect this divergence - Shoji Yasui is sincere and often powerful but dramatically opaque as Mizushima, while Rentaro Mikuni maintains a forceful presence as Inouye with a prevailing humanity. The Criterion Collection does its usual stellar job in restoring the pristine condition of the original film highlighting the crisp black-and-white cinematography of Minoru Yokoyama. At the same time, this is not one of their more robust packages. Even though film scholar Tony Rayns contributes an informative essay on the accompanying booklet, there is surprisingly no commentary track on the 2007 DVD. There is, however, two recent featurettes included - a 16-minute interview with Ichikawa, probably the least known of the Japanese masters, conducted in 2005 when he was turning ninety; and a 12-minute interview with Mikuni. Both are insightful on a cursory level, though they do beg for follow-up viewing of Ichikawa's other classic films. The remaining extra is the original theatrical trailer. One wonders if Clint Eastwood saw this film in preparation for his own "Letters from Iwo Jima" since they share an observant eye for the distinct emotionalism unique to the Japanese mindset during WWII.

Dated Movie with Nice Images and Good Choral Music

[sugarj1369 · 7/10 · 5 August 2007]

My wife and I liked this film, but some people may be offended by the liberties it takes with historical accuracy. It is refreshing to see a film from this era where Japanese soldiers are presented as regular human beings, not as sadistic subhuman devils. A lot of attention to detail went into the film score, and there are some nice choral musical numbers. In my opinion, the message of the book gets lost trying to make the movie work as a story, but the images of Buddhist temples and the music somehow redeem it. This film was groundbreaking for it's time, but like most films that are over 50 years old, it seems dated in retrospect. If you are interested in an older Japanese language film with nice black and white images and choral music, you will love this movie. If you are looking for an action packed shoot-em-up, or even just an accurate historical depiction, that is not what this film is about.

Is it a true anti-war and Buddhism teaching film?

[swturswt · 5/10 · 28 March 2007]

After seeing this poetically crafted anti-war film from the recent new DVD release from Criterion, I must say there are something disturbed me profoundly. The platoon led by Captain Inouye (Mikuni Rentaro) was depicted throughout the entire film more like a Boy Scout group than WWII Japanese Imperial soldiers. They enjoyed choral singing so much as if they weren't aware that they were battling with the British army in the tropical Burmese jungle during the final days of WWII. The film never dropped any slightest hint of any suffering or hardship of the local Burmese people because of the war brought onto their land by the Japanese and British. The film concentrated on the main character, the harp-playing soldier Mizushima's spiritual awakening while disguised as a Burmese monk fleeing alone from a deadly battle in the mountain to join up his platoon which have already surrendered and been taken as war prisoners by the British army. The film showed several times how Mizushima was shocked and horrified upon seeing dead bodies of his fellow Japanese soldiers scattered in a raven, along a river bank or in the jungle. But the film never showed even once any casualty or suffering of any Burmese people, which made it appeared as if the Burmese people during the war were nothing but a bunch of on-lookers. The story in this film seemed to tell us that Mizushima's transformation from a soldier to a Buddhist monk was solely because he saw many dead bodies of his fellow Japanese soldiers but not because he saw the mass killings on ALL SIDES, including the death of innocent civilians. Ichikawa Kon's film had an admirable anti-war intention and message, but unfortunately it appeared it laden with the ever subtle message that says "We Japanese soldiers are good people, we never really want to do harms to others, we suffered and died just like any other war victims." Some people may think this film has a clear Buddhist teaching in it, but the way I see it, it's not a pure Buddhist altruism because I can smell the 'nationalism' hidden behind that harp.