Night and Fog in Japan

Night and Fog in Japan, directed by Nagisa Oshima and released in 1960, is a Japanese classic that warrants a closer examination. Starring Miyuki Kuwano, Fumio Watanabe, and Masahiko Tsugawa, the movie immerses its audience in a nuanced political and historical context, challenging them to confront the dilemmas and conflicts of a nation in transition.

The film enters an undefined zone that straddles the space between reality and imagination. It takes place during a wedding reception—a seemingly conventional setting, which the ingenious Oshima transforms into an arena for intense dialogue and rigorous introspection. The bride and groom, Nozawa (played by Fumio Watanabe) and Reiko (portrayed by Miyuki Kuwano), are former student activists. However, their wedding, instead of being a joyful celebration of unity and love, rapidly devolves into a tragic assessment of Japan's revolutionary past.

The narrative continuously oscillates between the present, set in 1960, and a past profoundly marked by the 1952-1960 Anpo protests against the controversial US-Japan Security Treaty. Oshima uses the wedding as an contemplative space to study the forces that allowed the protests to fade away and to scrutinize the state of the modern society that extinguished the revolutionary spirit. The guests present at the wedding, each associate with a particular period of the Japanese protest movement, unveil layers of conflicting perspectives and hidden passions that eloquently question the equally importance of the personal and political history in constructing one's identity.

The film exhibits Oshima's remarkable ability to weave complex layers of political, historical, and personal narratives in a single canvas. A subtle undercurrent of discontent and disillusionment runs throughout the script, subtly insinuating itself into the interpersonal interactions and reflections of the characters. As the conversations progress, the movie reveals a web of braided allegiances, fractured dreams, suppressed memories, and unresolved disputes—each strand lending a new shade to the multi-hued quilt of Japan's political history.

Miyuki Kuwano and Fumio Watanabe deliver exceptional performances, skillfully navigating the movie's emotional texture and intellectual depth. They seamlessly transition between the roles of active listeners and passionate speakers, unveiling their characters' inherent paradoxes and vulnerabilities with finesse. Masahiko Tsugawa's portrayal of a fellow activist is equally commendable, cleverly balancing a pragmatic approach to life with lingering idealism. The caliber of the acting lends a sense of immediacy and authenticity to the film, effectively maintaining viewer engagement despite the heavy subject matter.

Beyond the compelling narrative and excellent performances, Oshima’s extraordinary directorial style undeniably makes its mark on the audience. The director’s conceptualization of the narrative in a non-chronological fashion fosters an absorbing and thought-provoking viewing experience. Intensely dynamic long takes, sombre colour schemes, and strategic camera angles engender a sense of intimacy and immediacy, tearing down the fourth wall and encouraging viewers to perceive the story from multiple angles.

Soikichi Matsumoto’s cinematography collaborates harmoniously with Oshima's direction. His superb command of the camera illuminates the narrative's quiet moments while echoing the characters' inner turbulence. The movie's score, composed by Riichiro Manabe, also deserves acclaim. Its haunting melody stirs an ominous ambience into the scenes, perfectly matching the movie's evocative narrative.

Prudently treading the line between being an impassioned political critique and a profound commentary on human conflict and societal machinations, Night and Fog in Japan remains a memorable work in the cinematic canon of post-war Japanese cinema. It’s a timeless reminder of cinema’s power to provoke thought and incite dialogue about crucial sociopolitical concerns.