Virus

Virus, also known as "Fukkatsu no hi" or "Day of Resurrection", is a post-apocalyptic science fiction film directed by the renowned Kinji Fukasaku and released in 1980. The movie stars Masao Kusakari, Tsunehiko Watase, and Isao Natsuyagi, along with an ensemble cast of international actors including George Kennedy, Robert Vaughn, Chuck Connors, and Olivia Hussey. It’s produced by Haruki Kadokawa and written by Kinji Fukasaku, Kōji Takada, Gregory Knapp, and Sakyo Komatsu.

The premise of the movie is based on the alarming use of biological weapons. Here, we must prepare ourselves for a world where humanity is on the brink of extermination due to a deadly virus known as the 'MM88'. This virus was a product of germ warfare gone awry and has a fatality rate that leaves no room for optimism. The origins point to a vile scheme instigated by an East German scientist upon orders from a vindictive, high-ranking military officer.

Virus is told from an ensemble viewpoint, taking various threads from different characters and tying them into a coherent, grim tapestry that covers the destruction and struggle for survival. The film operates on a truly global scale, starting in the political chasms of the Cold War and moving to scientists and soldiers in Antarctica, a loner in Tokyo, and submarine officers in the depths of the ocean.

In the forefront, Masao Kusakari plays the role of Yoshizumi, a Japanese meteorologist stationed in Antarctica. When the MM88 virus breaks out, he and the rest of the polar crew find themselves to be the only survivors, as the virus can't survive in sub-zero temperatures. They stay cut-off from the outside world and struggle to coexist within the limits imposed by their snowbound camp, their desperation growing as their hope for rescue dwindles.

Contrasting with the icy isolation of Antarctica is the cosy claustrophobia of a submarine led by Captain McCloud, portrayed by Chuck Connors. Both the submarine crew and the researchers find themselves wrestling with the same foe – despair, isolation and the gradual yet certain erosion of hope in the face of global annihilation.

Further, Tsunehiko Watase plays Dr. Yamauchi, another key character. His optimism and faith contrast sharply with the fatalistic attitude of his peers. Despite doom being an everyday companion, he clings to the possibility of a cure.

Throughout the film, Fukasaku expertly blends elements of socio-political commentary with the existential dread and fear that come with an apocalyptic event. He delves into the human psyche, exploring how individuals and societies react when staring into the abyss of imminent doom. Do people succumb to their darkest instincts or rise above to find some semblance of hope and persistence?

The cinematography deserves a special mention, it does an excellent job depicting the bleakness and hopelessness. This is particularly apparent as it portrays the desolate cityscapes and icy expanses of Antarctica.

Virus does not shy away from touching on the height of Cold War paranoia where the fear of global conflict and the use of weapons of mass destruction underscore both the narrative and the very real sentiments of the time. This offers a fascinating study not only into humanity’s worst impulses but also on the inherent politics of survival.

Considered among the highest budgeted Japanese films of its time, Virus delivers a chilling evolution of disaster films, transcending into a thoughtful commentary on political tension, human desperation, and the sheer will to survive against all odds.

The film has its dark moments, examining the fragility of civilization in the face of a seemingly insurmountable threat, but also includes moments of resilience and hope, reminding audiences of the indomitable human spirit and resilience.

It's important to note that besides its dark storyline, there's also a dash of romance and personal introspection infused into the narrative, which brings an emotional depth to the epic disaster movie.

Virus pushes its characters to the brink of human endurance and then examines what lies beyond. As a viewer, it insists on contemplating how societies crumble, human instincts take over, and then the undeniable power of hope rears its head. With its ambitious narrative, varied characterization, and breathtaking visuals, it offers a gripping take on end-of-world catastrophe entwined with humanity's will to endure and ultimately, strive.