Screenplay, Takuya Nisioka, Gregory Marquette, Gluck, based on the book "Oba, the Last Samurai: Saipan 1944-45" by Don Jones.Ĭamera (color, widescreen, HD-to-35mm), Kozo Shibasaki, Garry Waller editors, Chieko Suzaki, James Munro music, Takashi Kako production designers, Richard C. Directed by Hideyuki Hirayama, Cellin Gluck. Executive producers, Seiji Okuda, Hiroshi Miyazaki. (International sales: Nippon Television Network Corp., Tokyo.) Produced by Naoki Suganuma, Noboyuki Iinuma, Takuya Ito, Morio Amagi, Thomas Nelson, Michael Sarun Srisomsub. Army in what was its first significant encounter with Japanese civilians.Ī Toho release (in Japan) of a Nippon Television Network production, in association with Cine Bazar, Protean Image Group, Alpha Beta Films Prod. Lewis’ interaction with Baba (Toshiya Sakai) and Motoki (Sadao Abe), internees who are willing to talk Oba down, potently evokes the massive cultural hurdles faced by the U.S. Compellingly portrayed by Takenouchi, Oba’s internal conflict is tenderly examined through his relationships with fiery young nurse Aono (Mao Inoue) and kindly older woman Okuno (Tomoko Nakajima). Plenty of exciting ambush sequences show how Oba earned the nickname “the Fox,” but the main emphasis is on the emotional state of characters who remain mentally at war while their respective nations are officially at peace.
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Weissinger (Treat Williams, excellent), a worldly type who gives Lewis free reign in what’s become a hearts-and-minds campaign with deadly risks attached.
Though Baldwin overplays the role of gung-ho commander who’d rather “blow ’em all to hell” than listen to Lewis explain the bushido code, the narrative settles into a much smoother groove when Pollard is replaced by Col. Pollard (Daniel Baldwin) to swiftly resolve the Mt. Herman Lewis (bilingual thesp Sean McGowan, solid), who once lived in Japan and is ordered by Col. Oba’s stand assumes Masada-like proportions when he’s joined by several hundred civilians who refuse to enter internment camps or follow suicide directives issued by the authorities. Ignoring the mass suicides of superior officers and the Emperor’s surrender broadcast a month later, Oba (Yutaka Takenouchi) and followers, including tattooed tough-nut Horiuchi (Toshiaka Karasawa), decide to hole up in Mt. declaration of victory on the island of Saipan on July 9, 1945.
Hirayama strikes first with a vivid recreation of slaughter prior to the U.S.
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Duplicating an approach not attempted on a big war movie since “Tora! Tora! Tora!” (1970), “Oba” was shot by two self-contained units, a potentially risky method that pays off here Hideyuki Hirayama’s Japanese-language material and co-helmer Cellin Gluck’s English-lingo scenes have distinct visual and tonal personalities that are harmoniously interwoven to accentuate the story’s cross-cultural themes.
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