Context of The Most Beautiful
One of Akira Kurosawa’s earliest directorial efforts, the 1944 film The Most Beautiful, was made specifically as a propaganda tool commissioned by the Japanese military government in power at that time. Although the fact may prevent it from achieving its favorite status in Kurosawa’s filmography, the film nevertheless offers a valuable glimpse into the burgeoning talent of the soon-to-be-famous filmmaker especially evident in his developing skills behind the camera.
In the vast expanse of the Pacific Ocean, 1944 saw Japan involved in a brutal conflict raging across the expanse. The enemy: The United States, supported by an alliance of formidable countries. In the face of the existential struggle, the Japanese government issued a firm call for the production of propaganda films. The cinematic productions had an important purpose: to raise public morale and maintain unwavering dedication to the war effort.
In contrast to his contemporaries (such as the illustrious Yasujirō Ozu), Akira Kurosawa was not called up to serve in the Imperial Army. However, the battlefield was far from calm. Inside Toho Studios, Kurosawa was expected to launch his war. In addition to a tribute to the bravery of Japanese fighter pilots, initial government guidance had envisioned a rousing action film. As the tide of war turned against Japan and the country’s situation became increasingly precarious, Kurosawa received new orders. Now, his mission is to write and direct a film of a different nature: a moving drama set in a hostel for young women, tirelessly working hard in the production of high-precision optical instruments essential for the armed forces.
Kurosawa’s Role and Shifting Directives
During the tumultuous period of World War II, Japan was under the grip of strict censorship. Apart from being a powerful tool in influencing public opinion, propaganda is the basis of the government’s agenda. The atmosphere of artistic oppression put enormous pressure on filmmakers like Kurosawa, who expected to conform their creative vision to the wishes of the government. Censorship laws are a huge obstacle, and non-compliance with government directives can have devastating consequences for filmmakers who dare to deviate.
Faced with such obstacles, Kurosawa (along with many of his artistic colleagues) may have felt compelled to start making propaganda films. Although perhaps driven by a desire for self-preservation and the safety of his collaborators, such a decision could be interpreted as a means to ensure the continuation of his career. Under the constraints imposed by the requirements of propaganda, there may still have been artistic freedom exploitable by a director like Kurosawa. Through their expertise, they have the potential to influence the way messages and themes are delivered even though the overall content remains tied to the government’s agenda.
Kurosawa’s Regret and Post-War Shift
Later in life, Kurosawa expressed deep regret about certain aspects of his wartime work through interviews and personal writings; he admits the compromise he was forced to make. The regret became a testament to his artistic integrity and a possible turning point in his career. A closer examination of his filmography reveals a marked shift in his focus after the war. His later films show a much deeper engagement with moral and ethical questions, in stark contrast to the propaganda content dominating his war results.
Being involved in a propaganda film is always a slightly strange experience. However, the thrill turns to even greater confusion as viewers watches characters expound on how to defeat evil forces and destroy enemies, only to be confronted with the sudden realization of how those statements relate to their nation and its citizens. The film begins with a caption that is bold and aggressive in its delivery, urging the audience to “attack and destroy the enemy.” The overt exposition becomes one of the main advantages inherent in a propaganda picture; there is no possibility of misunderstanding the film’s underlying message or intended purpose.
Depiction of Collective Effort
The narrative centers on a group of teenage girls living in a communal dormitory. The women found work at a nearby optical factory, an important cog in the wartime machine. Their daily duties involve meticulous construction, meticulous polishing, and rigorous testing of lenses intended for artillery and fighter aircraft. Significant developments occurred when the monthly production quota was increased unilaterally: for male workers, the target was doubled, while for female workers it was only increased by half. The gap ignites a collective spirit within women. They united and demanded a fairer workload, a quota of at least two-thirds of the new target given to their male colleagues. Then, the film begins a detailed exploration of their collective efforts. We witness their determination as they attempt to overcome the challenges of distractions, interpersonal conflicts, and personal crises with one goal: achieving a newly established quota within a specified period.
Apart from its depiction of female workers in wartime factories, The Most Beautiful is also often interpreted as propaganda designed to raise national morale and foster patriotic sentiment among the Japanese public. However, a strong argument can be made about how the film’s depiction of collective effort and determination goes beyond the limitations of a propaganda context.
Proponents of the perspective argue how the overarching themes of unity and perseverance depicted in the film have the potential to be relatable to audiences regardless of the political motivations driving its creation.
From a pure viewpoint, it is possible to appreciate the artistry and narrative techniques used in The Most Beautiful while also acknowledging the film’s historical and political background. The film’s successful depiction of ordinary individuals uniting to conquer adversity undeniably can inspire and lift the spirits of audiences. They are aware of the propaganda elements woven into its narrative.
The film’s attempt to depict dedication to industrial results is not subtle. It leads to unintentionally funny moments. One particularly illustrative scene depicts a young woman, after suffering a severe spinal injury from falling from a roof, vowing to focus all her energy on relearning how to walk. Her one-on-one motivation? To rejoin the factory workforce and contribute to achieving production quotas. Another scene features a girl desperately hiding her increasingly serious illness and her physical decline. In her mind, her well-being means nothing when compared to the important goal of meeting quotas. The relentless effort continues, with the young women (depicted more as a collective unit than as distinct individuals) putting forth their best efforts. Meanwhile, a group of good-natured adults (including the gruff but well-meaning factory head) played by venerable Kurosawa collaborator Takashi Shimura observe them with patience and optimistic encouragement.
Depiction of Child Labor
An interpretation of the depiction of child labor in The Most Beautiful shows a different interpretation. Some argue that it is a reflection of the attitudes and values of society prevailing in the period depicted, and is not a deliberate attempt to promote child labor as an ideal practice. During WWII, Japan faced a severe labor shortage due to the demands of the war effort. As a result, children (especially those living in urban areas) are sometimes employed in factories. The practice was driven by the absolute need to maintain production levels sufficient to support the war machine.
In context, it is likely that The Most Beautiful aims to depict the harsh reality of life during wartime. It included the mobilization of various levels of society, including not only men but also women and children, to contribute to the war effort. Therefore, Kurosawa’s depiction of child labor may serve as a powerful commentary on the significant sacrifices and struggles faced by ordinary people during a time of national crisis, rather than serving as an endorsement of child labor itself.
While the film’s earnestness may initially raise some amusement, a closer look reveals the underlying reality to be much sadder. On the one hand, the film can be interpreted as a depiction of youthful and enthusiastic patriotism. However, a deeper analysis reveals something more disturbing. In essence, the film functions as a disguised advertisement regarding child labor. It encouraged the use of young people to contribute to the war effort, strengthening the redundant military machine. Additionally, the war machine is responsible for violent invasions across much of Asia and poses a significant threat to the stability of the entire Asia-Pacific region. The film’s production coincided with the reign of a very unpleasant nationalist government in Japan. Despite Kurosawa’s noted lack of sympathy for the regime, the film itself represents a slightly unsettling attempt to rally public support for their actions and policies.
Technical Proficiency and Engagement
Although the film displays undeniable technical proficiency, with Kurosawa’s masterful application of rapid cuts and close-up shots in sequences, the film ultimately proves a less engaging experience than his debut feature, Sanshiro Sugata. This is partly due to the film’s narrative and character development where the latter is relatively simple. Additionally, the film’s underlying promotion of an unsympathetic government makes the viewing experience somewhat challenging. Therefore, The Most Beautiful is perhaps best classified as an interesting historical artifact, valuable as an illustration of the director’s evolving skills but less worthy of a general recommendation.
To foster a sense of genuine friendship among the actresses playing the boarding house residents, Kurosawa implemented a unique approach. He arranged for the entire female cast to live in a dormitory serving as a film location. However, the living conditions proved less than ideal. As a result, the cast collectively chose a representative (talented actress Yoko Yaguchi) to voice their concerns to the director. With courage and calm, Yaguchi implored Kurosawa to show greater concern in creating a more comfortable and conducive work environment. Interestingly, Yaguchi (playing the selfless and hardworking character Watanabe in the film) later married Kurosawa the following year. Their union remained strong until she died four decades later.