Emperor (2012)
Director: Peter Webber
based on Shiro Okamoto (Okamoto Shiro)'s book: "His Majesty's Salvation" Dignity
Hong Kong and Taiwan translated it into "End Battle Emperor" based on the Japanese film title "End 戦のエンペラー". The advantage is that it is clear at a glance. The audience can directly know the main content of the movie based on the title. The downside is that it glosses over the possible ambitions of the film. The original English name could have been a pun. It refers not only to the Emperor Showa, but also to the five-star General of the Army Douglas MacArthur, the de facto ruler of Japan after the war. From the author's point of view, the arrogant style of Mai Shuai and his bold military style paved the way for dealing with and opening up the difficult situation in post-war Japan. At the same time, it was these two leaders who worked together to lead Japan's postwar renewal and reconstruction.
This view is directly expressed to Emperor Showa through the mouth of Mai Shuai at the end of the film. He said: So let's see what we can do to get Japan back on its feet.
The reason why Mai Shuai trusts the emperor so much, at least in the movie, is based on his original intention of proposing to meet the emperor. On the question of whether to try or pardon the emperor, the dilemma he faces is that there is no solid reason for a pardon, so it is difficult to resist the pressure of Washington to seek revenge against the war criminals in response to the voices of voters. And he did not share this impulse for revenge.
But Washington wants vengeance on the Emperor, because their voters do, and their voters have no fucking idea what's good for them.
At a time when everyone was about to give up hope, he gave his trusted aide, the expert on Japanese culture, Brigadier General Bonner Fellers, the protagonist of the film, a last chance, and decided to have a face-to-face conversation with the Emperor in person. It is necessary to get in touch with this person who is regarded as a god by Japanese tradition, look directly into the eyes of the emperor, and see through the soul of this god according to one's own experience, so as to make one's own judgment, and finally make this difficult history according to one's own judgment. Decide.
So how did he feel to make this difficult decision?
According to historical records, the two met and talked as many as 16 times in just one year. The movie captures the most crucial first time. The film delicately depicts that Mai Shuai deliberately violated the agreement between the two parties and made a series of actions that violated traditional rules: for example, he took the initiative to shake hands with the emperor for a photo and even screened all the entourage, leaving only the Japanese interpreter to accompany him, etc. At the time, the sub-secretary in the palace who was in charge of protocol affairs was at a loss. The film depicts the emperor calmly waving his hand, keeping the ministers silent, and obeying all arrangements. History sees this as the historical moment when the emperor changed his position: from then on, the emperor returned from god to man.
Before the movie finally closed the door of the living room and left the scene, General Phileas witnessed this historical scene between the doors:
At this time, the emperor stood up and went straight to Mai Shuai and said:
I am here to bear all the responsibilities. Please impose any punishment on me, not the Japanese people.
I come to you, General MacArthur, to offer myself as the one to bear sole responsibility. I wish that the punishment will fall on me, not on Japan.
This is the dignity expressed by the emperor as "tenjin". Both cultural and political.
Mai Shuai immediately felt a sense of sympathy. He leaned to the side of the emperor and sincerely confessed to the emperor:
This has nothing to do with punishment...Your Majesty. I need your help. So let's see what we can do to get Japan back on its feet.
The movie selects a Japanese general American general from a variety of historical materials. The narrative angle has advantages and disadvantages. The advantage is that it is convenient to tailor a unique story with strong personal meaning and to show the Japanese view of war, occupation, defeat and responsibility for war through fictional Japanese girlfriends (military families with aristocratic backgrounds).
The disadvantage is almost a common problem of Hollywood movies, too much pursuit of the completeness and smoothness of the story, at the expense of (at least part of) the historical reality.
For example, instead of making hasty decisions in just 10 days, the investigation conducted by Michael Shuai lasted five months. Moreover, as we all know, Mai Shuai's understanding of the Japanese cultural background does not rely solely on the personal experience and opinions of his staff. Ruth Benedict's masterpiece "The Chrysanthemum and the Knife" is an official academic report submitted for this purpose. Otherwise, it would be too much of a joke if it was really the same as what happened in the movie, and a far-reaching historical decision was made based on the personal opinions of individual people under the account.
Therefore, some insightful film critics have pointed out this flaw. The film is well-made and has many merits. However, due to various conceivable reasons, after the painting this summer, there was almost no response. I'm afraid the box office will not be much better (it seems that there are only 3 million in mainland China; but it is said to be very different in Japan).
But there are some points in the movie that are worth mentioning.
General Phyllis was ordered to arrest all Class-A war criminals within an hour. His colleagues who had no knowledge of Japanese culture said that there was no need to worry about them escaping. After all, Japan is an island. There is nowhere to run.
As a Nippon Passer, Phyllis made it clear that this was to prevent them from committing suicide. They have a long history in this regard.
Colleagues disagree: These people are barbaric.
Phyllis disagrees: They have different ideas of honor.
The film also defends Japan's East Asian War through the mouth of Prince Fumimaro Konoe:
We are both guilty.
Yes, we seized territory in China, but did not Great Britain, even Portugal, precede us?
Yes, we took Singapore and the Malaya, but we took it from the British.
We did not take the Philippines from the Filipinos, but from the Americans, who themselves took it from the Spanish.
If it is an international crime to take territory by force, who convicted the British, French, Dutch, and American leaders?
Nobody.
And what is different with Japan? Nothing. You see, General, we are simply following your fine example.
Such excuses are certainly not helpful to war victims. But at least from the point of view of filmmakers, there is no doubt that the Western colonialist tradition has something to reflect on. In fact, such opinions are not the first to be seen in this film. As early as the post-war International Military Tribunal for the Far East, Indian Justice Radhabinod Pal publicly held dissent against the trial. He questioned that the composition of the court was based only on the logic of winners and losers; only the revenge of the victors of the war against the vanquished. So it can't be fair and just. As a victim of Western colonialism, he directly challenged the Western colonialist tradition. He believes that in order to be just, it must include the same standard of trial for the entire Western colonialist tradition and even for the crimes against humanity that the United States dropped atomic bombs on civilians.
Based on Radhabinod Pal's rigorous legal knowledge, he acquitted all war suspects.
The Japanese nation is naturally grateful to the Justice. To this day, the Yasukuni Shrine is still enshrined in the memorial of the justice.
But how can human history be regulated by this simple black-and-white logic? In the film, Phileas said:
Nothing in Japan is ever black and white. There are a million shades of gray.
In fact, is it not true even in Western history?
In the movie, Mai Shuai does not want to see the resistance of the Japanese people because of the emperor's trial or even being killed as a war criminal:
This whole occupation could blow up on us.
So does exonerating the Emperor of Japan involve whether it is "justice" or not. "What?
The film clearly states:
Revenge is not the same thing as justice.
There is also a very important psychological motivation that is directly expressed in the film. That's why he didn't want to see Japan being shared by the Soviet-Russian army like Germany. The staunchly anti-communist Mai Shuai's later performance in the Korean War may have been revealed when he occupied Japan. Later, because of this, he fell out with Truman, who was crazy on the left, and was finally deprived of military power for his military disobedience. History's assertion of Truman is of course not only because of this decision. But once regarded as one of the worst presidents in American history, it is impossible not to include his misjudgment of the direction of history.
"Truman declared on January 5, 1950, that the United States did not intend to be involved in the Chinese Civil War, meaning that it would not interfere with the liberation of Taiwan by the New China. A few days later, Acheson announced that there was no guarantee that Taiwan would not be attacked militarily, but The U.S. Pacific Defense Zone in the Far East does not include North Korea and Taiwan.”
Let’s go back to the beginning of the movie, where Michael flies to Japanese soil for the first time to demonstrate a real military occupation.
Before the plane landed at the airport, it received information that there were as many as 2,000 Japanese troops armed with live ammunition along the airport.
I'm told there will be 2,000 Imperial troops lining the road we'll have to drive, and, um...We have 100 men, sir, and the cars they've requisitioned for us are not armored. The snipers could take us out at any point, General.
As a half-century veteran, Michael's response was equally dignified:
Gentlemen, we will take no weapons with us when we step off this airplane.
Nothing will impress them more than a show of absolute fearlessness.
Now, let's show them some good old-fashioned American swagger.
In the words of the movie:
MacArthur believes in honor. And glory. His own, of course, at your expense.
He wants to save Hirohito, but he needs you to do it.
His purpose was clearly achieved. Because his goal was not merely military conquest. But soberly aware:
I intend to make Japan the world's greatest experiment in the liberation of a people from military rule.
My mission is to rebuild Japan.
Now is the time to win this fragile peace, or impose it if we have to.
We are the occupying power... but we must be seen as liberators, not conquerors.
The Japanese army reciprocated. It turned out that the 2,000 soldiers lined up along the airport were paying the highest salute to Mai Shuai. To paraphrase General Phileas:
Not your usual surrender formation. They avert their gaze for the Emperor, too, sir. They are paying you the ultimate respect.
In a country where the samurai spirit has been lost for two thousand years, such an attitude is unbelievable. Once upon a time, when Nanjing fell, the generals who fought against the enemy army fled first. Leaving the suffering soldiers and civilians like headless flies to trample on each other and allow the enemy's war machine to be brutally strangled. Comparing the two, the husband said nothing.
When the country is in crisis, the soldiers who fought to the death to protect the country and the people will always receive the sincere admiration and respect of the enemy with the same samurai spirit. The dead soldiers who were buried with military rituals by the enemy in those days can be confirmed by the spirit of heaven. Today's film, like the Letters from Iwo Jima in previous years, also sings an elegy for the soul of the undead veteran.
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