Reportage-style documentary-making can have incredibly impressive results. Hara Kazuo’s The Emperor’s Naked Army Marches On (ゆきゆきて、神軍 – Yukiukite shingun) is one such example. The voyeurism that Hara draws from the viewer implicates them in the absurd violence of the protagonist Okuzaki Kenzo.
Okuzaki served in the 36th Regiment in New Guinea. For him, that time there shaped him into the twisted man that he is onscreen. Unafraid to admit to killing a man, for which he was jailed prior to the filming, Okuzaki lives on a hair-trigger. At first he calls to mind the black-van driving uyoku rightists, but Okuzaki is a one-man train wreck. The problem is, his goals are quite noble.
Investigating the deaths of two fellow soldiers from his regiment, Okuzaki wades into tales of cannibalism, starvation and desperation. The experiences of these soldiers can only be described as harrowing. As Okuzaki tells another soldier, whose role in the death of another soldier forms a bookend to the documentary, in hearing about the true horrors of war, people will learn that it is unacceptable.
That said, it is clear that for Okuzaki, the ends justify the means: he not only says this, but he turns the violence and aggression on and off at will, throwing punches in what has to be one of the least exciting fist-fights in cinema history (except for a single throw that demonstrates that old retired sergeants are still pretty handy in a melee).
This film is a must-see. There are few films that can truly demonstrate the untellable secrets in wartime memory. These secrets must be told: humanity will be the better for it.