Sekai daisensô

Tensions escalate between The Federation and The Alliance (proxies for NATO/SEATO and the Warsaw Pact respectively) as Japan pleads for peace (or at least for commitments to not use nuclear weapons). The film, which also follows the impact of the impending conflict on a small Japanese family, is a cautionary tale that addresses contemporary concerns about a nuclear conflict, both deliberate and secondary to an accidental launch. The film also portrays Japan's feeling of helplessness, 16 years after having been destroyed militarily and now flanked by two belligerent, nuclear-armed powers. The version of the film I watched on-line was 'fan-subtitled' (apparently originally in Italian) that was quite well done (assuming that it was true to the original Japanese) and differs from the American version (based on the description in Stuart Galbraith's book 'Japanese Science Fiction, Fantasy, and Horror Films' (1994)). The American film opens after the war, with sailor Takano (Akira Takarada) returning to a devastated Tokyo rather than following a linear narrative that ends with the sailor's return. Also, the children sing a traditional Japanese New Year's song and not 'It's a Small World After All', and the film closes with a plea for peace from the (fictional) Japanese Prime Minister and not J.F.K. The special effects and miniatures (supervised by Eiji Tsubaraya) are generally excellent and there are some very jarring images, such as bodies reduced to mounds of ash after a tactical nuclear strike. The scenes of panic, and later empty Tokyo streets, are also very well done. Paralleling the military-political story, the film follows Mokichi Tamura's (Frankie Sakai) family, who live in Tokyo and have to decide whether to abandon their home or hope for de-escalation. The story of the family (eldest daughter Saeko (Yuriko Hoshi) is engaged to Takano) is touching - pathos without excessive sentimentality. The script and the acting of the Japanese characters is very good (based on the subtitles) but the scenes featuring Federation and Alliance missile control officers (all of whom speak English) are clunky and phoney sounding (especially the trite moralising about war and the highly contrived false alarm scenes). Note: this film is 'Sekai Daisenso' , sometimes translated as 'The Final War' or 'The Last War' and is frequently confused with the similarly themed 'Dai-sanji sekai taisen: Yonju-ichi jikan no kyofu' ('The Last War, WWIII Breaks Out') (1960), a B/W Toai Studios Production).

This is a story about the end of the world. It takes two hours to get there but when it comes its quite spectacular.

This is the story of two superpowers speeding toward war. In the middle are the Japanese and the people who live in Japan. We watch as the impending doom affects the lives of several regular Japanese, and we watch as the troops in the bunkers prepare to send their missiles.

Its sad its maudlin and its very dated. Special effects aside the film when dealing with the military looks all wrong, the fake superpowers are distracting. The fact that both superpowers speak in often oddly accented English distracts from the film, as does the fact that what they say is basically stilted discussion of the wisdom of war.

I can imagine that this film once rocked peoples world, in particular in the full 110 minute version, but now it remains as a talky, dated film about the end of the world. I'm not certain its worth seeing because it is so soapy and stilted, whoever it is important in that this film very graphically shows what will be left after the bombs drop, nothing, nothing but black ruins and dead bodies.

As a film 5 out of 10, as a warning 10 out of 10.

PS- If you want to see the bombs drop its about 100 minutes in

This film has (almost) always been hopelessly confused w/THE FINAL WAR (B&W) in the past, so beware of this when referencing older reviews.

SEKAI DAISENSO was to have been theatrically released in U.S. back in early '60s by Edward G. Alperson's BRENCO PICTURES CO. (after Columbia Pictures passed on it), but this never actually occurred. An English dubbing & edit was attempted by Brenco, but not quite finished. A trailer was also made using JFK's "...mankind must put an end to war..." speech. When shown on U.S. television as THE LAST WAR starting in the '70s, it played strangely because the circular opening & ending was incomplete. Later prints of it by Heritage Enterprises tried to correct this. Disneys' "It's a small world after all" song pops up one too many times in the US soundtrack for me, though.

The small-scale miniature sets of various global metropolis's vaporized by all-out nuclear war were actually built out of sugar wafers for maximum explosive effect. However, on the day of shooting the Japanese technicians found that rats in the studio were getting first crack!

Toho devised this warning picture due the Japan was unique country that felt nuclear ravage in WWII, so it makes sense after an exhaustive effort spending in rebuilding process of Japan, so loose it seems unthinkable for the whole society, in other hand the produces didn't named these contenders, instead they split the world in two major blocks, the Alliance and the Federation and O. N. as moderating branch and the own Japan as peace mediator.

The picture focuses in a Japanese middle class family and some outlying characters, mainly on children, aside the slow pacing narrative on approaching of such upcoming suffering, worthwhile to emphasize the lavish small-scale miniatures of missile bases scattered in some spots around the world, several jets flying thru the skies and those marvelous miniatures of London bridge, New York Manhattan, Moscow's Red Square, Paris's Arc de Triompe and Tokyo downtown, it somehow soften the dramatic family story, overall not bad as some want imply.

Thanks for reading.

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First watch: 2025 / How many: 1 / Source: DVD / Rating: 7.5.

I was fortunate to obtain a widescreen subtitled edition of this 1961 movie, which is really the proper way to see it, devoid of bad English dubbing and rearranged sequences etc. In its original version, there are some great SFX sequences by Japan's master Eiji Tsubaraya, who was responsible for all the Godzilla movies, but rather than shock the viewer for its "graphic" depiction of nuclear war, as the filmmakers hoped to do, they just come across as neat-interesting in the "Armageddon" way of filmmaking that we see today. What makes "The Last War" more entertaining then films of today like "Armageddon" is that the acting is better (at least the Japanese actors), and there's just a greater sense of style in films from this era then what we see today.

Not that the movie is without flaws. The anti-nuclear war message is delivered in a very pretentious fashion, and its depiction of how the war breaks out is, as noted below, totally ludicrous with no context offered as to why tensions are escalating between the "Federation" (i.e. NATO and the US) and the "Alliance" (i.e. the USSR) in the first place. Scenes of the "Federation" and "Alliance" at their military bases are shot in English and feature very bad amateur "actors" mouthing dialogue that no one with a real grasp of the English language would ever have written (the Alliance commander at one point utters a dated exclamation, "Egads!" among other things) We also get that nice coat of whitewashing of Japan's aggressive past as an Imperial power that infests every Toho sci-fi movie that gets on a soapbox about the evils of atomic weapons. And the ending blatantly plagiarizes the ending of "On The Beach" to not good effect.

Still, I recommend owning a copy of this in the original widescreen subtitled format, just as a fascinating curio piece and also the chance to see some great special FX for the day in full splendor. Along with "Gorath" and "The Mysterians" it shows how there was much more to Toho FX movies of the 50s and 60s then just Godzilla and other giant monsters.