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Ningen no jôken

  • 1959
  • Not Rated
  • 3 घं 28 मि
IMDb रेटिंग
8.5/10
10 हज़ार
आपकी रेटिंग
Ningen no jôken (1959)
A Japanese pacifist, unable to face the dire consequences of conscientious objection, is transformed by his attempts to compromise with the demands of war-time Japan.
trailer प्ले करें4:35
1 वीडियो
50 फ़ोटो
इतिहासऐतिहासिक महाकाव्यड्रामामहा गाथायुद्धवॉर एपिक

अपनी भाषा में प्लॉट जोड़ेंA Japanese pacifist, unable to face the dire consequences of conscientious objection, is transformed by his attempts to compromise with the demands of war-time Japan.A Japanese pacifist, unable to face the dire consequences of conscientious objection, is transformed by his attempts to compromise with the demands of war-time Japan.A Japanese pacifist, unable to face the dire consequences of conscientious objection, is transformed by his attempts to compromise with the demands of war-time Japan.

  • निर्देशक
    • Masaki Kobayashi
  • लेखक
    • Zenzô Matsuyama
    • Masaki Kobayashi
    • Jumpei Gomikawa
  • स्टार
    • Tatsuya Nakadai
    • Michiyo Aratama
    • Chikage Awashima
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • IMDb रेटिंग
    8.5/10
    10 हज़ार
    आपकी रेटिंग
    • निर्देशक
      • Masaki Kobayashi
    • लेखक
      • Zenzô Matsuyama
      • Masaki Kobayashi
      • Jumpei Gomikawa
    • स्टार
      • Tatsuya Nakadai
      • Michiyo Aratama
      • Chikage Awashima
    • 42यूज़र समीक्षाएं
    • 40आलोचक समीक्षाएं
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
    • पुरस्कार
      • 5 जीत और कुल 1 नामांकन

    वीडियो1

    Trailer
    Trailer 4:35
    Trailer

    फ़ोटो50

    पोस्टर देखें
    पोस्टर देखें
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    पोस्टर देखें

    टॉप कलाकार61

    बदलाव करें
    Tatsuya Nakadai
    Tatsuya Nakadai
    • Kaji
    Michiyo Aratama
    Michiyo Aratama
    • Michiko
    Chikage Awashima
    Chikage Awashima
    • Tôfuku Kin
    Ineko Arima
    Ineko Arima
    • Shunran Yô
    Keiji Sada
    Keiji Sada
    • Kageyama
    Sô Yamamura
    Sô Yamamura
    • Okishima
    Akira Ishihama
    Akira Ishihama
    • Chin
    Kôji Nanbara
    Kôji Nanbara
    • Kô
    • (as Shinji Nanbara)
    Seiji Miyaguchi
    Seiji Miyaguchi
    • Kyôritsu Ô
    Tôru Abe
    Tôru Abe
    • Watarai Gunsô
    Masao Mishima
    Masao Mishima
    • Kuroki Shochô
    Eitarô Ozawa
    Eitarô Ozawa
    • Okazaki
    Kôji Mitsui
    Kôji Mitsui
    • Furuya
    Akitake Kôno
    Akitake Kôno
    • Kôno Taii
    Nobuo Nakamura
    Nobuo Nakamura
    • Honsha Buchô
    Kyû Sazanka
    Kyû Sazanka
    • Meisan Chô
    Eijirô Tôno
    Eijirô Tôno
    Yasushi Nagata
    • निर्देशक
      • Masaki Kobayashi
    • लेखक
      • Zenzô Matsuyama
      • Masaki Kobayashi
      • Jumpei Gomikawa
    • सभी कास्ट और क्रू
    • IMDbPro में प्रोडक्शन, बॉक्स ऑफिस और बहुत कुछ

    उपयोगकर्ता समीक्षाएं42

    8.510.3K
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    10

    फ़ीचर्ड समीक्षाएं

    7KFL

    Powerful anti-war statement, with a few false notes

    This film was hugely popular when it came out around 1960, reflecting the fiercely anti-war sentiment of the Japanese at the time. I have read that for a time when it came out, all three parts of The Human Condition (totaling nine and one-half hours) were shown in a single sitting at theaters in northern Tokyo, starting around 10 pm and ending in time for people to catch the trains home the next morning.

    While it is a powerful film which portrays much of the suffering and brutality visited on the Chinese in Manchuria by the Japanese war machine, it is not without some rather unlikely plot twists. In particular, Kaji seems somewhat too saint-like to be believable.

    It is worth mentioning that the title "The Human Condition" is perhaps misleading. The Japanese word "jouken" corresponding to "condition" is not normally used in a descriptive sense, but rather, as a condition to be fulfilled or satisfied. Thus the title might be better rendered "The Conditions for Being Human"--the implication being that in wartime, the conditions for remaining fully human are elusive at best.
    9Tequila-18

    Spellbinding filmmaking

    This is an excellent film about one man attempting to change the system. Kaji brings his youthful enthusiasm, idealism, and humanism against a cruel, unjust machine. The acting, direction, and cinematography are all world class. This is a gripping film which will leave you yearning for part two. This is just the start of a stunning epic.
    matrac

    A masterpiece.

    The greatest film ever made! And I've seen many, many films. This even supercedes The Seven Samurai which I consider a masterwork. The Human Condition is 10 hours and in 3 movies. A stunning performance by Tatsuya Nakadai. Find the 3 parts, hie yourself off to a monastery and watch them, with a bit of a breather between each movie. Stroheim's Greed was about 10 hours before the Hollywood hacks cut it back. This one is intact. It is subtitled and not dubbed.
    10Quinoa1984

    catching the humanism train...

    Masaki Kobayashi's dream project was the Human Condition adaptation, and he pulled it off as a brilliantly told and filmed epic that tells of a man trying to cling to his humanity in inhuman circumstances. All three films have wonders in various supporting performances and set-pieces that astound with their moments of poetic realism, and the sum of it all makes Lord of the Rings look like kid's stuff. In the case of the first feature on the trilogy, No Greater Love, we're introduced to and see the young, idealistic and essentially good-hearted Kaji (Tatsuya Nakadai) as he gets a job as a labor supervisor at a POW camp in Manchuria following an impressive paper presentation. He wants to do his best, but the 'powers-that-be', which include the stalwart boss and particularly the fascistic Kempeitai (army personnel on site), keep things always on edge with tension, and as new Chinese POW's roll in and he finds himself torn: how to keep production up of the ore while also not becoming a monster just like the other "Japanese devils" to the POW's.

    While the story has an immediate appeal (or rather connection-to) the Japanese public as a piece of modern history- the occupation/decimation of Manchuria and its people- none of its dramatic or emotional power is lost on me. Kobayashi is personally tied to the material very much (he himself fought in the war and immediately bought the rights to the 6-volume series when first released), but he doesn't ever get in the way of the story. Matter of fact, he's a truly amazing storyteller first and foremost; dazzlingly he interweaves the conflicts of the prisoners (i.e. Chen, the prostitutes, Kao) with Kaji's first big hurdle of conscience at the labor camp as he sees prisoners treated in horrible conditions, beaten, abused, and eventually brought to senseless deaths thanks to Furyua and his ilk, and finds himself brought to an ultimate question: can he be a human being, as opposed to another mindless monster?

    Kobayashi creates scenes and moments that are in the grand and epic tradition of movies, sometimes in beautiful effect and other times showing for the sake of the horrors of wartime (for example, there will never be as harrowing an exodus from a half-dozen cattle cars as seen when the Chinese POW's exit from there to the food sacks), and is able with his wonderful DP to make intimately acted scenes in the midst of wide scapes like the outside ore mines and the cramped living quarters or caves. And damn it all if we don't get one of the great scenes in the history of movies, which is when the six "escapees" are put to execution with the prisoners, and horrified Kaji, watching in stark, gruesome detail. Everything about that one scene is just about perfect.

    But as the anchor of the piece (and unlike the other two films, he's not even in every scene of this part), Tatsuya Nakadai delivers on his breakthrough performance. Kobayashi needed a bridge between pre and post-war Japan, and Nakadai is that kind of presence. But aside from being an appealing star- the kind you don't want to avert your eyes from- he's mind-blowingly talented be it in subtle bits of business or when he has to go to town in explosive emotional scenes (or, also, just a twitch under his eye in a super-tense exchange). This goes without saying other actors right alongside him- Aratama, Yamamura, Manbara- are perfectly cast as supervisor, prisoner, prostitute, wife alike to Kaji. And yet, for all the praise worth giving to the film, one that gets even better in its second half than its first, this is only the first part!
    10OttoVonB

    The Immortal Story

    Masaki Kobayashi's reflection on the Japanese experience in occupying Manchuria, fighting World War II, and dealing with defeat is a staggering piece of cinema. Clocking in at just under 10 hours, "The Human Condition" – what a title! – takes us on a journey with Kaji (Tatsuya Nakadai) through a POW film, a war film and a survival film, tied together by a loose love story, weaving all these strands together with great care over its epic but impeccably paced run-time.

    The first part sees Kaji, a young, well-to-do Japanese, begin work as labor supervisor in a POW camp in occupied Manchuria. What could have been an interesting honeymoon with new loving wife Michiko and the start to a promising career slowly devolves into a nightmare: Kaji tries to stay true to his human principles while getting increasingly tangled in a complex web that involves escaping prisoners, abusive guards, and a tyrannical, bullish army that is above the law.

    As an indictment of the Japanese Imperial Army, it is all the more haunting for coming from one who served under it. And to Kobayashi's credit, never does this come across as a crass moral lecture. It is a stunning, gripping study in mounting desperation, anchored by a powerful turn from the ever-dependable Nakadai.

    Japanese cinema of this period has its quirks, stylish acting and a tendency to melodrama that can bemuse Western viewers. While I find Kobayashi less impaired by these traits than many of his contemporaries – especially in the cold, restrained anger and sorrow of Harakiri, his masterpiece – he gets heroic support from his star of choice. Far from the histrionics and bravado of a Toshiro Mifune, Japan's other megastar of the 50s and early 60s, Tatsuya Nakadai's magnetic charisma is far more subdued and heartfelt. Though our hero is at times unbelievably decent, perhaps buoyed by his youthful optimism and love for his wife, Nakadai makes every situation and painful decision resonate.

    The technical credits are the usual for this under-appreciated director's work: arresting visuals, sweeping movement, carefully crafted sets. And the supporting players leave their mark, with a stand-out in each episode. In this instance, particularly Kaji's conflicted assistant, originally mistakable for a simple brute, finds very different ways of dealing with his own crisis of conscience.

    This is definitely a film you have to see. Just make sure you clear your schedule, as you don't want to spread the viewing chunks too thin if watching in fragments

    इस तरह के और

    Ningen no jôken
    8.5
    Ningen no jôken
    Ningen no jôken
    8.8
    Ningen no jôken
    Jôi-uchi: Hairyô tsuma shimatsu
    8.3
    Jôi-uchi: Hairyô tsuma shimatsu
    Kaidan
    7.9
    Kaidan
    Woman in the Dunes
    8.4
    Woman in the Dunes
    Akahige
    8.3
    Akahige
    Sanshô dayû
    8.3
    Sanshô dayû
    Harakiri
    8.6
    Harakiri
    Tôkyô saiban
    7.6
    Tôkyô saiban
    Shokutaku no nai ie
    7.1
    Shokutaku no nai ie
    Guling jie shaonian sharen shijian
    8.2
    Guling jie shaonian sharen shijian
    Dai-bosatsu tôge
    7.9
    Dai-bosatsu tôge

    कहानी

    बदलाव करें

    क्या आपको पता है

    बदलाव करें
    • ट्रिविया
      According to Tatsuya Nakadai, a marathon screening of the entire nine-and-a-half-hour "Human Condition" trilogy is held once a year in Japan, and he has once or twice attended these screenings, which are always sold out.
    • गूफ़
      At one point a Japanese guard begins to whip Kao, yet the motions he makes are just a flailing of his arms, visibly missing the actor. Kao retaliates by throwing a rock at the guard, but the rock never strikes the guard. However, the actor playing the guard overreacts as if he has been struck.
    • भाव

      Kuroki Shochô: You know, Kaji, theory may be correct and yet not always apply to reality.

      Kaji: Then either the theory is wrong or it was incorrectly applied.

    • कनेक्शन
      Followed by Ningen no jôken (1959)

    टॉप पसंद

    रेटिंग देने के लिए साइन-इन करें और वैयक्तिकृत सुझावों के लिए वॉचलिस्ट करें
    साइन इन करें

    अक्सर पूछे जाने वाला सवाल

    • How long is The Human Condition I: No Greater Love?
      Alexa द्वारा संचालित

    विवरण

    बदलाव करें
    • रिलीज़ की तारीख़
      • 15 जनवरी 1959 (जापान)
    • कंट्री ऑफ़ ओरिजिन
      • जापान
    • भाषाएं
      • जापानी
      • मैंडरीन
    • इस रूप में भी जाना जाता है
      • The Human Condition I: No Greater Love
    • फ़िल्माने की जगहें
      • होकाईडो, जापान(Exterior scenes of the Manchurian mine)
    • उत्पादन कंपनियां
      • Toho
      • Bungei Production Ninjin Club
      • Shochiku
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    तकनीकी विशेषताएं

    बदलाव करें
    • चलने की अवधि
      3 घंटे 28 मिनट
    • रंग
      • Black and White
    • ध्वनि मिश्रण
      • Mono
    • पक्ष अनुपात
      • 2.35 : 1

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    किसी बदलाव का सुझाव दें या अनुपलब्ध कॉन्टेंट जोड़ें
    Ningen no jôken (1959)
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    By what name was Ningen no jôken (1959) officially released in India in English?
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