Pioggia nera

Shohei Imamaura's Black Rain was released in 1989 just at the onset of the AIDS epidemic, a fact that gives the film about the slow deterioration of Hiroshima radiation victims an added poignancy. The black rain in the title refers to the combination of ash, radioactive fallout, and water that fell one or two hours after the explosion. There have been other books and films about the dropping of the atomic bomb but none as unique and powerful as this one. Based on a novel by Masuji Ibuse who gathered information from interviews and the diaries of real-life bomb victims, the film depicts how an entire family is affected psychologically as well as physically by the bomb years after the original explosion. It is a horrifying vision but one that resonates with deep compassion for humanity.

The film begins in Hiroshima on August 6, 1945 as soldiers and civilians go about their normal daily activities. Suddenly a blinding light flashes and a thunderous blast is heard. Almost every single building is destroyed or damaged beyond repair. The first atomic bomb ever dropped on a city is now a part of history. Survivors must somehow restart their lives, unaware of the bomb's devastating after effects. Filmed in high-contrast black and white, the story centers around Yasuko (Yoshiko Tanaka), a young woman who is caught in the radioactive rain as her boat heads back to the city to search for friends and relatives. In Hiroshima, Imamura shows us indelible images that remain with us: a young boy with skin hanging from his body pleads with his brother to recognize him, an older man is in tears over his inability to free his son from piles of debris, a mother is in torment as she rocks the blackened body of her child.

When the family returns to their rural home, Yasuko's life is forever changed. She sees her friends dying around her and waits for the inevitable bouts of radiation sickness that have already affected her Uncle Shigematsu Shimuza (Kazuo Kitamura) and Aunt Shigeko Shimuza (Etsuko Ichihara). Pretending that there is only business as usual, the family denies that the bomb has affected Yasuko. "She forgot how Hiroshima and Nagasaki were destroyed. Everyone forgot it. They forget the hell of fire and go to rallies like an annual festival. I'm sick of it," says a friend Katayama (Akiji Kobayashi). Yasuko internalizes the tragedy, feeling shame for being different than others and guilty for being contaminated.

When her aunt and uncle try to find her a husband, the eligible men refuse to marry her because of suspicions about her health, even though Shigematsu has copied her diary to prove that she wasn't directly exposed to the bomb. The only suitor she feels comfortable with is another damaged man, Yuichi (Keisuke Ishida), who has a panic attack every time he hears the roar of an engine. At the end, the beauty of life shows itself ever so fleetingly when Yasuko goes to the pond and sees a sight she has been longing for all her life, the king carp jumping in the water, playfully as if to say that beyond despair there is still joy. Sadly we hear on the radio statements by politicians about using the bomb once again in the Korean War. "Human beings learn nothing", says Shigematsu. "They strangle themselves. Unjust peace is better than a war of justice. Why can't they see?" Immamura's Black Rain has hopefully allowed all of us to see more clearly.

This is a pretty faithful adaptation of Masuji Ibuse's novel, "Black Rain." Like the book it is very moving and thought-provoking. The story revolves around a couple's attempts to see their niece successfully married. They are having trouble finding suitors because of a rumor that she suffers from radiation sickness, after walking through Hiroshima on the day of the bombing. Well filmed, well acted, moving, tragic, horrifying and funny.

Not many Japanese films have dared to confront the shame and neglect felt by victims of post-Hiroshima atomic fallout, which makes this sober, emotional portrait of slow death by radiation poisoning one of the more emotional dramas in recent memory. Most of the story revolves around a young woman unable to marry because of her condition, with vivid flashbacks to the chaos of August 6th, 1945, The recreation of Hiroshima after the blast is unflinching in its horror, but can't begin to suggest the impact of the actual devastation, and these scenes are often at odds with the rest of the film: a gentle domestic drama characterized more by its reserve, dignity, quiet poetry, and sometimes over-earnest anti-war appeals ("…war is bad", observes one character). Even with such powerful subject matter, the lasting impression of the film is one of grace, subtlety, and profound sadness.

Shohei Imamura's account of the bombing of Hiroshima and its aftermath. Kazuo Kitamura and Etsuko Ichihara play a middle aged couple who, along with their niece, Yoshiko Tanaka, live on the outskirts of Hiroshima when the atomic bomb is dropped. They live with minor injuries while they explore the horrific aftermath (shown in three different segments, the latter two being flashbacks). The Hiroshima segments in the film are absolutely devastating, just horrifyingly graphic. The bulk of the film takes place five years later. The uncle is trying to negotiate his niece's marriage, but she is tainted in public opinion because of her presence at Hiroshima (people assume she's not healthy, as many other people who were there are not). The film is quietly devastating. I wouldn't consider it one of Imamura's masterpieces, but it's a fine film. Tanaka, in particular, is brilliant, and I loved the score. The black and white cinematography is quite pretty, too.

It infuriates me no end that, now and forever, I will have to identify this movie (which I consider a masterpiece, and I don't use that word lightly) with the qualifier "Not the Michael Douglas movie!" Not only are the titles the same, but they refer to the same thing- the radioactive fallout that rained upon the survivors of the first nuclear bombings. In Imamura's film, this is no cheap metaphor; the whole movie is about the fallout, physical and emotional, from Hiroshima and the war itself. As the deterioration of a couple and their grown niece becomes more grimly clear, the ironic imagery becomes more potent, from the old clock that is reset each night to the stone gods that gradually pile up outside the heroine's door. (These, in turn, are carved by a shellshocked veteran who is compelled, in a series of tragicomic episodes, to attack anything with a motor that approaches the town.) The bombing day itself is shown in piecemeal flashbacks that are coolly horrifying. Yet "Black Rain" ("NtMDm!") can be watched, even repeatedly, because of Imamura's compassion for his characters. I repeat: a masterpiece.