I'd like to thank an online assignment writing service for help in writing my movie reviews.
Certainly, though this raises the question of whether or not the man would have confessed had the camera not been present. At the same time, the camera is already able to do a great amount of revealing, as pointed out by a conversation between Okuzaki and the soldier, Hara.
Hara: How do you think people who see this will interpret this? (indicates at camera)
Okuzaki: They’ll think you’re hiding the truth.
Of course, this is something that both characters hardly needed to state as they had already realized that this was the case.
Other various surreal moments occur, for example, when one of the soldier’s wives takes a picture of the camera crew as they film the interview. The film also highlights the role of fiction utilized in all forms of film, when Okuzaki asks his friends to act the roles of siblings of killed soldiers in order to more easily produce a confession from the commanding officers he interviews.
It is one of the final scenes, however, in which Okuzaki tackles and kicks a sick man for refusing to confess that mostly closely embodies the moral conflict of abandoning the camera to interact or to continue filming. “You just stand there and film while doing nothing,” one of the family members of the man cries, as she tries to restrain Okuzaki.
No matter how noble Okuzaki’s cause is, to make the horror of war known to prevent them from happening in the future, he ultimately compromises himself with his own actions. This is epitomized by some of his final words that “violence is justified if the end is good.” Okuzaki has become so entrenched in his own quest, that he has adopted some of the very methods that led to the system which he criticizes.
The Emperor’s Naked Army Marches On, makes a number of contributions to both film and history and is an unforgettable work. The confessions recorded here, while painful to watch, are invaluable pieces of historical material. Moreover, the film renews the question of the role of the individual behind the camera and challenges the way in which documentary film is produced. Instead of offering any kind of definite conclusions, the viewer is left with a number of questions at the end of the film that might seem confusing and contradictory. What are we to make of the character Okuzaki or any of the narratives we are left with? How should we feel about the fact that the film only addresses the issues through the multiple lenses of a confused individual and the fragments of memory from personal soldiers who still wish to protect themselves? And most importantly, how will we react when the omnipresent guiding voice of the documentary fails us?