All historical adaptations take a certain artistic license with their source material. JAPAN'S LONGEST DAY is no exception, but for a variety of reasons, this film rises above the norm.
The black and white photography, framed conservatively, has the feeling of reality, as if it were almost documentary. There are distinct emotional highs and lows as Japan's high command wrestles with the concepts of unconditional surrender (the Potsdam agreement) and the army's hopes of keeping the war going indefinitely; but the drama seems more real than posed. And despite that the events depicted here really happened, there's a palpable sense of tension in the narrative.
JAPAN'S LONGEST DAY covers that short period just before the Allied bombings of Hiroshima and Nagasaki to Japan's surrender in August 1945. But the attention to detail is almost documentary in feel, as bureaucrats and politicos spar with each other to save what they feel is the spirit of Japan. This kind of film doesn't get much more compelling, and does a superior job at balancing accuracy with drama.
The black and white photography, framed conservatively, has the feeling of reality, as if it were almost documentary. There are distinct emotional highs and lows as Japan's high command wrestles with the concepts of unconditional surrender (the Potsdam agreement) and the army's hopes of keeping the war going indefinitely; but the drama seems more real than posed. And despite that the events depicted here really happened, there's a palpable sense of tension in the narrative.
JAPAN'S LONGEST DAY covers that short period just before the Allied bombings of Hiroshima and Nagasaki to Japan's surrender in August 1945. But the attention to detail is almost documentary in feel, as bureaucrats and politicos spar with each other to save what they feel is the spirit of Japan. This kind of film doesn't get much more compelling, and does a superior job at balancing accuracy with drama.