In 1933, Yukitoki Takigawa, a professor of law at Kyoto University, was fired from his position by the Education Board as his theory on criminal law was considered Marxist. The accusations had started a movement consisting of students and members of university staff in support of Takigawa, whose firing was supposed to suppress the protest, but eventually resulted in the opposite. The event which is known as the Kyoto University Incident marks the narrative center of Akira Kurosawa‘s sixth feature, which looks at three students whose life take a different turn following the events at their university. While obviously influenced by the political climate following World War II, “No Regrets For Our Youth” is a dramatic portrayal of a generation marked by war and their future as well as the shifting dynamics within a society shook by the events of the last years.
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When professor Yagihara (Denjiro Okochi) is fired from his position at Kyoto University following his criticism of the Japanese invasion of Manchuria, his students and members of staff rise to defend their academic freedom. While Itokawa (Akitake Kono) is moderate in his protest, his fellow student Ryukichi (Susumu Fujita) is willing to stop at nothing when it comes to defend their liberty and fight fascism. Yagihara’s daughter Yukie (Setsuko Hara) spends much time with the two students, but even though she is aware of Itokawa’s affection for her, she admires Ryukichi for his ambition and goals. However, when the authorities violently suppress the demonstrations, they arrest the leaders, with Ryukichi being one of the first to fall into their hands.
After her friend has been released from prison and taken up his studies again, Itokawa is relieved his peer has finally come to his senses. Yukie is disappointed in Ryukichi’s change and eventually decides to move to Tokyo to start her own independent life. However, after several years have gone by, she meets her former friend again, and suddenly she cannot help but feel the same about him as she did so many years ago.
While you could review “No Regrets of Our Youth” within the context of the political landscape of post-war Japan, this reading fails to take into account Kurosawa’s view on a generation defined by the events of the last years. Throughout the story, we encounter many problematic developments further emphasized by the political agenda at the time, such as people being ostracized because of their affiliation with “spies” and “traitors” or how whole lives are ruined due to ideology and hate. The hopes of the young people we meet at the beginning, swearing to protect their “academic freedom” and confident in their way of thinking, are slowly mended, soiled and eventually shattered, with only Yukie trying to find a way towards that notion of freedom. “Do you remember that picnic at Mount Yoshida?”, asks Itokawa Yukie after they have met again in the streets of Tokyo, but while it is mere nostalgia for him, it is still an ideal to strive for in the eyes of Yukie. Kurosawa tells a tale about those who adapt, those who will not give up their ideals and finally those trying to put the ambition of the youth into practice.
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Except for a few scenes, “No Regrets for Our Youth” is stylistically just solid, especially in comparison to the director’s previous features. The portrayal of the shift that happened between two characters through the use of lighting and shadows when Yukie and Ryukichi finally get together again, is one glimpse of Kurosawa’s growing talent in visual storytelling. However, given the stellar cast, it was perhaps to put the focus on other aspects, such as the performance of Setsuko Hara, who shines as a woman unwilling to give up what she believes in, even if it means more suffering for her. Hara’s expression and her delivery makes the audience feel with this character, her hardships and even her faith in something close to the ideal future she and her friends envisioned during their time at Kyoto University.
“No Regrets for Our Youth” is a solid drama about a generation marked by the war, but prepared to build a future for themselves. Akira Kurosawa’ intentions are less than subtle in his sixth feature and his visual storytelling may not be on the same level as with “The Men Who Tread on the Tiger’s Tail”, but its performances make this feature worth watching.
