Although not on the same level as his masterpieces such as “Onibaba” and “The Naked Island”, “Human” is still a very competent work, both as a stark survival drama and as an allegory on humanity as a concept. While it failed to gain commercial or critical traction upon release, with the exception of two local awards for Taiji Tonoyama, it has since earned a place in discussions about politically charged Japanese cinema and experimental narrative techniques. The movie was distributed by the Art Theater Guild.
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The story is based on Yaeko Nogami’s homonymous novel and unfolds as follows: three men, captain Kamegoro, Hachizo, and Sankichi, set out in a small, worn-down boat on a routine trip to collect cargo from a neighboring island and return to their village within two days. At the last minute, a local woman, Gorosuke, joins them, hoping to sell some of her abalone. But nature intervenes. A sudden storm blows the fragile vessel off course. Lightning destroys the mast. Fuel runs out. The boat, the Konpira-maru, named after the sea god, drifts helplessly into the open ocean, beyond shipping lanes and search parties, and eventually beyond time.
What follows is a grueling, true-to-life ordeal of 55 days at sea. Food runs out quickly, and although a brief rainstorm provides fresh water, it brings no salvation. While Kamegoro urges restraint and patience, he is met with resistance from Hachizo and Gorosuke, who believe they are doomed and prefer to eat freely. The group soon splits, with the pair claiming their share and isolating themselves in the cargo hold. As hunger deepens, the unthinkable begins to surface.
The commentary on human behavior in the face of danger is quite palpable. The fact that some prefer schism over cooperation is telling. That the desperate struggle to survive can reduce people to animals becomes increasingly evident, with Sankichi’s fate being particularly indicative. The persistent fracturing of the group, which eventually includes the original separatists, could also be interpreted as a subtle critique of leftist factionalism, though this may be a speculative reading. Kamegoro’s reliance on divine faith, and his belief that salvation comes from it, may be seen as a broader commentary on religion and the ‘politics’ of the right, though one of the film’s final scenes suggests Shindo might be mocking the very idea.
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Beyond its allegorical core, the movie excels cinematically. Kiyomi Kuroda’s cinematography creates a truly suffocating atmosphere aboard the ship, in sharp contrast to the boundlessness of the surrounding sea, an opposition that is vividly portrayed throughout. Even more impressive are the storm sequences: the way water floods the vessel and the bodies of the passengers slam against the interior is both terrifying and mesmerizing. The sound design in these moments is equally powerful, contributing to an overall polished cinematic experience that makes the most of its confined setting. Mitsuo Kondo’s editing, with cuts that are frequently dictated by the rhythm of the jazz soundtrack, is equally competent, retaining a rather appealing rhythm through a relatively fast pace.
The acting is also of a very high standard. Taiji Tonoyama delivers a restrained and thoughtful performance as Kamegoro, the “wise” leader. Kei Sato as Hachizo and Nobuko Otowa as Gorosuke capture their characters’ descent into desperation with fitting intensity. Their antagonism toward Kamegoro is clear and adds to the dramatic weight of the story. Otowa, in particular, impresses in her portrayal of a woman who is not maternal or sentimental but simply human, tough, driven, and deeply flawed, adding further complexity to the narrative.
Although essentially a survival drama, “Human” is not just about endurance. It is about the layers that define and protect humanity, and how quickly they are peeled away when instinct and desperation take hold. Even so, the cinematic execution stands out more than the thematic exploration, in a movie that, despite its age, is well worth experiencing on the big screen.
