The Human Condition (1959-1961)

Masaki Kobayashi's The Human Condition is exactly what it sounds like - a long, sprawling, grandiose epic about war and heroism and patriotism and humanity and a whole variety of other things. Unsurprisingly, it is overlong and overambitious. More surprisingly, it is often a bore. The first film in the trilogy is at least engaging as a conventional war story and character study, but the second and third parts become so prolonged and predictable that when the trilogy finally stopped in its tracks, nine and a half hours after it started, I had lost interest. There is a lot of money thrown at the screen, and a lot of speechifying, and many pretty widescreen vistas. But none of that can hide the film's lack of a meaningful insight into any of the themes it considers.

The Human Condition was originally released as three films, each about three hours long. In Part 1, we are introduced to the protagonist, Kaji (Tatsuya Nakadai), a young management trainee who gets appointed to the position of a labor camp supervisor in Manchuria during World War Two. There, he tries to implement his socialist ideals in the treatment of the workers, but is opposed by an immoral and rigidly bureaucratic military system. In Part Two, Kaji becomes a soldier in the Imperial Army and is sent to the front lines. In Part Three, a disillusioned Kaji deserts in order to return to his wife Michiko (Michiyo Aratama).

If that plots sounds awfully tidy, it's because it is. From very early on, we know where this is heading. The film follows a linear decline: as time progresses, Kaji's circumstances become more dire, he becomes increasingly cynical, and the film's mood becomes all the more somber, its tone all the more self-serious. Even with nine and a half hours to spare, Kobayashi finds little time to develop his characters in any but the most basic ways. Kaji does change over the course of the trilogy, but his development seems perfunctory, always at the service of the plot and Kobayashi's grand thematic aspirations. The films were based on a six-part novel, and apparently Kobayashi was so enamored of it that he cut almost nothing from the book. But his slavish devotion to the arc of the novel doesn't give the film any room to breathe.

On a technical level, The Human Condition is somehow less than the sum of its parts. Kobayashi hired a new cinematographer, Yoshio Miyajima, specifically for the film. He also employed a then-innovative widescreen film format called Grandscope. Kobayashi's direction is clean and clear, but also rather dull. The camera seems to merely record the action. There are many wide shots of landscapes, but one gets the impression that Kobayashi and Miyajima are merely straining for grandeur; the shots lack depth and meaning. In terms of music, Kobayashi lays it on pretty thick, employing loud, bombastic swells to call our attention to anything particularly dramatic.

For a while, The Human Condition gets by on the strength of its cast. As Kaji, Nakadai is eminently likable, and convincing in his descent from sincere idealist to disillusioned cynic. Aratama, playing his wife, is equally good in what could have been a thankless supporting role. These two actors keep the audeience interested, even as the plot follows its all-too-predictable course.

The Human Condition is perhaps most interesting as a social and political document. Released 15 years after the end of World War two, the film - which depicts the entire Japanese army as a corrupt and outdated institution - was enormously popular in Japan. That says a lot about the nation's postwar attitude. The film's existential concerns also clarify why it was so popular; such themes were the staple of 60's "arthouse" cinema.

Still, the fact that the film's social and political context is its most interesting aspect suggests a larger truth - that over time, The Human Condition has become dated and esoteric rather than universal. Kobayashi's literal-minded and heavy-handed apporach to the film renders it curiously unaffecting. It seems to me the Japanese equivalent of a particularly overwrought Hollywood epic, or maybe a Japanese imitation of a David Lean film. Perhaps the only reason why this film is so revered, why the critic David Shipman called it "unquestionably the greatest film ever made," is that it comes dressed up in subtitles and a long running time, making it seem worth more than it really is.

The Adventures of Antoine Doinel - The 400 Blows / Antoine and Colette / Stolen Kisses / Bed and Board / Love on the Run

In September 1958, an advertisement appeared in the French newspaper France-soir for a thirteen year-old boy to play the lead role in an upcoming feature film, The 400 Blows. The director was known in some circles for his controversial film criticism, but had never before directed a feature. The actor eventually chosen was also an amateur, and was initially deemed too old for the part. Yet these two men, Francois Truffaut and Jean-Pierre Léaud, forged a creative partnership and friendship that would last for decades. Incidentally, they also made one of the cornerstones of cinema, a film that kickstarted the French New Wave and ushered in a new era of personal filmmaking.

Looking back today, it hardly seems possible for it to have happened any other way. Rarely has there been such a perfect harmony between actor and director, with each man's personality equally informing the character of Antoine Doinel, who evolved in four sequels. The 400 Blows, rightly, is the most admired, but none of the later Doinel films is without value, and they all play off of motifs established in the first film.

In The 400 Blows, Antoine is a 13 year-old living in Paris with a stressed-out mother and distant stepfather. Neglected at home and vilified by his teacher at school, Antoine spends much of his time wandering through Paris with his friend René - going to movies, carnival rides and parks. Due to a series of poor decisions and misunderstandings at home and school, Antoine resorts to petty crime, and is sent to a seaside camp for juvenile delinquents.

Truffaut said his goal was "not to depict adolescene from the usual viewpoint of sentimental nostalgia, but....to show it as the painful experience it is." His visual style fits the mood - the films is shot in gritty black-and-white, set in cramped apartments, crowded prisons and dirty playgrounds. But the film also captures the excitement of living in the city, the simple pleasures of going to the movies and exploring the city with friends. In one sequence, Antoine goes on a centrifugal carnival ride, and ends up suspended in midair, back against the machine as it spins around. Adults watch from a distance, but Antoine can hardly make them out. It is a striking scene, and one that emphasizes Antoine's uncertain place in the world - stuck between childhood and the world of adults who don't seem to understand him.

Then there is the final scene, one of the most famous in cinema. It shows Antoine as he escapes from his juvenile holding camp. For a few minutes, Truffaut just shows us Antoine running, as he seems to do so often in the series. Then, an exhausted Antoine sees the sea for the first time, wades into the water, and turns to face the audience. The film ends with a zoomed-in freeze frame of Antoine's face. This shot, in some ways, is a miniature of the entire film - an honest, unflinching look at adolescence, freed from all sentimentality and false artifice.

Of all the sequels, Antoine and Colette looks most like The 400 Blows, but announces a departure in terms of tone and mood. This time, Antoine is not an angsty, misunderstood adolescent but a plucky 19 year-old working at a record store in Paris. Antoine is also a regular conertgoer, and it is at one such conert that he meets Colette (Marie-France Pisier), who soon becomes the object of his affections. Antoine tries to woo her, but only manages to charm her parents.

Antoine and Colette (a 30-minute short originally made for the omnibus Love at Twenty) seems downright lightweight compared to The 400 Blows. It maintains the previous film's black-and-white photography and Parisian settings, but the tone is more comic and romantic. That does not mean it is a bad film, for it is certainly an acute and bittersweet portrayal of young love. But it is an intermediary film more than anything, and perhaps too short to fully establish itself.

The romanticism of Antoine and Colette is taken even further in the next installment, Stolen Kisses. This time around, Antoine has been dishonorably discharged from the army, and finds himself on the streets of Paris looking for a job. He eventually finds one in a private detective agency. He also finds love, in the form of an older married woman (Delphine Seyrig) and a charming girl his own age, Christine (Claude Jade).

Stolen Kisses is light, funny, somewhat episodic and mostly irresistible. The success of the movie lies not so much in Truffaut's mise-en-scène but in the charms of the characters and script. It is also the film where Léaud, so arresting as the troubled boy of The 400 Blows, emerges as a full-fledged comedic actor. By this point in the series, you can see how the character evolved from a distillation of Truffaut's troubled childhood to a combination of Truffaut and Léaud's sensibilities. At its most basic level, though, Stolen Kisses is a skillful romantic comedy- whimsical, sentimental, slightly forgettable, but hard not to enjoy.

Bed and Board is my sentimental favorite of the Doinel series, though my perceptions of it are no dobut colored by the circumstances in which I first saw it. I saw both Bed and Board and Love on the Run as a double feature at the Brattle Theatre in Cambridge. As someone largely raised on VHS and DVD, seeing a real film print of a cinema classic is truly a thrill that cannot be replicated at home. In any case, though, there is something more about Bed and Board that makes it rise above the other Doinel sequels. The first half of the film is a domestic comedy that resembles Stolen Kisses in its episodic nature and comedic tone. Much of the film is set in a courtyard where Antoine works selling flowers; his wife Christine works as a violin tutor in their apartment a few floors above. Through a series of vigenttes, Truffaut establishes the supporting characters - a moocher who is constantly asking Antoine for money, a woman who is always hitting on him, a silent, shifty-eyed man deemed "The Strangler" by the apartment residents.

But about halfway into the movie, the tone changes as Antoine begins an affair with a Japanese woman. Up until this point in the series, the movies have relied on the natural likability of the main character. Now the empathy switches to Christine, and Truffaut portrays Antoine as a boy who refuses to grow up. In the centerpiece of the film, a separated Antoine and Christine have a passionate discussion which rapidly changes from a heated argument to a declaration of love. At one point, Christine lashes out against Antoine's desire to have everything his way. On the subject of Antoine's autobiographical novel, she says that "if you use art to settle accounts, it's no longer art." You can almost hear Truffaut's doubts in that statement; he seems to be questioning the artistic value of the entire series. At the very least, he seems fed up with playing the story for laughs, and Bed and Board briefly regains the melancholy tone that made The 400 Blows so powerful.

Consider the end of the scene. A cab arrives to take Christine into the city for a night of shopping. Before she leaves, she senses that Antoine is lonely and asks if he wants to go to a movie. After a few minutes of joking around, Christine gets in the cab and asks Antoine to kiss her, although they have already established that they will not be seeing each other. He does, and in typically melodramatic fashion declares, "You're my little sister, my daughter, my mother." Christine responds with an understated "I'd have liked to be your wife too."

This scene alone reveals what a terrific writer Truffaut was; it is an emotional rollercoaster ride in which the confused emotions of the main characters keep bubbling to the surface, threatening to obscure their best intentions to stay away from each other. It may be true, as it is frequently claimed, that by this point in his career Truffaut had abandoned the experimental, avant-garde nature of his early work for a more traditional style. But he never gave up the humanism that made his work so moving and so accessible to so many people. There are no flashy camera tricks or showy editing techniques in Bed and Board. It is purely minimalist, and extremely effective at that. All that needs to be said about Antoine's regret is shown in the shot where Christine's cab pulls away and Antoine walks down a lonely street into a brothel.

Bed and Board was originally intended to be the final Antoine Doinel film, and in retrospect it probably should have been. At times, Love on the Run seems like a clipshow; it features numerous flashbacks to all the previous films, which only makes it seems slight in comparison. It also seems altogether too tidy, with every aspect of Antoine's life coming together to create a happy ending. Finally, Love on the Run is a retreat from the serious reflection of Bed and Board, reverting back to the comedic situational comedy of Stolen Kisses.

The film is helped a great deal by the return of Colette's character; the actress Marie-France Pisier infuses the film with much-needed warmth. The style of the film is also noteworthy - the editing is quick and forceful, featuring swift cutaways and fast zooms. But the story is ultimately where the film falls apart. Antoine's love interest, Sabine, hardly establishes a personality of her own, and there is a genuine lack of new, interesting material.

Despite the final film's shortcomings, the Antoine Doinel series really is a remarkable piece of work. It is too easy to dismiss the sequels to The 400 Blows as sentimental fluff, but this is simply not the case. Watching the entire series, you can trace the evolution of Antoine Doinel not only in terms of plot, but in the sensibilities of his creators. You can also see the whole series as an examination of the fine line between adolescence and adulthood. Or you can simply get caught up in the story, in the acute feelings that Truffaut's films so effortlessly exude. No matter how you look at it, The Adventures of Antoine Doinel is a success.

Ratings (out of 4 stars)
The 400 Blows: ****
Antoine and Colette: ***
Stolen Kisses: ***
Bed and Board: ****
Love on the Run: **1/2