This review originally ran July 7, 2021, for the film’s premiere at the Cannes Film Festival.
For as long as it has resonated within the public consciousness, the concept of Hiroo Onoda has been something of a lightning rod.
Onoda the man, you may recall, was the Japanese soldier who never gave up, remaining one of the last active combatants of the Second World War for another 29 years following his country’s surrender. But when the soldier finally put down his gun, left his Philippines jungle keep and returned to his native land in 1974, he became a cultural figure who represented something different depending on whom you asked.
To the nationalist right, he was a hero – the last man of honor in a world gone to rot. To the poets, he was a kind of holy fool, a modern-day Quixote who looked at the changes foisted on him and said “no thanks.
For as long as it has resonated within the public consciousness, the concept of Hiroo Onoda has been something of a lightning rod.
Onoda the man, you may recall, was the Japanese soldier who never gave up, remaining one of the last active combatants of the Second World War for another 29 years following his country’s surrender. But when the soldier finally put down his gun, left his Philippines jungle keep and returned to his native land in 1974, he became a cultural figure who represented something different depending on whom you asked.
To the nationalist right, he was a hero – the last man of honor in a world gone to rot. To the poets, he was a kind of holy fool, a modern-day Quixote who looked at the changes foisted on him and said “no thanks.
- 10/7/2022
- by Ben Croll
- The Wrap
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