A hard viewing but psychologically interesting for some

Andrei Boltnev, Andrey Mironov, Aleksey Zharkov, and Sasha Isakov in My Friend Ivan Lapshin (1985)

Our chances of victory in the war with the west were 50 out of 100. Germany's chances in this war were 100 out of 100.

I'm talking about the alliance with Germany.

Well, that is all in the past. There is only one unresolved issue left. That is the issue of your fate.

Issei Ogata

Robert Dawson

Kaori Momoi

Yuriy Arabov

Jeremy Noble

Third part in Aleksandr Sokurov&apos;s quadrilogy of Power, following Moloch (1999) and Taurus (2001), focuses on Japanese Emperor Hirohito and Japan&apos;s defeat in World War II when he is finally confronted by General Douglas MacArthur w...

Aleksandr Sokurov

Solntse

Another part of Sokurov&apos;s &quot;totalitarian&quot; sequence, this is devoted to Japanese WW II-time Emperor Hirohito and his farewell to the old good times of imperial Japan and painful entry into new after-war realities of defeated Japan rising to &quot;democracy&quot; and subject to America&apos;s &quot;civilizing&quot;.

Compared to the dictators previously depicted by Sokurov (Hitler and Lenin), Hirohito appears the least dictatorial: he sometimes is felt like a &quot;hostage&quot; of the desire to defend the country&apos;s own pass of development against the &quot;corroding&quot; influx of Western &quot;plebeian&quot; culture, the desire which led Japan into the fascist &quot;axis&quot; and determined its defeat when the old traditions of relying on the soldiers&apos; spirit and honour and not technical power, and despising non-Japanese as barbarians did not justify themselves.

The film is a hard viewing even for art-house fans because of obscure (probably psychologically justified) coloring and virtually no exterior action. All the action is psychological depicting the way the Emperor comes to reality and to realizing (and publicly declaring) that he is a man, not God, and taking the disgrace of defeat on himself to save his country.

Overall, 7/10.

Another part of Sokurov's "totalitarian" sequence, this is devoted to Japanese WW II-time Emperor Hirohito and his farewell to the old good times of imperial Japan and painful entry into new after-war realities of defeated Japan rising to "democracy" and subject to America's "civilizing".

Compared to the dictators previously depicted by Sokurov (Hitler and Lenin), Hirohito appears the least dictatorial: he sometimes is felt like a "hostage" of the desire to defend the country's own pass of development against the "corroding" influx of Western "plebeian" culture, the desire which led Japan into the fascist "axis" and determined its defeat when the old traditions of relying on the soldiers' spirit and honour and not technical power, and despising non-Japanese as barbarians did not justify themselves.

The film is a hard viewing even for art-house fans because of obscure (probably psychologically justified) coloring and virtually no exterior action. All the action is psychological depicting the way the Emperor comes to reality and to realizing (and publicly declaring) that he is a man, not God, and taking the disgrace of defeat on himself to save his country.

Overall, 7/10.

Third part in Aleksandr Sokurov's quadrilogy of Power, following Moloch (1999) and Taurus (2001), focuses on Japanese Emperor Hirohito and Japan's defeat in World War II when he is finally confronted by General Douglas MacArthur who offers him to accept a diplomatic defeat for survival.

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