TheUnhinged
so-called australia
Romanticisation at a cruel cost
The credits roll and my first thought is: What is the Filipino take on all this?
But we’ll get to that shortly.
The film Onoda is the fictionalised story of Hiroo Onoda, one of the last Japanese soldiers to surrender after the end of WWII. He was a ‘holdout’ on the Filipino island of Lubang until 1974. He survives in the jungle in denial of the war's end, losing his compatriots one by one. The story is fictionalised in more ways than one, but we’ll get to that shortly too.
At face value, the movie is surprisingly engaging given its long run time. There are also some pretty landscape shots. But that’s about all the positives I have for this piece of cinema. Buckle yourself in, folks!
Let’s start with a simple point. For a story so embedded in its Filipino geography, the decision to shoot in Cambodia feels off. And there’s good reason.
It’s a European production…with a French director…about a Japanese soldier…in the Philippines. Yes, that should raise an eyebrow.
“If you add up all those nationalities [who worked on the film], it makes the film from nowhere,” director Arthur Harari says in an interview with Asian Movie Pulse.
Yet, Cambodia was the destination of choice because Harari wanted a French-speaking film crew. Cambodia is a former French colony. It's certainly not “nowhere”. Neither is Lubang. The shoot location is only one of the ways in which colonial politics seeps into this cinematic production.
Many a filmmaker has simped for the romantic man-survives-jungle trope and Harari is no different, citing the likes of Joseph Conrad as original inspo for this movie. But it comes at cruel cost to the Filipino characters and their real-life counterparts.
I agree with James Lattimer’s assessment that the Filipino characters are used as “little more than cannon fodder”. Harari’s avoidance of the Filipino side – in terms of both geography and narrative – is a result of wilful ignorance. That is because he relies on Onoda the myth, not Onoda the man.
In true à la française style, Harari projects some kind of universalist reading of human experience onto Onoda’s story.
“I didn’t read historical books about Japan or the war,” he admits in an interview, “because the fact is that everything about Onoda’s story can be understood even if you don’t really know the general situation of the war, the Pacific War, or the history of Japan.”
In fact, Harari only read one book about Onoda, written by two Frenchmen: ‘Onoda: Seul en guerre dans la jungle’. As far as I can tell, the text seems sympathetic to Onoda’s side of the story, describing Onoda as a “prisoner of that island, of that oppressive jungle” (own translation). Heart of Darkness much? Either way, Harari mostly upholds the romantic hero image of Onoda in the film, an image which Onoda himself first established when he published his autobiography.
But even a little bit of reading about Japan or the war reveals how the Filipino people were cruelly caught in colonial crossfire. Their lives and land were used as military props and staging by the Japanese (and, of course, the Spanish and the Americans before that).
Onoda’s autobiography omits Onoda’s many gruesome murders of Lubang’s residents. Tsuda Shin, ghost-writer of Onoda’s autobiography, revealed this much when he wrote his own exposé on Onoda a couple of years after the autobiography came out.
Even now, it’s Harari’s cinematic project that receives the funding and the spotlight. Meanwhile, the Filipino side of the story struggles to see the light of day. Mia Stewart has set out to correct the record via documentary making. Her maternal relatives lived – and still live – in Lubang and experienced first-hand Onoda’s violent atrocities.
“They weren't just shootings, there were very violent killings that involved beheadings and mutilating bodies,” Stewart says in an interview with SBS.
Lack of funding means her documentary still hasn’t been released. But it’s a good cause. A myth like Onoda’s needs interrogation.
“We will never really know if Onoda knew the war was over or not. Regardless, he killed civilians. While I can't undo those deaths, I can change how we tell the story,” Stewart says.
----------
Stewart’s forthcoming documentary, ‘Searching for Onoda’: https://searchforonoda.com/
Stewart’s interview with SBS: https://www.sbs.com.au/news/article/mias-uncle-bled-to-death-she-wants-to-set-the-record-straight-about-why/qig3whkdb
Insights on Harari’s approach come from this excellent A. E Hart piece: https://www.documentary.org/online-feature/domitable-myth-three-depictions-japanese-holdout-soldier-hiroo-onoda
James Lattimer’s review: https://www.bfi.org.uk/sight-and-sound/reviews/onoda-10000-nights-jungle-lost-filipino-wilds
But we’ll get to that shortly.
The film Onoda is the fictionalised story of Hiroo Onoda, one of the last Japanese soldiers to surrender after the end of WWII. He was a ‘holdout’ on the Filipino island of Lubang until 1974. He survives in the jungle in denial of the war's end, losing his compatriots one by one. The story is fictionalised in more ways than one, but we’ll get to that shortly too.
At face value, the movie is surprisingly engaging given its long run time. There are also some pretty landscape shots. But that’s about all the positives I have for this piece of cinema. Buckle yourself in, folks!
Let’s start with a simple point. For a story so embedded in its Filipino geography, the decision to shoot in Cambodia feels off. And there’s good reason.
It’s a European production…with a French director…about a Japanese soldier…in the Philippines. Yes, that should raise an eyebrow.
“If you add up all those nationalities [who worked on the film], it makes the film from nowhere,” director Arthur Harari says in an interview with Asian Movie Pulse.
Yet, Cambodia was the destination of choice because Harari wanted a French-speaking film crew. Cambodia is a former French colony. It's certainly not “nowhere”. Neither is Lubang. The shoot location is only one of the ways in which colonial politics seeps into this cinematic production.
Many a filmmaker has simped for the romantic man-survives-jungle trope and Harari is no different, citing the likes of Joseph Conrad as original inspo for this movie. But it comes at cruel cost to the Filipino characters and their real-life counterparts.
I agree with James Lattimer’s assessment that the Filipino characters are used as “little more than cannon fodder”. Harari’s avoidance of the Filipino side – in terms of both geography and narrative – is a result of wilful ignorance. That is because he relies on Onoda the myth, not Onoda the man.
In true à la française style, Harari projects some kind of universalist reading of human experience onto Onoda’s story.
“I didn’t read historical books about Japan or the war,” he admits in an interview, “because the fact is that everything about Onoda’s story can be understood even if you don’t really know the general situation of the war, the Pacific War, or the history of Japan.”
In fact, Harari only read one book about Onoda, written by two Frenchmen: ‘Onoda: Seul en guerre dans la jungle’. As far as I can tell, the text seems sympathetic to Onoda’s side of the story, describing Onoda as a “prisoner of that island, of that oppressive jungle” (own translation). Heart of Darkness much? Either way, Harari mostly upholds the romantic hero image of Onoda in the film, an image which Onoda himself first established when he published his autobiography.
But even a little bit of reading about Japan or the war reveals how the Filipino people were cruelly caught in colonial crossfire. Their lives and land were used as military props and staging by the Japanese (and, of course, the Spanish and the Americans before that).
Onoda’s autobiography omits Onoda’s many gruesome murders of Lubang’s residents. Tsuda Shin, ghost-writer of Onoda’s autobiography, revealed this much when he wrote his own exposé on Onoda a couple of years after the autobiography came out.
Even now, it’s Harari’s cinematic project that receives the funding and the spotlight. Meanwhile, the Filipino side of the story struggles to see the light of day. Mia Stewart has set out to correct the record via documentary making. Her maternal relatives lived – and still live – in Lubang and experienced first-hand Onoda’s violent atrocities.
“They weren't just shootings, there were very violent killings that involved beheadings and mutilating bodies,” Stewart says in an interview with SBS.
Lack of funding means her documentary still hasn’t been released. But it’s a good cause. A myth like Onoda’s needs interrogation.
“We will never really know if Onoda knew the war was over or not. Regardless, he killed civilians. While I can't undo those deaths, I can change how we tell the story,” Stewart says.
----------
Stewart’s forthcoming documentary, ‘Searching for Onoda’: https://searchforonoda.com/
Stewart’s interview with SBS: https://www.sbs.com.au/news/article/mias-uncle-bled-to-death-she-wants-to-set-the-record-straight-about-why/qig3whkdb
Insights on Harari’s approach come from this excellent A. E Hart piece: https://www.documentary.org/online-feature/domitable-myth-three-depictions-japanese-holdout-soldier-hiroo-onoda
James Lattimer’s review: https://www.bfi.org.uk/sight-and-sound/reviews/onoda-10000-nights-jungle-lost-filipino-wilds
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