Yuko's tortured past is revealed
Chester meets a POW in the jungle, who may be a yurei, while other Japanese Americans face bureaucratic humiliation in the camp.
In the jungle with the U.S. Army, Chester begins to see the yurei may actually be following him.
Yuko takes a new victim, then sets her eyes on yet another.
Man Behind the Sun. 1988. Directed by T.F. Mou. Screenplayby Mei Liu, Wen Yuan Mou, & Dun Jing Teng.
Cast: Jianxin Chen, Hsu Gou, Linjie Hao, Haizhe Jin, Tie Long Jin, Yuanrong Jin, Bolin Li, Pengyu Liu, Xuhui Lui, Zhaohua Mei, Zhe Quan ,Jiefu Tian, Gang Wang, Runsheng Wang, Shennin Wang, Jiang Wen, Dai Yao Wu, Guowen Zhang, Yongdong Zhao, & Rongming Zheng. Sil-Metropole Organisation.
Rated R. 95 minutes.
In a quest to try and watch any/all disturbing films out there, good or bad, I’ve heard about Man Behind the Sun (the correct translation, though titled most places as Men Behind the Sun) for many years. At an early age, I saw a clip on a website – possibly eBaum’s, or something similar – though, I never was able to find a copy. Living on an island at the far East Coast of Canada, the horror especially didn’t always find its way to the video stores; many movies as I did get to see, the real cult stuff was that for which I had to wait. So in lieu of actually being able to see this one I dove into the actual history behind Unit 731 – during World War II this particular unit lead by Major General Shiro Ishii committed heinous war crimes testing tactical biological warfare (resulting in small outbreaks of plague and cholera), which includes attacks via airplane on localized areas, later escalating to injecting plague directly into live subjects, among many other atrocious experiments such as infecting Allied POWs with glanders (a disease that primarily affects horses, donkeys, mules), dissecting POWs and other citizens, they even subjected women to rape and forced pregnancies, among too many other hideous things to list.
So straight away, you know Man Behind the Sun is not to be trifled with, neither should you assume it’s not as bad as people say. It is, absolutely. Now I can still sit and watch it, managing to get through. Regardless, this is one of the most horrifying films I’ve ever seen in my life. It is brutish, ugly. You’ll think twice about going on. There’s no shame in not making it all the way. However, I have to say that there’s an almost important merit to this piece of cinema. While I do not condone the use of real corpses (both human and animal; the film’s most controversial ‘cat scene’ is actually a practical effect, albeit an impressive one that involves a real cat covered in honey being licked by rats), director T.F. Mou argues that we must try confronting the past, no matter how disgusting, no matter how bad it feels or looks. There’s an exploitative aspect to the entire film, no doubt. Foolish to say otherwise. Although I can’t discount the merit which lies beneath.
If you do venture ahead to watch, please know – only the hardcore horror hounds are likely to handle what they’ll see. That’s no joke. If you’ve got the stomach, hang for a ride.
There’s not a whole lot I have to say about the acting. It isn’t much good, at all. Though there are moments. On the whole this film is all about the hypnotically shocking gamut of realistic horror through which it grinds the viewer.
One scene that’s just downright unsettling is the drinking glass. You’ll know what I’m talking about. I won’t spoil it for those who’ve not yet seen the film. Rest assured, as someone who considers himself a hardened horror movie watcher, this even felt nasty to me. Specifically because the actor doing the drinking from said glass plays the moment so well. A creepy, brief scene. There’s not much good acting from here on in, aside from the young boys watching on under command of the General, as well as some of the victims in the experiments.
Later, the scariest element to so much of the horrific imagery we see is the fact these high-ranking men are training a bunch of young boys, they’re having the fact engrained in them that certain people they deem lower are considered not even people, as fodder for experimentation. Despite the graphic, visceral images, the disturbing part is this brainwashing, and if it’s at all possible this actually makes the nasty bits even nastier.
Maybe the most disturbing to me is the frozen arms of the woman, her reaction. It’s of note that those arms are actual corpse arms. Yes, you got that right. Real, dead, human arms. Only person willing to hold them was the director’s own niece. So they really froze them, she held them. It’s insanity. You always hear people rag on Ruggero Deodato for his filming of the natives killing animals, nobody’s over here worried about the dead bodies Mou used for his horror flick. Good lord. There’s one scene Mou claims is actual autopsy footage of a young boy. Not sure if this is true. If so, I’d hope there was some form of consent in order to use that. But then again, I highly doubt it. Turns out that the autopsy is real: the parents signed over consent to let the autopsy be filmed, and Mou dressed the doctors performing up like they were from the WWII era. There are huge questions about morality concerning whether Mou ought to have made the film this way. Apparently the special effects industry in China at that time did not exist, essentially. So partly he had to resort to what was available, which meant using connections of his with local police to inform him of cadavers matching the descriptions he required. Part of me then wonders if this was necessary. At the same time, was that maybe his aim? In confronting actual atrocities committed in the past, does something sickening like real corpse parts in a film about said atrocities somehow make the realism better? Certainly makes it real. Just not sure if it makes anything better. In the end, I’m conflicted.
Respect must be given to the legitimate practical effects in this movie. Forget the rats and all that controversial stuff. The practical special effects accomplished here are terribly impressive. They’re even able to surprise and disgust someone like myself. For instance, as I wrote this the scene where the guy’s intestine pops out made my eyes go wide. I didn’t get sick or anything, but I mean, it gave me pause. That doesn’t happen often. All I could do was stare a moment, horrified at the scene. They put him in a sort of audio chamber, jam on the high frequency until the guy can’t do anything but lay in pain on the ground, and then BAM – intestine, right out his asshole. I know that sounds cheesy, and rightfully atrocious. It is the latter. Unfortunately, it’s too well executed for me to say it has a cheese factor. The effect is ghastly.
Don’t believe it stops there. So much of runtime is spent in an endurance test as the audience. Rarely do we get time to break from the hideousness and settle our stomachs. Only now and then.
It’s hard for me to give this 3 out of 5 stars by saying the film is good. In terms of technical aspects, some of what Mou did as director works in the name of realism. In other ways, Man Behind the Sun is purely an exploitation flick, a torrid bit of hardcore genre filmmaking. Again, I’m completely conflicted when all is said and done. One side of me thinks what Mou did, in terms of using real corpses and animal parts, is downright despicable. The opposite side insists there’s value in Mou’s confrontation of a dark period in Japanese (and Chinese) history. Somewhere in the middle of the road lies an understanding.
If you want to test your ironclad stomach, do so at your own peril. Like I said, this didn’t make me sick. It did actually make me question, for the first time in 4,200 films: why am I watching this? Could be awhile before I figure out the answer to that one.