pdbarrett It was interesting to read other people's views on this - I thought it was rather a good film. Of course, it's a long way from Kurosawa's best, but I think it's the best of his early (pre-Drunken Angel) films, and quite as good as one or two of his later ones (eg Scandal and The Quiet Duel; and maybe Drunken Angel and The Idiot, which were cut to ribbons by the studios).Of course it's a wartime propaganda film, but the propaganda is mostly either implicit in the story itself, or part of the background (it takes place in a munitions factory, so of course there are propaganda posters up on the walls, and of course there are messages from the bosses encouraging the workers to produce as much as possible - it would be unnatural if there weren't), and Kurosawa concentrates on telling that story. The result is that, for me, the propaganda never intrudes.

matt605 If you study this film then you can learn much about Japan, World War Two, and Akira Kurosawa. This is the only film he made that was meant to be propaganda, but his earlier film Sanshiro Sugata actually played to themes more useful to a nation at war. If you make a film that matches the zeitgeist of your country, that's great. But be forewarned that your country's government may then ask you to inspire the people to fight on, and you would then make a propaganda film, which is what may have happened to Kurosawa. This fact shouldn't make you reject The Most Beautiful because cinema in all countries in WW2 was used in the war effort. Japan was no exception.Kurosawa in interviews after the war revealed his dislike of the government censors. Toward the end of the war, Japanese were preparing for the possibility of the entire nation receiving an order from the Emporer to commit suicide, called "the Honorable Death of the 100 Million." Kurosawa didn't dispute that he would have followed the Emporer's directive, but did say that he and his colleagues jokingly agreed they would first go and kill all the censors.The plot and action of the film is described elsewhere. There are things to watch for carefully as you view the film.If you're in a university setting then there is one absolute advantage that you have -- access to a professor of management and organizational behavior. Why? Well, The Most Beautiful is practically a docu-drama on management science. The scientific methods of production and organizational management are more clearly documented in this film than in any other I can recall, anywhere. It also compares things like Stakhanovism to Hawthorne experiment studies and displays the early beginnings of total quality management and quality assurance methods later developed by Deming. If these terms are unfamiliar to you, then you need a professor of management science to watch the film and help you see what Kurosawa was putting in. Then consider that the film was released to the Japanese public, which assured that it would be viewed by American military intelligence organizations and the OSS.Some specifics to look for in no particular order: the background music includes a sampling from Semper Fi, the USMC theme song; there's little talk of enemies but when they're mentioned, the British are named ahead of Americans; the factory managers back a young woman's rejection of her father's instruction to come home and take the place of his deceased wife, which is a break with tradition (almost the equivalent of bra-burning in wartime Japan); and, backgrounds are set in wartime Japan and reveal details of the industrial infrastructure.There are many films by Kurosawa that feature sickness and health care in their plots. This one, Drunken Angel, Ikuru, The Quiet Duel, and Red Beard come to mind. Dodes' ka-den and Ran might also qualify as their main characters suffer from afflictions of the mind. Kurosawa's biggest films are Rashomon and The Seven Samurai, but his films with health and medicine in the plot are more prevalent in his career.One caveat to The Most Beautiful is that it is long and does reflect the tastes of Japanese audiences who like their drama very obvious. Forgive yourself if you find Japanese drama becomes too boring in some places. The films can be very enjoyable and interesting, provided you approach them with the understanding that they are far different from what we experience as entertainment today.

Shawn McKenna Propaganda films are usually of interest to me because of the situation and time period they were made in and their point of view not because of plot or sublime character development. Rarely do the characterizations, I currently cannot think of one, go beyond one or two dimensions. This is because the point of the propaganda film regardless of origin is to rally the troops and align their sense of duty. This movie is no different in that regard. But there are several key differences from the typical propaganda film that makes this film more interesting. The most interesting approach was the documentary approach Kurosawa took. Though he used actresses he did all he could to remove the artificiality of their craft to create a realistic portrait of the young girls at that time who were working in military construction. I felt this movie was effective in that regard. The tempered acting to those that are used to the Noh influenced acting of his later films. Another surprise is that this is one of two films of Kurosawa where the protagonist is a woman. The other one is No Regrets For Our Youth (1946) with Setsuko Hara.The least interesting aspect of the film is the story. It is about a group of young women in an optical instrument factory that have to push up production to fill the need for the optical lens. While the men were asked to increase their production a hundred percent, the women were asked to do 50 percent. This insulted the women and they asked that they do a more respectable number like 66 percent (would a higher number have been insulting to the men?). The hardships created by this are numerable as the women face sickness, injury, mental breakdown and general crabbiness.The movie is too episodic and heavy on the "team spirit" motif (not that Kurosawa had much of a choice), but it eventually settles on the titular protagonist in Tsuru Watanabe (Yoko Yaguchi) who embodies the spirit (kokoro) of an ideal worker. Her mother is dying, but her father and her mother want her to stay in the factory working so that Japan will not lose face. What is subversive is that she is a stubborn individualist. When she loses track of lens that she did not finish correcting, she goes through the monument task of finding it, and regardless of the pain it causes her, the lack of sleep and her supervisors telling her she does not need to do it – she does it anyways.I do not agree with Donald Richie in his The Films of Akira Kurosawa when he states "Twenty years later it is almost impossible for us to think a lost lens this important." She states that she worries that lost lens might result in the death of Japanese soldiers (and possibly in her mind a battle and ultimately the war). It does not matter if she is correct in this thinking, it only matters that she feels that way. Anyone who has any degree of OCD can relate to this. Once the mind gets fixed with an idea that may haunt them it is easy to understand the monomania which consumes her until she finds her mistake.One thing that surprised me when hearing it in the film, and the fact that Kurosawa got away with putting into the score (he mentions this in his autobiography), is the insertion of "Semper Fidelis" by John Philip Sousa.Has anyone seen any other Kurosawa film where he uses as many horizontal wipes? After the picture he married the main actress Yoko Yaguchi. It was love at first sight. Kurosawa stated "She was a terribly stubborn and uncompromising person, and since I am very much the same, we often clashed head on." I do wonder how well they got along over the years though.I think this film can satisfy not only Akira Kurosawa fans but fans of social realist cinema and of course those looking for propaganda films of WWII. If someone is just getting into Japanese cinema this probably could be passed on for quite a long awhile. But for completists (those reading this) they will want to see this. But then again completists want to see everything.

MartinHafer Before I begin, I should point out that because this is a "lesser" Kurosawa film, I don't think it's yet available from an American distributor. The version I saw was Chinese and that caused serious problems--similar to the problems I had watching SANJURO SUGATA (PART I AND II). All three of these films are early Kurosawa works and PART II and ICHIBAN UTSUKUSHIKU are clearly anti-American WWII propaganda films, so I guess it isn't surprising that it is hard to find an American distributor. But, to put it bluntly, the subtitles are a nightmare!! What they did was translate the film into Chinese and then into English. A lot is lost in the translation and many lines of dialog simply make no sense--with double-negatives and seemingly random words here and there. Some lines are "time to get relaxing" and "Disgusting, always hurt others" and "I am confident of the children". You certainly cannot blame the film makers for these flaws--just poor recently added subtitles.The plot is about a group of mostly women who work for a war industry--precision optics for binoculars and sighting equipment. You see the workers try hard to meet quotas as well as cope with problems such as illness or family issues.As for the quality of the film, it's not surprising that there are some serious discrepancies in the ratings. Like many great directors, I notice that some ALWAYS rate all of the directors films high--even though it's clear that Kurosawa (like most directors) was not a master director early in his career. Now I adore Kurosawa's films, but don't think I am being disloyal to his memory by disliking this film. Sure, there are some decent performances here and there, but the film is such blatant propaganda that it looks more like a recruiting film for the government--and significantly more so than the typical Hollywood products of the same time period (at least in these cases there was an attempt to entertain and tell a story). There's lots of marching, lots of young patriotic people doing team sports, lots of personal sacrifice and lots of chants about the need to work harder. As such, there really isn't much plot and the film is a chore to watch.Now I am NOT saying that the film is without merit. Considering it's a part of our history, it should be preserved and seen. Plus devoted fans who want to see every Kurosawa film may want to see this. But just expect it to be all that watchable for the average person--they'll most likely find it all very slow and preachy.By the way, my score of 3 reflects the poorly subtitled version I saw. With better subtitles or if you understand Japanese, the film would no doubt be a bit better.