戦地での捕虜収容所を舞台にした大島渚の映画、「戦場のメリークリスマス」では、国家日本の「捕虜収容所」の意味を問うています。真のコミュニケーションの主体となって、他者と自由に出会うことができない人々の悲劇を描き出しています。自身の抱えた全体性の幻想から抑圧を受けるだけでなく、「我々」と「彼等」という排他的な分割線を引くことを覚えたあげく、そこには生きる喜びといったものが拒まれ、疎外の現実の中でしか真実が語られません。国家を中心とした復古主義の政治が規律と効率による経済の原理と結びつくとき、国家日本の「捕虜収容所」で、ただ動物のように生存の手段にしがみついている惨めな姿しか目撃されない社会とはなにか？大島渚からの問いかけ
Oshima’s style isn’t Oshima-like here; meaning his cinematography and technical aspects that can be seen in his Japanese New Wave films can’t be seen here. He has overcome his own styles slowly and brilliantly but this film is very different from his other films. Maybe because it touches on content like war more clearly. But, as he has shown sympathy for Korean ethnicity in his films like “Death By Hanging”, here he has shown sympathy for British armies showing the atrocious and brutal activities inside the Japanese prison camps during World War II.
Oshima has collaborated with such actors like Takeshi Kitano (who is a brilliant director as well), David Bowie, composer Ryuichi Sakamoto and cameraman Toichiro Narushima. And this collaboration has worked superbly. This film may remind viewers of films like “Apocalypse Now”, “Rescue Dawn”, or “Platoon”. Of course, Oshima has again touched on the social criticism, showing the atrocious behavior of Japanese armies to the British armies. And he has again succeeded.
Based on the real incidents of Sir Laurens Van De Post’s experience as a Japanese prisoner in prison camp during World War II, this film mainly concentrates on the relationship between two pairs of army officers: Japanese and British. Among British officers, one (Mr. Lawrence) has a deep knowledge of Japanese language and culture and he is very helpful in communicating with Japanese officers.
