By Manimugdha S Sharma
In
March 1944, the Japanese 15th Army under Lieutenant-General Renya
Mutaguchi mounted a full-scale invasion on India via Manipur and
Nagaland. Under the 'U-Go Offensive', these troops reached the gates of
Imphal and Kohima,
and it appeared it would not be long before they reached the
Brahmaputra Valley. Only one force stood in its way — the British Indian
Army. In the ensuing battles, the Japanese suffered immense losses. As
many as 60,000 lay dead, with the defenders losing some 13,500 men. By
July, the Japanese had retreated to Burma. But some decided to stay
back. Now, 68 years later, a Manipuri film is set to highlight this
aspect of the Great War.
Mohen Naorem's My Japanese Niece traces the fascinating journey
of discovery of a young Japanese woman, Asada, who comes to Manipur to
pay homage to her uncle who was presumed dead in that campaign. Here,
she learns about an old man who resembled her lost uncle, but who had
died a few months earlier. She discovers many unpublished letters and
diaries elaborating the trials and tribulations of the Japanese soldiers
in India.
Historically, the theory that Manipuris liked and helped the Japanese has surfaced for the first time. "Japanese soldiers of World War II
have always been depicted as savage people committing atrocities on the
conquered. But from whatever information we could glean from people who
lived to tell the tale of that invasion, we learnt that the troops were
nice to the locals. We thought it fair to show the other side," says
Naorem, the director of this Indo-Japanese venture that will be shot in
35mm, unlike the digital format on which Manipuri cinema thrives.
Of course, that would cost Naorem a fortune — Rs 1 crore — but would
also credit him with making the most expensive Manipuri film ever.
Naorem says the idea germinated when the March 2011 earthquake in Japan
saw a flurry of relief activity in Manipur. "Our people's emotional
connection with the Japanese came out in the open then. We started a
Facebook community to raise funds. That promoted interaction with the
Japanese. Then in January this year, a Japanese delegation came to Assam
to exhume and take away the remains of 11 Japanese soldiers killed in
World War II. That bolstered my idea for a movie," he says.
But
given the dismal record of period films in India in recent years,
Naorem isn't entirely hopeful of doing brisk business. "I'm looking at
the international market, especially South-East Asia and the Far East as
the cast comprises Japanese, Korean and Chinese artistes. I will dub
the movie into Japanese and English."
London-based Japanese
actor Junichi Kajioka will play the role of the lost soldier, while
Osaka-based actor Yu Asada will play the eponymous niece. This is not
Kajioka's maiden attempt at the role of a Japanese soldier; he has acted
in war films such as Devils on the Doorstep, City of Life and Death,
and recently, The Flowers of War featuring Christian Bale.
But why a Manipuri film? "War films in general tend to portray Japanese
soldiers as ruthless killers. It is more difficult to show the humane
side of soldiers and their dignity in extreme circumstances. My Japanese
Niece will focus on this aspect," he says, adding that he has been
reading several works on the Battle of Imphal to prepare for it.
Realistic portrayal was a big concern for Naorem. "We had to recreate
Manipur of the 1940s, so we had to venture deep inside the pristine
forests. The next big thing was to design battle gear, costumes and
weapons of the Japanese soldiers in Manipur. Fortunately, Kajioka guided
me to the right people and now we have an international team looking
into the bare details," says the director.
For Yu Asada, the
project has given her a chance to visit India and learn Manipuri. "I
have been learning the language since July but I wouldn't say my
progress has been fantastic. Nevertheless, the experience has been
fascinating," she says.
The shoot is slated to begin in
October-November and the film will be released in August next year to
coincide with Japan's surrender in 1945.
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