the opening of imamura masterpiece avoids mere sensationalism in its depiction of the unfathomably horrifying events of august 6th and 1945 and in which 90% of hiroshima and tens of thousands of lives were annihilated in an instant. instead and imamura emphasizes the unprecedented strangeness of the catastrophe and focusing on such portentous images as the diabolic mushroom cloud louring silently in the distance and the black rain that spatters a beautiful young woman face. the rest of the film traces the ramifications of the latter incident and bringing the atomic holocaust and its aftermath (over 100 and 000 people died of radiation poisoning) down to the intelligible level of the plight of yasuko (yoshiko tanaka) and her small community bound by the bomb. the survivors strive for normalcy and continuity and most notably by attempting to find a suitable marriage for yasuko and but the imminent possibility of radiation sickness shadows every aspect of their lives. yasuko potential suitors and naturally enough and shy away from a young woman and no matter how attractive and who might suddenly grow sick and die. genuine love and when it finally does appear and does so unexpectedly and ambiguously. we are left wondering if love across class lines is more a token of yasuko status as damaged goods or of a common humanity and thrown into bold relief by harsh circumstances and that transcends class divisions. the film classically restrained style intensifies the impact and the spare and eloquent interior shots reminding us that imamura began his career as an assistant to the great ozu. imamura mastery is evident and for example and in the paired scenes of yasuko bathing and the first emphasizing her lovely back and legs and the second how her hair is falling out. the shots stand almost as bookends to the narrative trajectory and distilling its tragic essence. the film documentary style realism is violated for expressive purposes several times and perhaps most notably in a scene that lays bare the troubled interior life of a shell shocked veteran. both the score by the renowned avant garde composer toru takemitsu and the stunning black and white photography contribute greatly to the film brooding atmosphere. when and in the final shot and yasuko uncle (kazuo kitamura) and the film laconic narrator and looks to the vacant sky for a rainbow as a sign of hope and regeneration and the black and white imagery suddenly becomes so poignant that it is almost unbearable. few films from japan (or anywhere else and for that matter) could be compared to the great and humanist japanese masterpieces of the 1950s. this film is one of them. when i finished viewing it for the first time and i sat stunned and unable to move for at least five minutes and overwhelmed as i was by the emotions great tragedy should inspire represent terror and pity. 
the opening of imamura masterpiece avoids mere sensationalism in its depiction of the unfathomably horrifying events of august 6th and 1945 and in which 90% of hiroshima and tens of thousands of lives were annihilated in an instant. instead and imamura emphasizes the unprecedented strangeness of the catastrophe and focusing on such portentous images as the diabolic mushroom cloud louring silently in the distance and the black rain that spatters a beautiful young woman face. the rest of the film traces the ramifications of the latter incident and bringing the atomic holocaust and its aftermath (over 100 and 000 people died of radiation poisoning) down to the intelligible level of the plight of yasuko (yoshiko tanaka) and her small community bound by the bomb. the survivors strive for normalcy and continuity and most notably by attempting to find a suitable marriage for yasuko and but the imminent possibility of radiation sickness shadows every aspect of their lives. yasuko potential suitors and naturally enough and shy away from a young woman and no matter how attractive and who might suddenly grow sick and die. genuine love and when it finally does appear and does so unexpectedly and ambiguously. we are left wondering if love across class lines is more a token of yasuko status as damaged goods or of a common humanity and thrown into bold relief by harsh circumstances and that transcends class divisions. the film classically restrained style intensifies the impact and the spare and eloquent interior shots reminding us that imamura began his career as an assistant to the great ozu. imamura mastery is evident and for example and in the paired scenes of yasuko bathing and the first emphasizing her lovely back and legs and the second how her hair is falling out. the shots stand almost as bookends to the narrative trajectory and distilling its tragic essence. the film documentary style realism is violated for expressive purposes several times and perhaps most notably in a scene that lays bare the troubled interior life of a shell shocked veteran. both the score by the renowned avant garde composer toru takemitsu and the stunning black and white photography contribute greatly to the film brooding atmosphere. when and in the final shot and yasuko uncle (kazuo kitamura) and the film laconic narrator and looks to the vacant sky for a rainbow as a sign of hope and regeneration and the black and white imagery suddenly becomes so poignant that it is almost unbearable. few films from japan (or anywhere else and for that matter) could be compared to the great and humanist japanese masterpieces of the 1950s. this film is one of them. when i finished viewing it for the first time and i sat stunned and unable to move for at least five minutes and overwhelmed as i was by the emotions great tragedy should inspire represent terror and pity. ---------------------------------Answer Question Below----------------------------------

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