The Saga of Anatahan

Directed by Josef von Sternberg

(1953, Japan, 92 min.)

Shot entirely on a sound stage constructed for the film (interspersed with real footage of ocean vistas and the rare ship off shore or fighter plane fly-over), The Saga of Anatahan is a story of survival, disorder, honor, and sexual rivalry set on the remote, South Pacific archipelago island of Anatahan—a possession of the Japanese during WWII. The saga commences as a dozen Japanese sailors miraculously survive the sinking of their vessel by the enemy and make it to the island. The island is mostly deserted, save for its two co-habitating residents: a chaste and bookish, middle-aged Japanese man and a younger, beautiful woman—both of who have been left (or abandoned) by their spouses (the circumstances of their abandonment are unclear).

Anatahan, produced in 1953, was director Joseph von Sternberg’s last film. The story transpires over a 6 year period, during which the sailors continue to believe that the war waged beyond the horizon continues, and that their countrymen will return and rescue them. Told without subtitles, but with English narration, the black and white film has the distinct feel of an old newsreel documentary. Indeed, the narration and scene development feels, at times, like an anthropological inquest. Despite the acting—which is somewhat stilted in a rough, theatrical sort of way—the story is strangely compelling. We see the gradual and inevitable devolvement of discipline amongst the sailors. This is partially fueled by their manufacturing of palm wine, the public “loss of face” of their superior officer, and, inevitably, their fantasizing and longing for the beautiful young woman, who seems not to fully understand (until much later) the dangerous impact her presence has on such men.

Despite a latter day resurgence of a sense of honor and patriotic duty, several of the men seek their chance with the woman, only to find themselves the object of resentment, and, ultimately murderous rage. Though generally predictable, the film offers a few surprises in the form of several brief flashes of female nudity. The film also suffers from rather abrupt (or perhaps cut) concluding scenes--jumping rapidly from the escape of the woman to the rescue and sensationalized return to civilization of the remaining men (sans one, who remains). While far from a masterpiece, The Saga of Anatahan none-the-less makes its imprint firmly on one’s unconscious mind, as we find ourselves too easily relating to the predicament of the stranded islanders.

M. Ricciardi