Till We Meet Again

Till We Meet Again ★★★½

Like in THE BLUE MOUNTAIN, Imai's political fervor rather naturally translates into sensual intensity. The love story heightens the stakes of the anti-fascism (with class-difference lurking very much in the foreground as secondary theme) just as much as vice versa. In the end, what stays is the romantic stuff, though: Hand touching hand in an air-raid bunker (once again the WATERLOO BRIDGE influence), the first date of the lovers on the park bench, with Yoshiko Kuga giggling for joy, the first kiss through the glass plane and the second kiss (camera closing in) without the glass plane, later on a make-believe marriage like in a Borzage film shortly before he has to go off towards war...

The scenes with Okada and his buddies are interesting, too: remnants of a boheme lifestyle during wartime. For them, death on the battlefield is a very real prospect, but at the same time it still can be repurposed as an object of dilettante musings.

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