The blistering cries of the war can be interpreted as a symphony. Only the musical and empathetic are able to decipher its true meaning. Asked what those wails mean, no concrete answer would be heard. Just saying *pain* is too narrow, *suffering* too shallow. The best approximation is everything: woe and joy, hope and dismay – masala.

*Fort Graveyard* (In Japanese it's called blood and sand), is a war comedy, in line with other [Kihachi Okamoto]() films, such as *[Westward Desperado](https://blenderdumbass.org/reviews/westward_desperado_set_the_standard_of_war_comedies)*. Both films share a close resemblance. Both are war comedies. Both are Western-like. Both are shared with march songs. Both follow incompetent soldiers. Both take place in WW2 China. Both orient on defending a fort. The difference lies in the fact *Fort Graveyard* is more extreme.

![Death is deaf to pleas](/pictures/user_upload/Troler/LW232XGW1NGO8XKT.jpg)
*Death is deaf to pleas.*

Unlike *Westward Desperado*, comedy is not so ever present. Sure, absurdity is there, there is no fear of going from light-hearted fun to tragedy. The military band are one moment playing [Dixieland jazz](https://invidio.us/watch?v=U88qAJGA6MU) with joy and bliss and the other they are being shot down by few ragtag guerilla groups. There is this clash between the rational, but still kind-hearted Sergeant Kosugi ([Toshiro Mifune]()) and the band's leader's Harada's ([Kenzaburô Ôsawa]()) ineptitude. 

![BROTHER!](/pictures/user_upload/Troler/5PR94RPZRUN9ORN5.jpg)
*BROTHER!*

The film covers ground on love and sexuality. The band is compromised of people who are the age range of 19-22. Their experience in sex so lacking, they're unable to stand up after seeing a pretty girl. The sexual immaturity is works as a form of foreshadowing: there is more to one particular sex worker. 

No girl is prettier and nicer than Oharu ([Yoshiko Kanesato]()). No one is loved like Oharu, but love in the frontline is as strenuous as life. Similarly there is this tie in with the previous movie (*Westward Desperado*), since a brothel plays a role. Here even more, since it serves more than just a morale booster, but destroyer of hope as well. When there are ties, there will be loss. 

![The blind man plays his last note](/pictures/user_upload/Troler/8AT4LYU7APH7BTNS.jpg)
*The blind man plays his last note.*

The happy band, surrounded by enemies with presence of Oharu, are not meant to stay alive. 'Tis 1945 after all. The gay Dixieland jazz once again is played, like a funeral song. It is played during a shelling. The sounds of explosions mix into the **harmony** of music. Oharu cries on the grave of her lover – Kosugi. The band members die one after another, with the melody losing instruments one by one... until no one is alive. Oharu is dead. Everyone is dead. A letter comes in, the war is over. The messenger is dead on the ground. The song is over...

*Fin.*