The Human Condition II: Road to Eternity (1959)
Directed by Masaki Kobayashi · Cinematography by Yoshio Miyajima
181 min61 frames
WarDramaHistory
The second one
Stills, screencaps & shots from The Human Condition II: Road to Eternity
16 of 61 frames — the full set is searchable by lighting, lens, shot size, color and mood with a free account.
The Human Condition II: Road to Eternity — official trailer
What is The Human Condition II: Road to Eternity about?
Kaji, sent to the Japanese army labeled Red, witnesses cruelties in the army and revolts against the abusive treatment against a fellow recruit. He also sees his friend Shinjô defecting to the Russian border, and he ends in the front to fight a lost battle against the Russian tanks division.
Where can you watch The Human Condition II: Road to Eternity?
US availability for The Human Condition II: Road to Eternity (1959). Data by JustWatch, listings on TMDB. Availability changes — check the provider for current listings.
Who stars in The Human Condition II: Road to Eternity?
Who made The Human Condition II: Road to Eternity?
What does the cinematography of The Human Condition II: Road to Eternity look like?
Sampled across 61 frames, the coverage of The Human Condition II: Road to Eternity leans on wide compositions (41% of the sample) and medium shots (38%). Cinematographer Yoshio Miyajima keeps 39% of it in soft, naturalistic light. Night and dusk account for 43% of the frames. Anamorphic glass shapes the frame. Deep focus keeps foreground and background readable at once in 64% of the frames. The production design places the film in the 1940s.
What is the color palette of The Human Condition II: Road to Eternity?
The dominant colors across the sampled frames of The Human Condition II: Road to Eternity (1959) are #050505, #8c8c8c, #4a4a4a, #2e2e2e, #cecece, #6d6d6d — measured from the per-frame color data FrameThrower extracts for every film.
#050505#8c8c8c#4a4a4a#2e2e2e#cecece#6d6d6d
See the full The Human Condition II: Road to Eternity colour palette — every hex with its share, plus warmth, saturation and luminance.
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Techniques in this film
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