The two films that were chosen for comparison and review are “Fires on the Plain” (1959) directed by Kon Ichikawa and “City of Life and Death” (2009) shot by Lu Chuan. Despite the fact that both films describe the image of a Japanese soldier and Nanjing massacre, there are different techniques used to portray characters and events. Both historical drama war films are set during the early days of the Japanese invasion and occupation of Nanjing in 1937 that is known as the “The Rape of Nanjing” in the Second Sino-Japanese War. In “Fires on the Plain” the Japanese army is demoralized, the remains of infantry are cut off from reinforcement and condemned to death. The central hero, a tubercular Japanese private Tamura (Eiji Funakoshi) is perceived just as a burden for his group. He is ordered to go to a field hospital and, if they refuse to accept him, to commit suicide. In the crowded hospital, he recognized insufficiently sick to be treated. When the territory of hospital starts being fired, the medical staff runs away, having left patients. Tamura escapes but decides not to come back to help to wounded. He begins aimless wandering during which he faces murders, cannibalism and other brutal consequences of war (Quandt 424). At the same time, Nakaizumi Hideo, the actor portraying Kadokawa Masao character, presents the deep inner world of the Japanese soldier who in spite of despair of war and omnipresent violence around him does not lose his humanity and honor. Kadokawa falls in love with a Japanese prostitute named Yuriko and promises to marry her after the war. Unfortunately, she has died after leaving Nanjing. At the end of the movie, he understands that life is more difficult than death. Pictures shown in “Fires on the Plain” and “City of Life and Death” seem plausible for the historical context. Ichikawa and Chuan place the viewer within the private hell of a Japanese soldier, detailing into the human soul’s darkest abyss, through tuberculosis, starvation and finally cannibalism. Hernandez notes, “the essential moral irony of war has rarely been reflected on screen as honestly as in “City of Life and Death”; it is a masterwork implicating the viewer in the horrors of bearing witness” (Hernandez 1). The episode when the Japanese machine guns kill off the Chinese prisoners of war represents the real events that happened on December 18, 1937, on the Yangtze Rive banks (Chang 6). Movies described above give a powerful antiwar message through abominable colors, febrile camerawork, and unsettling sound design. They dissipate the myth that all Japanese soldiers had the desperate desire to die for their country. First of all, people should live in peace and enjoy every moment not to fight to each other. Therefore, directors remind that everything is marked by the war atrocities and that both losers and winners have to bear the burden of their memories and once peace returns struggle to find their humanity anew. It goes without saying that both movies have received positive reviews. Kate Muir of The Times states, “the picture has the grandeur of a classic. It should be witnessed.” and she describes the “City of Life and Death” as “harrowing, shocking and searingly emotional” (Muir 2). At The Washington Post, Michael O’Sullivan elucidate it as “a muscular, physical movie, pieced together from arresting imag