Godfrey Ho attempts to take duty in either immortalizing the horrors of Unit 731 or slandering the ordeal. I cannot tell because either way this experiment was a failure. Maruta 3 just equates into an anti-Japanese sentiment aimed straight for the heart of Manchuria. The guilty party within the film feign a guilty conscious but to pull off an emotional effect as such, would require skilled actors, which I'm sure Godfrey Ho does not have at his disposal. Not even the angst or the cultural reconciliation make this film anything other than a visual distraction from superior daily duties such as washing dishes. The namesake of the film's English distribution alone should exist a shred of enjoyment to be had in this slice of Oriental schlock, but behold, a barren viewing experience. Maruta 3 features no sex, hardly any original performances of violence, and a whole helpings worth of dismal drama to be consumed. It is hardly a way to spend a Saturday night, that is for sure. Of course, we get it Godfrey, "casualties of war...". As far as his ethnicity goes, Godfrey Ho appealed to the title Men Behind the Sun as this doomed unit of "unspeakable evil" needed their cinematic comeuppance. Imagine a film presenting Unit 731without the cruel, hyper-aesthetic of Russian auteur Andrey Iskanov or the amiable T.F. Mou. Maruta 3 stands as a drab war drama that closes on a note of superior cinematography; a a scene of a live burial, the only iconic image in the film.