Garden of Women (女の園)

  • の園 (Garden of Women)

10/12/23 (Thurs)

Kinoshita Keisuke’s unusual 1954 work, which he wrote and directed, was ranked second in that year’s Kinejun poll only to yet another Kinoshita film, his smash hit Twenty-Four Eyes (and amazingly above The Seven Samurai, Chikamatsu Story, Late Chrysanthemums, Sansho the Bailiff, and An Inn in Osaka, among others). It is not nearly in the league of any of those and may have been helped by its sensational theme and starry cast. Still, it is extremely interesting as a portrait of a certain age. Oshima Nagisa says that this is the piece that inspired him to become a director, which makes sense considering the politics of his works. I assume the garden (園) is a reference to a school academy (学園), though the source novel is in fact called Artificial Garden (人工庭園).

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Immortal Love (永遠の人)

  • 永遠の人 (Immortal Love)

8/11/23 (Fri)

The Japanese title of Kinoshita Keisuke’s 1961 film is literally “the everlasting person”, which would at first glance imply a soul mate or life partner. Here, however, it is used ironically to indicate someone that the protagonist can never shake off – the memory of her true love, the reality of her spiteful husband, or possibly the resentful person that she herself has become. The British title, Bitter Spirit, comes closer to the sense of this relentlessly bleak film.

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Carmen Comes Home (カルメン故郷に帰る)

  • カルメン故郷に帰る (Carmen Comes Home)

10/11/18 (Fri), Tokyo

Kinoshita Keisuke’s hit film of 1951 was Japan’s first full-length color film, and the director reportedly created the plot around the need to film much of it outside for technical reasons. Continue reading

Twenty-Four Eyes (二十四の瞳 )

  • 二十四の瞳 (Twenty-Four Eyes), 1/16/11 (Sun), Tokyo

With the death of the great Takamine Hideko at year-end, I gathered friends to watch one of her most successful films. It is an unabashedly sentimental piece from 1953 about a new teacher and her 12 charges in a poor village in Shodoshima over a 20-year span from 1928-1948, i.e., before, during and after the war.

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