Keisuke Kinoshita is perhaps among the least known, here in the West, of
all the great Japanese directors and his films are not often seen here.
His 1954 film "Twenty-Four Eyes" is one of his very best pictures yet
it is hardly known at all now despite having won the Golden Globe for
Best Foreign Film, (it's sentimental story of an inspirational teacher
is just the sort of thing that would appeal to an American audience
though this masterpiece is altogether deeper). What distinguishes it
from, say, a similar American film is not only Kinoshita's superb
narrative but a wonderful feeling for landscape, (it's set on one of
Japan's largest islands), as well as the beautifully naturalistic
performances of all of the children. At over two and a half hours it
never outstays its welcome despite most of its major dramas happening
off screen. It's also one of the most subtle of all post-war Japanese
films to touch on political issues as well as the War itself, (it begins
in 1928 and covers a period of 18 years). It is also a film of
considerable charm and is, finally, incredibly moving. This is a real
discovery that should rightly restore Kinoshita to the very front rank
of world class directors.
Keisuke Kinoshita is perhaps among the least known, here in the West, of
all the great Japanese directors and his films are not often seen here.
His 1954 film "Twenty-Four Eyes" is one of his very best pictures yet
it is hardly known at all now despite having won the Golden Globe for
Best Foreign Film, (it's sentimental story of an inspirational teacher
is just the sort of thing that would appeal to an American audience
though this masterpiece is altogether deeper). What distinguishes it
from, say, a similar American film is not only Kinoshita's superb
narrative but a wonderful feeling for landscape, (it's set on one of
Japan's largest islands), as well as the beautifully naturalistic
performances of all of the children. At over two and a half hours it
never outstays its welcome despite most of its major dramas happening
off screen. It's also one of the most subtle of all post-war Japanese
films to touch on political issues as well as the War itself, (it begins
in 1928 and covers a period of 18 years). It is also a film of
considerable charm and is, finally, incredibly moving. This is a real
discovery that should rightly restore Kinoshita to the very front rank
of world class directors.
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