Port of Flowers Hanasaku Minato

Port of Flowers Hanasaku minato

B&W / Standard / 1943 / 82 min / Shochiku Cast: Director: Kinoshita Keisuke Shuzo: Ozawa Eitaro Script: Tsuji Yoshihiro Tomekichi: Uehara Ken Based on a play by: Kikuta Kazuo Okano: Higashiyama Chieko Cinematography: Kusuda Hiroshi Nobatama: Ryu Chishu Art Director: Motoki Isamu Hayashida: Tono Eijiro Music: Abe Sakari Okuda, village chief: Sakamoto Takeshi Ryoji, his assistant: Hanzawa Yosuke Producer: Endo Shingo Oharu, Ryoji’s sister: Mito Mitsuko Setsuyo: Maki Fusako Yuki: Murase Sachiko

Setting: A small island in Kyushu in 1941

Synopsis: A patriotic comedy about two con men arriving suddenly to work a scam on the inhabitants of a small Japanese island just as the nation begins its entrance into World War II. The men claim to be the orphan sons of Watase Kenzo, who had come to the island and initiated a project to construct a shipyard 15 years prior. He left with the project half-completed but is remembered with great fondness by the mayor and the group of people who hold the most influence on the island, including Nobatama who runs the horse and carriage shop; Hayashida, the boss of the fishermen; and Okano, the owner of the inn. Okano had once chased Watase all the way to Penang, still to find her love unrequited. Because of this history, she takes care of the two con men she has just met as if they were her own sons.

The more experienced of the two, Shuzo, takes the name Kensuke (Watase), giving his partner Tomekichi the name Kenji. They announce their desire to revive the shipyard project, a proposal met with enthusiastic support from all but Hayashida, who is forever concerned with money. In the morning Shuzo is working on the con again when he sees Tomekichi in a boat with Oharu, in whom he is to take a romantic interest. Shuzo calls him away and they are led to the site of the former shipyard project by Ryoji, a young lad renowned as the island intellectual from having spent 2 years at technical college in Fukuoka City. In due time, they begin raising money for the shipyard. When the con men count it, the

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amount is so high that they get scared and talk about fleeing immediately. In that moment, Tomekichi sees Oharu by chance washing a basket and has second thoughts.

A woman with a small girl arrives to stay at the inn. She is Yuki, Watase Kenzo's widow, and the child is their (real) daughter. She and Okano had fought over Kenzo in Penang, and Okano teases her saying that it seems Kenzo had a wife before her, as his two much older sons are presently here in the inn. She tells Yuki she will allow her to stay for a while, as long as she keeps her connection to Kenzo secret. Meanwhile Shuzo prepares to leave the inn to flee on a boat to Nagasaki, under a pretext. He gets antsy waiting for Tomekichi, while in the meantime Ryoji is called back to the village office on urgent business. Shuzo worries what this might be and when Tomekichi finally returns, the two become fearful that they have been found out. It is revealed that the real reason is Japan's entry into the war. They decide that under such circumstances, they won't manage to run away surreptitiously. Hayashida talks about money again to the mayor, Nobatama and Okano. He is concerned of any ship they construct being hit by an enemy submarine and what would become of the investment made by the stockholders. He wants the money returned while there is still time. Nobatama accuses his stance as unpatriotic and Nobatama's view carries the day. Ryoji arrives to bring the news of the attack on Pearl Harbor.

They begin building a boat, and the war progresses, with places like Singapore and Java falling to the Japanese army. Shuzo and Tomekichi get caught in a rainstorm which leads them to take shelter where Yuki and her daughter are staying. Yuki is out, and the daughter inadvertently reveals who her father is. When Yuki returns home, they confront her about who she is, calling her "mother" and then leaving. The storm worsens and later in the night, as the con men are trying to get away again, they see Yuki collapse in the rain and rescue her. She begs them to leave her and save the ship, saying it's more important than her life. Recognizing the ugliness of their acts, the two men make a pledge to one another to surrender as soon as they complete the ship.

Finally the day of the unveiling ceremony arrives. The two men are nowhere to be found. As Oharu bikes around looking for them, she suddenly comes upon crowds of villagers running towards the beach. An islander’s fishing boat has been hit by the enemy. Hayashida reacts to this with a change of mind and says he will pay to make as many ships as possible. Okano and Yuki stand in front of the completed ship and agree that Watase Kenzo would have been pleased. The final scene is of the two con men, repentant, looking back on their fond memories of the island, as they travel by boat in the custody of the island’s ubiquitous police officer.

Notes: This is the first film of Kinoshita Keisuke, who had joined Shochiku in 1933, when it was still in Kamata. Port of Flowers was lauded and awarded as an accomplished debut. Unique touches include the unusual pairing of experienced stage actor Ozawa Eitaro as Shuzo with matinee idol Uehara Ken as Tomekichi, and the lyrical appearance behind an actress deep in recollection of the foreign city in which she loved a man many years prior. Kurosawa Akira also directed his first film in 1943 (at Toho), and they were both to enjoy great fame in Japan, despite the fact that Kinoshita did not achieve recognition internationally in the same way Kurosawa did.

2 Del 23 de octubre al 4 de noviembre en Cineteca Nacional Del 30 de octubre al 11 de noviembre en Cineteca Nuevo Leon Retrospectiva de Keisuke Kinoshita

THE MORNING OF THE OSONE FAMILY OSONE-KE NO ASHITA

Black & White / Standard / 1946 / 81 min. / Shochiku

Cast: Fusako Osone: Haruko Sugimura Production Group: Ichiro Osone: Hidenosuke Nagao Screenplay: Eijiro Kusaka Taiji Osone: Shin Tokudaiji Photography: Hiroyuki Kusuda Takashi Osone: Shiro Osaka Art Director: Mikio Mori Yuko Osone: Mitsuko Miura Director: Keisuke Kinoshita Issei Osone: Eitaro Ozawa Ippei Yamaki: Eijiro Tono Akira Sanenari: Junji Masuda

Toward the end of December, 1943, the Osone family is holding a party for Akira, Yuko's fiance, who is about to leave for the front. But the celebration is suddenly interrupted when Ichiro is arrested for entertaining political ideas forbidden by the state. Career soldier Issei, mortified, forces his niece to break off her engagement. Taiji, who had dreams of becoming an artist, is conscripted into the army, much to his mother Fusako's consternation. Issei and his wife, whose home has been burned out in an air raid come to live with the remaining Osones and soon take over their lives. The sad news that Taiji had contacted a disease at the front and died makes Fusako determined that her third son Takashi should stay at home, but her brother-in-law Issei gives him approval to become a naval reserve cadet. Issei then arranges for a marriage between his niece and a war industrialist for his own profit, again against the Fusako's will. In a dream she sees her son Takashi return home and is convinced that he has been killed in battle. Issei, sensing the end of the war, begins food profiteering which leads to the final showdown between him and Fusako, in which she forces him and his wife to leave her home. At the end of the war Akira comes back safely and marries Yuko, while the General Headquarters set Ichiro free and peace is at last restored to the Osone family.

3 Del 23 de octubre al 4 de noviembre en Cineteca Nacional Del 30 de octubre al 11 de noviembre en Cineteca Nuevo Leon Retrospectiva de Keisuke Kinoshita Woman Onna

B & W / Standard / 1948 / 67 min / Shochiku (Ofuna) Cast: Director: Kinoshita Keisuke Hayashi Toshiko: Mito Mitsuko Script: Kinoshita Keisuke

Photography: Kusuda Hiroshi Machida Tadashi: Ozawa Eitaro Art Director: Hirataka Kazue Music: Kinoshita Chuji Producer: Ogura Takeshi Setting: Tokyo, Hakone, Manazuru, and Atami in the late 1940s.

Synopsis: A gangster accustomed to ruling those around him, Machida Tadashi drags off Hayashi Toshiko, a revue dancer whom he's taken a fancy to, to Hakone and Hamamatsu. Suspicious of him and his henchman and their possible involvement in a series of robberies, Toshiko jumps the train at Manazuru, only to be chased by a limping Machida. The two fight near the sea as Toshiko, blaming him for her troubled life, begs him to let her go. Machida, complaining through tears how the cruel world has made him what he is, agrees, but plays on her emotions enough to make her change her mind. As the two hitch a ride on a truck, Machida convinces her to go to Atami with him, promising her he will go straight. In Atami, Machida is just about to sell a watch and some rings to get the fare to Hamamatsu when the alarm is sounded for a nearby fire. He ignores the alarm, rushes into the jewelry store and, when he exits, grabs Toshiko and tries to blend in with the crowd. Again suspecting him of having pulled a heist, Toshiko grabs what's in his pockets and tries to return it, but is caught by Machida in a crowd of people. Assured he can do nothing to her in public, Toshiko declares she will no longer be deceived by his manipulative lies. Infuriated, Machida threatens to kill her but Toshiko, feeling strength rise up within her, runs through the crowd, yelling, "Murderer! Thief!," until people turn on Machida and beat him up. Notes: Woman explores the moral dilemmas of a post-war Japan in which, it was said, only the dishonest could survive. While melodramatic at times, the story is given a realistic touch by director Kinoshita Keisuke's depiction and Ozawa Eitaro's complex rendition of Machida, a gangster who, in the end, really is hard to blame for his crimes. With the film studios booked up due to a post-war boom in film production, Kinoshita, frequently open to experiment in this period, boldly tested in Woman the possibility of filming a movie entirely on location with only two main actors.

4 Del 23 de octubre al 4 de noviembre en Cineteca Nacional Del 30 de octubre al 11 de noviembre en Cineteca Nuevo Leon Retrospectiva de Keisuke Kinoshita Carmen Comes Home KARUMEN KOKYO NI KAERU

Color / Standard / 1951 / 86 min. / Shochiku (Ofuna) CAST: Lily Carmen (Okin): Takamine Hideko Directed by: Kinoshita Keisuke Maya Akemi: Kobayashi Toshiko Screenplay by: Kinoshita Keisuke Aoyama Shoichi, Okin's father: Sakamoto Takeshi Photography by: Kusuda Hiroshi Aoyama Yuki, Okin's sister: Mochizuki Mieko Art Direction by: Kojima Motoji Aoyama Ichiro, her husband: Isono Akio Music by: Kinoshita Chuji, Mayuzumi Toshiro Taguchi Haruo: Sano Shuji Producer: Tsukimori Sennosuke Taguchi Mitsuko, his wife: Igawa Kuniko Executive Producer: Takamura Kiyoshi The school principal: Ryu Chishu Ogawa, a teacher: Sada Keiji Maruno Juzo (Maruju): Miake Bontaro

SETTING: The area around Mt. Asama in the same year the film was produced

SYNOPSIS: AOYAMA SHOICHI, a cattle farmer at the foot of Mt. ASAMA, receives a letter from his daughter, OKIN, who ran away to Tokyo. The letter says she is absorbed in her artistic endeavors, but will return home with a friend for a visit soon. The letter is signed, "Lily Carmen." SHOICHI remarks in anger that he never knew he had a daughter with a foreign name. SHOICHI's older daughter, YUKI, talks to her husband who teaches at the grade school, and they get the school principal to calm her father down. At the school, a practice is being held for the sports day celebration. TAGUCHI HARUO, who was blinded in the war, is listening to a teacher named OGAWA play the organ. TAGUCHI's beloved organ was repossessed by MARUJU, who owns a moving company. MARUJU returns from Tokyo where he is pursuing plans to build a resort hotel in the village. He arrives on the train with OKIN and her friend, AKEMI. The girls cause a huge commotion in the village with their gaudy clothes and outrageous actions. The principal of the grade school is bewildered when the

5 Del 23 de octubre al 4 de noviembre en Cineteca Nacional Del 30 de octubre al 11 de noviembre en Cineteca Nuevo Leon Retrospectiva de Keisuke Kinoshita word spreads that OKIN and AKEMI's artistic pursuit is striptease. When SHOICHI hears about it, he comes down with a fever from the shock. The girls, oblivious to the commotion, let loose by singing and dancing in the beautiful mountain setting. AKEMI's skirt falls off during the sports day celebration, in the middle of TAGUCHI's organ performance. The incident ruins the performance. The girls are embarrassed by this, and also by the fact that the young teacher, OGAWA, whom they are both interested in, has been ignoring them. They decide to restore their honor in the eyes of the villagers by giving a performance of their own. OKIN's father grows more and more concerned with what the girls are planning, and finally goes to see a rehearsal. SHOICHI reports to the principal that his daughter's dancing must be respectable if it's done in Tokyo. He says that it must be what they call art. The strip show, sponsored by MARUJU, is a huge success. The money that the girls earned is contributed to the grade school, and MARUJU is so pleased with his profits that he returns TAGUCHI's organ. The two girls return triumphantly to Tokyo.

NOTES: This was the first all color film made in Japan. The Fuji Film Company asked the Association of Japanese Film Directors if someone would try out their film. SHOCHIKU appointed the sharp young director, KINOSHITA KEISUKE, and shot the film with a completely domestically made system. The new color film stock required good lighting, so they decided to shoot the film entirely on location. Of course they could only shoot when the weather was good. Despite the technical problems involved in the experiment, the difficulties are hardly visible in the finished product. Shortly aftet World War II, striptease dancers were popular in the big cities. This comic and naive story skillfully incorporates the manners and customs of Japan during this time, and depicts the pattern by which these postwar manners and customs spread from the cities to the countryside. The songs and dances are delightfully frivolous and raunchy, and match perfectly the mood of liberation which prevailed after the war. TAKAMINE HIDEKO, one of Japan's greatest actresses, plays the role of Carmen. This was her first appearance in a KINOSHITA film. She appeared in several of his later masterpieces, including "24- Eyes" (NIJUSHI NO HITOMI) 1954, and "The River Fuefuki" (FUEFUKIGAWA) 1960.

(Kinema Jumpo #4)

6 Del 23 de octubre al 4 de noviembre en Cineteca Nacional Del 30 de octubre al 11 de noviembre en Cineteca Nuevo Leon Retrospectiva de Keisuke Kinoshita TRAGEDY OF JAPAN Nihon No Higeki

Produced by: Takashi Koide Cast: Ryotaro Kuwata Haruko Inoue: Yuki Mochizuki Directed by: Keisuke Kinoshita Utako Inoue: Yoko Katsuragi Screenplay by: Keisuke Kinoshita Seiichi Inoue: Masami Taura Photographed by: Hiroyuki Kusuda Masayuki Akazawa: Ken Uehara Art director: Kunihiko Nakamura Kiriko Akazawa: Sanae Takasugi Music composed by: Tadashi Kinoshita Sato: Sadaji Takahashi

Tatsuya: Kenji Sada

Ichizo: Shinich Himori

Sue: Yae Kitabayashi

Wakamaru: Keiko Awaji

Fujita: Fujio Suga

Iwai: Eijiro Yanagi

Story: Haruko, one of the maids of a hotel “Izuhana” located in Atami which is a popular hot spring resort, is a war-widow of about fourty years of age. Her life has been, especially since the termination of the war, a series of hardship; sometimes tricked by bad-natured fellows in losing her savings, sometimes defrauded by her brother-in-law of her land, the last property left by her late husband, etc. Her painstaking efforts is, however, just for the sake of her children whom she is determined to raise well to be proud of. Now she sends Utako, her daughter, to a dress-making school as well as to an English conversation institute and Seiichi, her son, to a medical college in Tokyo. Her motherly affection is not limited to her own children but extended to a young street-musician Tatsuya or to a chief cook of the hotel, Sato, who is quite enchanted with a young wanton geisha-girl Wakamaru. It is because they are close to her children in age.

But her children have, against her hope, been affected by the tendency of postwar society. Utako who is twenty-two years of age now is living at a wooden-clogs manufacturer’s house and Seiichi, twenty 7 Del 23 de octubre al 4 de noviembre en Cineteca Nacional Del 30 de octubre al 11 de noviembre en Cineteca Nuevo Leon Retrospectiva de Keisuke Kinoshita years old, is also staying in a lodging house in Tokyo; both are living separated from their mother. They have grown up under hard conditions which ware too much for little children to bear, so when Haruko insists on her efforts to have taken care of them for a long time, they unconsciously harbor ill-feeling against her. In other words, they have grown up old enough to hate enforced affection no matter of what character it may be.

One day Seiichi comes back from Tokyo and tells Haruko that he has the intention to accept an adoption proposal from a wealthy doctor and his wife who have lost their son in the war, which will promise him a hopeful future as a doctor. Haruko clings to him and complains of his cold-heartedness. But the more she tries to persuade him, the stronger becomes his and Utako’s hatred towards her coarse and gross way of speaking, which reminds them of her riotous life they often saw when they visited her hotel expecting consoling words for troubles caused by their uncle’s coldheartedness.

Haruko is trying hard to arrange for Utako to marry into a good family but her effort is not rewarded. At last Utako thinks that it is because of her mother’s loose life and becomes hysterical to her mother’s endeavor. She does not, therefore, purposely decline Akazawa, one of the instructors of the English speaking institute, approach. Akazawa is suffering from differences with his wife although he has had a little boy with her, so he cannot help being attracted by young Utako. When his wife becomes aware of his feeling towards Utako and has a fit of hysteria, he makes up his mind to abandon his family and to make a home with Utako. Then Utako accepts his idea and runs away secretly from her mother. When Haruko learns of her daughter’s disappearance, she is quite dumbfounded and goes up to Tokyo hurriedly to consult with Seiichi. But she only hears critical words and approval of his elder sister’s conduct and the necessity for individual freedom.

“You always get disappointed with your children whenever they don’t satisfy your expectation. But, mama, how do you think we can live through this hard society if we are such weak children as always need to ask their mother’s opinion? We are old enough to carry on our business of our own accord….” Seiichi’s words makes her understand the undeniable difference of view between mother and children and she agrees to let Seiichi become an adopted child of the doctor as asked before. Being abandoned by her children and having wasted almost all of her money by stock-buying which she tries according to the suggestion of bad fellows, Haruko loses desire to live any longer and throws herself down onto the railroad track. Thus the unhappy mother has ended her troublesome life by killing herself.

8 Del 23 de octubre al 4 de noviembre en Cineteca Nacional Del 30 de octubre al 11 de noviembre en Cineteca Nuevo Leon Retrospectiva de Keisuke Kinoshita

The River of Fuefuki FUEFUKIGAWA

B & W (Part color) / Scope / 1960 / 117 min / Shochiku (Ofuna)

Directed by: Kinoshita Keisuke CAST: Screenplay by: Kinoshita Keisuke Sadahei: Tamura Takahiro Photography: Kusuda Hiroshi Okei (His wife): Takamine Hideko Art Director: Ito Kisaku, Ezaki Kohei Sozo (Their first son): Ichikawa Somegoro Music: Kinoshita Chuji Yasuzo (Their second son): Nakamura Mannosuke Based on a novel by: Fukazawa Shichiro Heikichi (Their third son): Tanaka Shinji Ume (Their daughter): Iwashita Shima Mitsu (Sadahei's mother): Yamaoka Hisano SETTING: 16th century (the turbulent age) Hanzo (Mitsu's brother): Daigenji Ryusuke Hanpei (Their father): Oda Masao LOCATION: Kai Province (inland area in central Honshu) Their grandfather: Kato Yoshi Takeda Shingen: Nakamura Kanzaburo Takeda Katsuyori: Takeuchi Toru Takeda Seido: Hamada Torahiko Uesugi Kenshin: Matsumoto Koshiro

SYNOPSIS: The turbulent era with civil wars between feudal clans. In Kai Province governed by the TAKEDA clan, poverty-striken peasants, jeopardizing their lives, volunteer to fight in campaigns as they can get rewards or seize an opportunity to advance in the world. SADAHEI's ancestors and relatives have fought in campaigns and brought fame to the family name. However, they all died after all. Some died in a battle, some committed minor crimes and got killed, and some were burned to death as they became too rich. SADAHEI gets married to OKEI who has a leg trouble. Soon afterward, they are blessed with three boys and one girl,

9 Del 23 de octubre al 4 de noviembre en Cineteca Nacional Del 30 de octubre al 11 de noviembre en Cineteca Nuevo Leon Retrospectiva de Keisuke Kinoshita but their everyday life is still miserable. They barely survive day by day by working chores. When the children grow up, the sons leave home to fight in campaigns and the daughter goes to work for other family. At the defeat of the TAKEDA clan, all of his sons die and SADAHEI is left alone.

NOTES: Instead of depicting the turbulent era with civil wars by showing spectacular battle scenes and samurai generals' courageous victories, the camera focuses on the poverty-striken life of a peasant family living by the Fuefuki River for five generations. With coolness, the picture gazes on the reality that poor peasants are after all victims of rulers no matter how much efforts they make...willingly going to war and taking chances to advance. Occasional insertions of color in black and white scenes, for example, burning fire in red on the contrast of cold-looking background, are innovatory.

(Kinema Junpo: #4)

10 Del 23 de octubre al 4 de noviembre en Cineteca Nacional Del 30 de octubre al 11 de noviembre en Cineteca Nuevo Leon Retrospectiva de Keisuke Kinoshita Twenty-Four Eyes NIJUSHI NO HITOMI

B & W / Standard / 1954 / 155 min. / Shochiku (Ofuna) CAST: Oishi Hisako, a teacher: Takamine Hideko Directed by: Kinoshita Keisuke Kagawa Masuno: Tsukioka Yumeji Screenplay by: Kinoshita Keisuke Kawamoto Matsue: Igawa Kuniko Photography by: Kusuda Hiroyuki Okada Isokichi: Tamura Takahiro Art Direction by: Nakamura Kimihiko A male teacher: Ryu Chishu Music by: Kinoshita Chuji His wife: Urabe Kumeko Based on a novel by: Tsuboi Sakae Hisako's mother: Natsukawa Shizue Producer: Kuwata Ryotaro Hisako's husband: Amamoto Eisei A shopkeeper: Kiyokawa Nijiko

SETTING: Shodo Island in the Inland Sea from 1928 to 1946

SYNOPSIS: The story unfolds in the spring of 1928 when OISHI HISAKO takes over as the new teacher in the island's branch primary school. With her starting their school life are 12 pupils from the village, the sons and daughters of the shop-keepers. OISHI's name means literally "big stone." As she is not so much taller than the former teacher, her pupils quickly nickname her "KOISHI" (lit. small stone), but the villagers are reluctant to accept her at first. They criticize the fact that she wears western clothes instead of kimono and that she rides a bicycle from her home to school in a manner unbefitting a proper school-teacher. OISHI HISAKO goes experiences the heartbreak and love of a young school-teacher who is sincerely interested in her work and her young pupils. One day OISHI's leg is broken because of a pit the children made as a joke, and she cannot teach at school for a while. Children try to visit her, but it takes longer than they expected and begin to cry, when the journey drains them. By chance, they meet her and are taken to her home. This incident strengthens their bond to OISHI.

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OISHI is transferred to the principal school, and the children grow up, attend the school and OISHI once again becomes their teacher. She takes her pupils, now in the fifth grade, on an excursion. She then learns that one of her pupils has become a restaurant waitress. When her mother died, the girl was sent away by her father, who was too poor to care for her. OISHI marries the captain of a sightseeing boat and raises a family of her own. The pupils suffer heartbreak of when they can't go on to music school or to a career they dreamed of because of family circumstances. The boys all say that they want to become soldiers. The teacher tells them she dislikes war and soldiers, but the boys are determined to serve their country. As Japan's Government increased its war effort, the new atmosphere is reflected within the tiny island in the Japan Inland Sea. There are continually more and more boys going off war, parades and continuous air raids. It's eight years later, and the war is over. The village cemetery is filled with the graves of the boys who became soldiers. OISHI's husband also died in war. Her own children talk about war and she feels a combination of anger and despair. Finally, OISHI, now well along in years, returns to the old branch school to resume her teaching. Among her new pupils, there are children or sisters of her former pupils. Her former pupils reunite for a welcome party but only a few girls and one blind boy, who had lost his sight in the war, attend. It has been a long road for both the pupils, the teacher and the country. As a token of their gratitude, her former pupils present her with a shiny, new bicycle just like the one she used to ride when she first came to the branch school.

NOTES: This film depicts the story of heart to heart relationship between an elementary school teacher and twelve pupils on a small island in the Inland Sea. Through the eyes of the teacher and her pupils are reflected the political and economic changes in Japan from the 1920s until the end of war. The story shows the inevitable tragedies of the pupils' destiny who were once living in peace on the small island. This film moved millions of Japanese people since it was produced when the war experiences were still living memories among Japanese people. It is said that this film had people shed the most tears in Japanese film history. The lyricism of the director KINOSHITA KEISUKE is well developed in this film, and that year it won most of film awards in Japan. This film became a representative work in the career of TAKAMINE HIDEKO, and she won most of the awards for best actress in following years. Since this story extends over 18 years and children grow up in the film, real brothers and sisters were casted as the same pupils in each and all KINOSHITA KEISUKE's films were arranged by the director's brother, KINOSHITA CHUJI. In this particular film many school music pieces are used, and these audio stimuli recall childhood memories for many Japanese.

(Kinema Jumpo #1)

12 Del 23 de octubre al 4 de noviembre en Cineteca Nacional Del 30 de octubre al 11 de noviembre en Cineteca Nuevo Leon Retrospectiva de Keisuke Kinoshita Ballad of the Narayama NARAYAMA-BUSHI KO

Color / Scope / 1958 / 98 min / Shochiku (Ofuna) CAST:

Orin: Tanaka Kinuyo Directed by: Kinoshita Keisuke Tatsuhei (her son): Takahashi Teiji Screenplay by: Kinoshita Keisuke Tama-yan (Tatsuhei's wife): Mochizuki Yuko Photography: Kusuda Hiroshi Iyokichi (Tatsuhei's son): Ichikawa Danshi Art Director: Ito Kisaku Matsu-yan (Iyokichi's wife): Ogasawara Keiko Assistant Art Director: Umeda Chiyoo Mata-yan: Miyaguchi Seiji Music (Joruri): Nozawa Matsunosuke His son: Ito Yunosuke Music (Nagauta): Kineya Rokuzaemon Based on a novel by: Fukazawa Shichiro SETTING: 17th or 18th Century

LOCATION: Countryside surrounded by mountains

SYNOPSIS: ORIN is 69 years old this year. Her husband has passed on a long time ago. In the village where she lives, there is a custom of having residents reaching the age of 70 leave for NARAYAMA, or in other words, the elderly are abandoned. In this area surrounded by mountains and where very little is harvested in the way of farm products, this is the subtle method of ridding themselves of the old and unproductive, and cutting down on consumption. ORIN is concerned over her son, TATSUHEI, losing his wife early but fortunately, he remarries TAME-YAN, a hard-working housekeeper from the neighboring village and is now relieved of all her worries. ORIN who still has teetch very strong for her age, deliberately crashes her jaws against a stone implement for grinding and pounding grains. In the winter, she is carried on the back of her son TATSUHEI and climbs up NARAYAMA to await her death. In contrast, their next door neighbor MATA-YAN though having reached the age of 70ish reluctant to leave and tries to cling on as one of the village elders. TATSUHEI on the way back from having left ORIN on the mountain-side comes across MATA-YAN and his son, who is trying to push his father off the cliff.

NOTES: This is a movie version of the novel by FUKAZAWA SHICHIRO, with the theme focusing on the custom of Ubasute or "discarding of the old-aged". This novel won for him the Writer Newcomer of the Year Award when it was published in the magazine, "Chuo Koron". Director KINOSHITA KEISUKE has depicted this most tragic theme by using a Kabuki style set and Kabuki style background music and gained for himself a most favorable acclaim and reputation. (Kinema Junpo: #1) 13 Del 23 de octubre al 4 de noviembre en Cineteca Nacional Del 30 de octubre al 11 de noviembre en Cineteca Nuevo Leon Retrospectiva de Keisuke Kinoshita FAREWELL TO SPRING Sekishun-cho

Color / Wide/ 1959 / 102min / ©1959 Shochiku Co., Ltd. Cast: Yasuo Makita, illegilimate son of a drinking Produced by: Takashi Koide house marton: Masahiko Tsugawa Screenplay by: Keisuke Kinoshita Midori, geisha: Ineko Arima Directed by: Keisuke Kinoshita Eitaro Makita, Yasuo’s uncle: Keiji Sada Photography by: Hiroyuki Kusuda Takeya Minemura, a friend of Yasuo: Kazuya Music by: Chuji Kinoshita Kosaka Art direction by: Chiyoo Umeda Kozo Teshirogi, a friend of Yasuo: Akira Ishihama Akira Masugi, crippled by: Toyozo Yamamoto Naoji Iwagaki, college student: Yusuke Kawazu Yukichi Momosawa: Junzaburo Ban Tane, his wife: Teruko Kishi Yoko, Yasuo’s sweetheart: Yukiyo Toake

Synopsis: The story takes place in the city of Wakamatsu in the Land of Aizu, the home of the heroic “White Tiger” Youths who chose death rather than capture by enemy forces. When their castle goes up in flames, the 19 boys committed hara-kiri. The years fly by and old traditions, even in this tradition-ridden city, are slowly fading away. Five youths gather at the tomb of the “White Tiger” youths to renew old friendships. A crippled boy, Masugi, sings as the other four lads perform a sword dance in honor of the dead heroes. They are there to welcome home Iwagaki who has been away, studying at a college in Tokyo. Iwagaki returns to Wakamatsu but no longer has a home there and is forced to stay with his old friend, Takuya Minemura, whose widowed mother operates an inn at the famous Higashiyama Spa. His return is somewhat embarrassing in view of the fact that he has recently been involved in a scandal with his benefactor’s maid. Following the affair, his benefactor refuses to pay his college tuition and Iwagaki makes it known that he is now working his way.

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At a geisha party given in Iwagaki’s honor by the friends, Yasuo Makita, illegitimate son of a drinking house matron, meets the beautiful geisha, Midori, who once eloped with his uncle. Midori is soon found and returned to her former patron but her true love remained with the man with whom she once ran off. The uncle, meanwhile, has contracted tuberculosis and has returned to live with his sister. He remains in bed all day and shows no desire to continue living. Makita, on the other hand, is in love with the niece of his father true wife. In line with old tradition, the childless couple has adopted the niece and is seeking to adopt a mate for her who will carry on the family name. The wife’s Pride, however, will not allow her to accept her husband’s illegitimate son as their heir. Through the good offices of the go-between, Onizuka, they negotiate with the Teshirogi family for the adoption of their third son who is also a member of Iwagaki’s group. Iwagaki, after remaining with Minemura for two days, finally approaches his friend for a loan. Minemura is caught borrowing the money from the maids and is chastised by his mother. He finally pawns a beautiful wood-block print to raise the cash. Meanwhile, Iwagaki has also approached Masugi and asked him to pawn a camera using his friend’s name. Instead of pawning the camera, masugi pawns his father’s old dagger and loans the money to Iwagaki. By accident, word reaches the friends that Iwagaki is wanted in Tokyo as an accomplice in a swindle. Teshirogi and Mienemura hope to help their friend make a getaway but the former is infuriated when he finds that Iwagaki has stolen Minemura’s watch. As Iwagaki rushes to the station to leave town, Teshirogi phones the police and gives them information regarding his whereabouts. Minemura is stricken by his conscience at having turned his friend over to the police and phones Makita and begs him to go to the station before the police arrive and urge Iwagaki to turn himself in before he is arrested. Unfortunately, Makita arrives at the station in time to watch his friend being taken away on a police car. The crippled Masugi is furious with Teshirogi for having informed the police. He challenges Teshirogi to a duel on Mt. Iimori. Despite the young niece’s plea that he turn her down, Teshirogi has decided to become the adopted son of the wealthy Momozawa family and to marry Yoko. Before giving his final reply, however, he checks with Makita to see if the latter had any objections. Makita, of course, realizes the hopelessness of his own situation and urges his friend to do as he feels best. This infuriates Masugi all the more. On the day Masugi and Teshirogi are to meet on Mt. Iimori, it is learned that Makita’s uncle has again run off with Midori and that both have died in a lovers’ pact. This is a great shock to the young friends. Makita suddenly changes his mind and decides not go give up Yoko. He dashes to Mt. Iimori to fright his friend for the girl. Only the earnest pleading of Minemura avoids a bloody fight. He insists that friendships should mean something…not just vanish as one grows older. His sane reasoning finally stops the brawl and the four remaining friends leave the hillside together. Somewhere, however, can be felt the melting away of old childhood friendships which are no more.

15 Del 23 de octubre al 4 de noviembre en Cineteca Nacional Del 30 de octubre al 11 de noviembre en Cineteca Nuevo Leon Retrospectiva de Keisuke Kinoshita Thus Another Day KYO MO MATA KAKUTE ARINAN

Synopsis: Shoichi Sato, a salaried worker, commutes daily by bus and crowded electric train from distant home to his office in Tokyo. After seeing Shoichi off to work, his wife Yasuko is busy with washing, shopping and other household chores. There is also their child, Kazuo, to take care of. The humdrum life of this ordinary couple is disrupted when the husband decides to rent their new house, which is being paid for in monthly instalments, to his company’s managing director during the summer for ¥60,000 per month. Shoichi takes a small room in a Tokyo apartment house. The wife Yasuko goes with their child to her parents’ home in Karuizawa. There she helps at her mother’s store, selling tobacco and sundries. One day a middle-aged man, carrying a three-year-old girl on his back, come to the store to buy a pot. Yasuko’s mother tells her that this man, Shunsuke Takamura, has often come to the store ever since he moved to Karuizawa the previous year. Besides Yasuko’s mother, other living in the house behind the store are her brother Tetsuo Mori, a taxi driver, his wife Haruko, their son Hajime, and another brother Goro who works at a small factory in the neighboring town of Komoro. Now that Yasuko is tending the store, haruko goes out every day to sell ice cream at a wayside stand. Goro is secretly in love with Noriko, the daughter of a lumber merchant. Goro is glad when Noriko, who is attending senior high school in Tokyo, returns to Karuizawa for the summer vacation. He is disturbed, however, by the well-to-do young men and women friends who have come from Tokyo and surround Noriko. Noriko and her friends are intimidated by the henchmen of a gangster Kenzo Akada and his mistress Mimi, who have come to Karuizawa from Tokyo. Meanwhile, Yasuko is gradually attracted by the middle-aged Shushuke Takemura. He denounces the gangster and the henchmen in no uncertain terms for disturbing the peace and quiet of Karuizawa. Sato comes from Tokyo to visit his family. The next day Sato and Yasuko visit the villa of the managing director’s wife who is summering in Karuizawa. Upon being forced to trudge through the rain 16 Del 23 de octubre al 4 de noviembre en Cineteca Nacional Del 30 de octubre al 11 de noviembre en Cineteca Nuevo Leon Retrospectiva de Keisuke Kinoshita carrying Kazuo on her back, Yasuko is weary and in bad humor. This is made worse when her husband stays at the villa a long time to play mah jongg. She becomes angry since her husband seems to pay more attention to his company and chances for promotion than to his wife and child. A few days after her husband goes back to Tokyo, Yasuko visits Takemura’s house. Takemura, who is skilled in calligraphy, is writing posthumous Buddhist names of deceased people to be put on tombstones. Takemura says that he feels closer to dead people than the living and begins to tell the story of his life. A graduate of the Military Staff College and an ex-army general, Takemura feels fearful and sad about the many men he had to send their deaths on the battlefield. Lacking the will to make money or to do anything, he is leading a dull and lonely life on the money sent to him by his wife Tomoe who is working as a maid at an inn. Takemura and his wife are like strangers now. He is living merely for the sake of the child, Yoko. As Takemura quotes poetry, “Thus was it yesterday, thus is it today, why fret about the drudgery of this life, tomorrow too will soon pass away,” Yasuko’s sympathy for Takemura inceases. That night, when she receives a letter from her husband joyfully stating that he was called by the managing director and thanked for playing mah jongg at the villa, Yasuko considers it the height of foolishness. At about this time the gangster Akada is meeting a woman who has come to deliver money. Mimi, who becomes jealous because of this, later dies in an automobile accident. Akada’s henchman, who has been paid ¥200,000 to get rid of Mimi, deliberately rams his car into the taxi driven by Tetsuo. As a result, Tetsuo is injured and hospitalized. At Takemura’s house, little Yoko suffers from children’s dysentery and runs up a high fever. To Takemura, in his concern over Yoko, the tinkle of the wind-bell hanging over the veranda becomes unbearable since it sounds as if it were sending her closer and closer to death. Takemura asks Yasuko to take the wind-bell away. Despite Takemura’s prayers, Yoko dies. That same night Goro, encouraged by Noriko, wins third place in an amateur singing contest. A few days later Sato comes from Tokyo again to play mah jongg with the managing director’s wife. This time Yasuko refuses to go with him. Instead, she goes to see Takemura and is shocked to see him sitting quietly alone with a dirk in front of him. She takes the dirk away from him and takes it home. After Yoko’s death, Takemura divorces his wife Tomoe and lives all alone. Tomoe too, in desperation and self-abandonment, drinks wildly with Akada and his henchmen. That night Goro and Noriko, while returning from a friend’s house, are attacked by Akada’s henchmen. Goro is injured in the fight that ensues. When Takamura visits him, Goro says that he realizes that his love for Noriko is hopeless and that he has decided to forget her. On his way home, Takemura reveals to Yasuko that Yoko was not his own child but that he loved her just the same. Now his life is empty and without meaning. Yasuko cries and says that she too is weary of the drudgery of her empty life. Takemura, deeply moved, grasps her hand. Then he quietly leaves. As Yasuko stands forlornly by a temple gate, her husband comes for her with an umbrella. He tells her that Takemura has just taken away the dirk that had been entrusted to her. In sudden alarm Yasuko rushes, unmindful of the rain, to find Takemura whom she believes is intent on committing suicide. At Akada’s villa at about this time, a fight to the death is being waged by Akada, who has been stabbed by Takemura’s dirk, and Takemura who has been shot by Akada. It is like a brief dream that has suddenly ceased. At Sato’s house sometime later, the wind-bell that once belonged to the late Takemura, tinkles in the late autumn wind. It brings back sweet memories to Yasuko. But yasuko and her husband have by now resumed their former humdrum life, just as if nothing had happened during the summer that has come to an end.

17 Del 23 de octubre al 4 de noviembre en Cineteca Nacional Del 30 de octubre al 11 de noviembre en Cineteca Nuevo Leon Retrospectiva de Keisuke Kinoshita Immortal Love Eien no hito

B&W / Scope / 1961 / 143 min / Shochiku Cast: Sadako: Takamine Hideko Director: Kinoshita Keisuke Koshimizu Heibei: Nakadai Tatsuya Script: Kinoshita Keisuke Eiichi, their oldest son: Tamura Masakazu Cinematography: Kusuda Hiroyuki Morito, their second son: Totsuka Masaya Art Direction: Umeda Chiyoo Naoko, their daughter: Fuji Yukiko Music: Kinoshita Tadashi Kawanami Takashi: Sada Keiji Tomoko, his wife: Otowa Nobuko Producers: Kinoshita Keisuke Yutaka, their son: Ishihama Akira Tsukimori Sennosuke Rikizo, Takashi’s brother: Nonomura Kiyoshi Sojiro, Sadako’s father: Kato Yoshi

Setting: A village at the foot of Mt. Aso in Kyushu, 1932–1961

Synopsis: The film opens with a young couple embracing on a train that is speeding away from Mount Aso, a smoking caldera in the center of Kyushu. An older woman has seen them off at the station. In 1932, Heibei returns wounded from the front. He tells Sadako that her love, Takashi, has been injured and will probably die at the hospital in Shanghai where he is being treated. He himself lusts after Sadako, and as the heir to the Koshimizu estate, he is used to getting what he wants. One night, he rapes Sadako and convinces her father to give her to him in marriage. At one point, Sadako tries to drown herself in the river, but Takashi’s brother Rikizo prevents her from doing so. Takashi returns from the war completely uninjured but too late to prevent the marriage—Heibei had lied about his injury. Finally, Takashi convinces Sadako to run away with him. At the rendezvous spot, however, she only finds a letter from Takashi, telling her that with him, there can only be hardship.

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In 1944, as the war is on in earnest, Sadako discovers that Takashi’s wife and child are staying at Rikizo’s, while Takashi himself is serving with the military in Osaka. Sadako is cold to her own son Eiichi, who was conceived when Heibei had raped her. She invites Takashi’s wife Tomoko to work as their maid. However, hearing the stories of Takashi and Sadako’s love from Heibei, Tomoko turns against Sadako. Heibei tries to seduce Tomoko—to take away Takashi’s wife’s love the way Takashi took his own wife’s, as he believes—but Sadako catches him in the act. Tomoko runs away, though not before Sadako tells her that what she obsesses about is not her love for Takashi but rather her hatred for Heibei. In 1949, the war is over, but Takashi remains in a hospital in Hiroshima with a lung condition. Meanwhile, Eiichi has become a wayward child who constantly gets into trouble at school—Sadako is as harsh with him as Heibei is indulgent. Eiichi gives his watch to his younger brother Morito and disappears. Soon afterward, Sadako and Heibei find a suicide note amidst his belongings. As they alert the people in the fields to begin a search, Sadako runs into Takashi for the first time in years. Takashi runs down into the caldera of Aso-san to look for the boy. The scene returns to the couple in the train who were shown in the opening shot. It is 1960, and we realize that Sadako and Heibei’s daughter, Naoko, has run off with Takashi’s son Yutaka…with Sadako’s blessing. Heibei, however, is outraged. Tomoko reappears after all this time to ask for Takashi’s forgiveness; however, Takashi spurns her, and the stress of the encounter puts him on his deathbed. Meanwhile, it is evident that life has been unkind to Heibei’s household—land reforms have forced his family give up most of their land, and their son Morito is on the run from the police after participating in student demonstrations. When Sadako brings Morito money, he tells her that he is working to pay the debt to society accrued by the previous generations of his cruel family. In addition, he wants her to forgive his father. The following year, in 1961, Yutaka and Naoko return to show the dying Takashi his baby grandson. Sadako goes to see him as well, and he tells her that his dying wish is for Heibei to bless the children’s marriage. Sadako runs home to ask Heibei’s forgiveness for her coldness toward him throughout their marriage. He decides that if Sadako can forgive him despite the imperfections in their marriage, then he can certainly go and bless the marriage.

Notes: Immortal Love was nominated for Best Foreign Language Film at the Academy Awards in 1962, the fifth Japanese film to be thus honored. Nakadai Tatsuya and Takamine Hideko are two of the biggest stars in Japanese film history. Nakadai played another dark, brooding figure—the evil swordsman Tsukue Ryunosuke—in Okamoto Kihachi’s Sword of Doom (“Daibosatsu-toge,” 1966); he has also appeared in a number of Kurosawa Akira’s masterpieces. Takamine Hideko has portrayed women in similar dire straits in a number of films by Naruse Mikio, including Flowing (“Nagareru,” 1956) and Her Lonely Lane (“Horoki,” 1962). Director Kinoshita Keisuke was a master of the socially conscious postwar melodrama, of which this film is a later example.

19 Del 23 de octubre al 4 de noviembre en Cineteca Nacional Del 30 de octubre al 11 de noviembre en Cineteca Nuevo Leon Retrospectiva de Keisuke Kinoshita THE SCENT OF INCENSE KOGE

B & W / 1964 / 202 min. [Cast] Tomoko: Okada Mariko Producer/ Director/ Script: Kinoshita Keisuke Ikuyo: Otowa Nobuko Photography: Kusuda Hiroyuki Tsuna: Tanaka Kinuyo Ezaki: Kato Go

Setting: Wakayama Prefecture, Shizuoka and Tokyo, 1904-1964

Story (Part One): 1907, Wakayama Prefecture. Ikuyo, widowed three years earlier, plans to remarry despite her mother’s opposition. A daughter from her first marriage, Tomoko, is left behind to be raised by her grandmother, who refuses to let Ikuyo visit her. Eventually Ikuyo and her husband leave the neighbourhood for Tokyo. After her grandmother’s death, Tomoko follows them, and is sold by her mother’s husband to a geisha house in Shizuoka. Later, Ikuyo joins the same house as a prostitute; the proprietors are upset when they learn that the two women are mother and daughter, and forbid them to acknowledge each other. Tomoko nevertheless treats her mother affectionately, provoking the madam’s anger.

Some years later, the now adult Tomoko has joined a geisha house in Tokyo, where she is courted by various customers, among them the wealthy Count Konami, who becomes her patron. Ikuyo too has come to Tokyo, but when Tomoko meets her she learns that her mother has borrowed money from her geisha house to buy clothing. The women quarrel and Ikuyo denounces her daughter as unfilial.

Tomoko meets a young soldier, Ezaki, and falls in love with him. She begins to miss work to meet him, and, despite the objections of her patron, the Count, hopes to marry him. She worries that it will damage his career if he marries a geisha, and the house madam threatens to tell the army that one of their officers is now cuckolding the count. She tells Tomoko to renounce the count if she really loves him.

1923. Tomoko has now set up her own teahouse, where she is living with her mother. However, the teahouse is suddenly destroyed by the Great Kanto Earthquake. 20 Del 23 de octubre al 4 de noviembre en Cineteca Nacional Del 30 de octubre al 11 de noviembre en Cineteca Nuevo Leon Retrospectiva de Keisuke Kinoshita

Story (Part Two): 1926. Tomoko is now prosperous, running an inn on land that Count Konami bought cheaply for her after the earthquake. Ikuyo is still living with her, but has just returned from Osaka, where she visited Hachi, formerly a servant at her old house in Wakayama. He now stands to inherit the family business, and, although married, is evidently interested in Ikuyo. A phonecall reports the news of the Count’s death, on the same day as the Emperor Taisho. Later, Ezaki visits Tomoko, and announces that he can no longer marry her. She realises that the problem is her mother’s past as a prostitute. She proposes to remain as his mistress, but he refuses. Later, a friend of the count’s, Nozawa, invites her to his funeral, on condition that she pretend to be his wife.

Some time later, Tomoko learns that Ezaki has married and now has a child. She dines with Nozawa, who wants to be her new patron; she answers that next person who wants her must marry her. Back at Tomoko’s inn, Hachi, now a widower, has come to visit. Ikuyo asks her daughter permission to marry. Tomoko objects, and tells her mother that she couldn’t marry Ezaki because of Ikuyo’s past. Soon after, Tomoko and Nozawa visit Kyoto together, Tomoko refusing to visit her mother who is now living with Hachi in nearby Osaka. Nozawa tells her that he has always loved her, but could not divorce his wife. Later, we learn that he has died.

During World War II, much of Tokyo is destroyed in air raids. After the war, Tomoko and Ikuyo eat together in a bombed-out kitchen. Ikuyo wonders where Hachi is and why he hasn’t contacted her. She comments that she wants to be buried with Tomoko’s father, but Tomoko tells her that she will have to be buried with Hachi, and says she must go and search for him. Ikuyo, however, now suspects that he is dead.

Tomoko goes to visit her half-sister, the daughter of her mother’s second husband. She asks her to look after Ikuyo for a while, but she and her husband are reluctant. Tomoko angrily returns to the shelter, vowing to look after Ikuyo herself. She decides to open a restaurant. Suddenly, Hachi arrives, and invites them both back to his house in Osaka, which has survived the bombing. Tomoko, however, decides to stay in Tokyo.

Ezaki, now a colonel, has been sentenced to death by the Allies for war crimes committed under his command. Tomoko begs to be allowed to see him, but she is told that he has his maximum quota of visitors, and that she can only visit if the others fail to come. Meanwhile, Ikuyo returns; she has left Hachi and asks to stay with Tomoko. Again she repeats her wish to be buried with her first husband. Later, Tomoko is told that one family member has not come to visit Ezaki, and that she can take his place. In fact, Ezaki’s father has died, but his family hide the news from him. When Tomoko introduces herself to Ezaki, he refuses to talk to her. Returning home, she finds her mother with Hachi and orders them out of the house. A few weeks later, Tomoko learns that Ezaki has been executed.

Tomoko now plans to make funeral tablets for her family, and is shocked that her mother cannot remember her father’s posthumous name. Soon after, she collapses and is taken to hospital. She needs an operation, which will finally make it impossible for her to have children. In hospital, she complains that her mother has not visited. But Hachi tells her that Ikuyo died after being run over by a jeep on the way to visit her. He now plans to return to Osaka to be with his family, and has divided Ikuyo’s ashes in two, as she requested. Tomoko vows to inter one part in her father’s grave. At the same time, she meets Tsuneharu, her sister’s son.

Wakayama, 1964. Tomoko visits her father’s family, but is refused permission to inter Ikuyo’s ashes in her grave. Returning to Tokyo, she decides to make a tomb for Ikuyo and her father. Later, she talks to a friend, who is disappointed in her son. Tomoko wants to call Tsuneharu, now her adopted son. But the line is busy. Together, Tomoko and her friend contemplate the sea.

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