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Kodonio (Children in the Wind, Shochiku), directed by Hiroshi Shimizu. It is a cinematization of a serial newspaper story by the novelist Joji Tsubota, who lias an extraordinary talent for depicting children’s life and psychology. An unfortunate anecdote that happens in a poor but peaceful family in the country is told as reflected through the eyes of the little children of the family, with a wealth of untainted juvenile sentiments beautifully described.
As would be clear from the foregoing, all these excellent productions, except. KaHri-naki Zenshin, are cinematizations of novels and plays by well-known authors. In addition, there were produced two noteworthy films inspired by admirable literary works. They are S’dnjitsu Ichiro (Truth, the Only Way, in two parts; Nikkatsu, released in June), and Wakai Hito (Young People, Tokyo Hassei, released in November ). The former is based upon a novel by the same name of Yuzo Yamamoto, veteran humanitarian writer, and directed by Tomotaka Tasaka. In this Shinjitsu Ichiro is shown a group of people who each, true to their individual ideals, seek what they consider to be truth. At the end they find that they must live a lonely life, all separated from one another because of their very faithfulness to their own ideals. There is manifest in this work a burning love for the ideal and true. Wakai Ilito is the screen version of a novel by Yojiro Ishizaka, a most promising young writer, and the stage production by a coming director, Shiro Toyoda. The central theme is the rather unusual love affair betwen a young m de teacher, a female teacher and a pretty student in a girls’ high school in the north. The colourfulness of the story and the clever character sketches combine to make this one of the most favourably received by cinema critics and also a big success with the large majority of cinema-fans.
With reference to Jidai-geki or historical movies a similar tendency towards realism may be observed in 1 937 It 's worthy of special note that the J idai-geki advanced from the traditional, formalized, unnatural type into a more historical, realistic type. Osaka A'atsit no J in (The Summer Battle of Osaka, Shochiku, released in April), directed by Teinosuke Kinugasa, and Shinsen-gwni, scenario by Tomoyoshi Muray raa and directed by Sotoji Kimura, are both creditable works, dealing, each, with an epoch-making historical event. They show evident traces of efforts to raise the standard of this genre of motion -pictures to that of realistic, historical movies, and are significantly suggestive of the new trend.
Besides the above-mentioned, there are others that are highly memorable among the screen output of 1937. Owing, however, to space limitations, detailed comments cannot be made, and only their names are given here :
Slmknjo 7va Nani o Wasuretaka (What Did the Ladies Forget?
Shochiku)), directed by Yasujiro Ozu ; Shu to Midori (Vermilion and Green)), Ron’jaku Sanba-Garasu (The Engaged Three)), Asakusa no Hi (Lights of Asakusa)), all Shochiku productions directed by Yasujiro Shimazu ; Kojo no Tsuki (The Moon over the Ruins, Shochiku)), directed by Keisuke Sasaki ;
Hanakago no Ufa (Song of the Flower-Basket, Shochiku), direct
Including theatres under Japanese management in Manchoukuo and China
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