We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
RAZE NO NAKA NO KODOMO
(Children in the Wind)
A SHUCHIKU PICTURE
“ Chidren in the Wind ” is a film version of the novel by Joji Tsubota, a past master at juvenile portraiture. But though its main characters are composed of children, it is not the Cinderella type of charming make-believe. The story, centring about innocent boys, shows how greatly indeed the stern realities of life affect the minds and bodies of these youngsters. It is told, not from their elders’ point of view, but as they themselves see the ups and downs of their little world.
In a certain country village there lived two little boys, Zenta and his brother Sanpei, who were very affectionate to each other. Zenta, a pupil in the fifth grade, was diligent in his studies, but Sanpei, then in his first year at s.chool, preferred play to studies. One day their father, who was employed in a firm, was arrested on suspicion of forging documents of the firm ; and from then on a dark shadow hovered ever the family. Both Zenta and Sanpei were ostracized by their playmates. The mother decided with Zenta to seek employment in order to scrape together the family livelihood, sending Sanpei, who was as yet much too young to work, to live with his uncle in a distant village beyond the mountain.
Sadly but bravely she explained to Sanpei why this had become necessary. Little Sanpei, however, could not quite understand what it all meant. He could only feel that it was very painful indeed for him to part with his mother, his brother and home. But after a period of grief for Sanpei, of loneliness for Zenta, and of hardships for the mother, the father was at last cleared of suspicion in the forgery case, and happy days again visited the family.
Hiroshi Shimizu, who adapted the story to the screen and directed the film play, has been widely known for his fresh touches. Himself very fond of children, be has a good understanding of the workings of their little minds. What is more, his spirit of reproducing bits of life, of which he has been aiming to fulfil for the past several years, has here produced a salutary effect, so that what he has turned out is an agreeable, an excellent, picture, free from sentimental pathos. In passing, it should be noted perhaps that under Shimizu’s skilful direction, the juvenile actors of this film play perform their parts in a very natural manner.
KISAO UCHIDA
20