take46:/TwentyFourEyes/

    Keisuke Kinoshita's 1954 film “Twenty-Four Eyes” (“Nijushi no Hitomi”) is a poignant exploration of the intersection of personal and historical narratives in early 20th-century Japan. Adapted from the novel by Sakae Tsuboi, the film follows the lives of schoolteacher Hisako Oishi (played by Hideko Takamine) and her twelve students in a rural village on Shodoshima Island from 1928 to 1946, a period marked by intense socio-political upheaval, including the rise of militarism, the devastation of World War II and the reconstruction that followed. 

    Kinoshita's “Twenty-Four Eyes” stands out as an exemplary work that balances traditional Japanese film techniques with a distinct, personal cinematic style. The film's cinematography, characterised by the use of long takes and wide shots, reflects a measured and contemplative approach to storytelling. Kinoshita's use of deep-focus photography allows multiple levels of action to be seen within a single frame, creating a rich visual tableau that emphasises the interconnectedness of the characters' lives within the broader socio-political context of pre- and post-war Japan. Kinoshita's use of location shooting in the rural landscape of Shodoshima adds an additional layer of authenticity and naturalism to the film. The idyllic yet harsh environment of the village reflects the innocence and hardship of the characters, reinforcing the film's thematic preoccupation with the loss of innocence. Kinoshita's choice of monochrome over colour in “Twenty-Four Eyes”, even as colour cinema was gaining popularity, is a deliberate aesthetic choice that serves to emphasise the emotional gravity and historical weight of the narrative. The stark contrasts of the black and white cinematography symbolise the dichotomies present in the film: innocence and experience, war and peace, life and death.

    The film is full of visual and symbolic motifs that enrich its narrative. The title of the film itself, "Twenty-Four Eyes", refers to the twelve students whose lives are inextricably intertwined with that of their teacher, Oishi. Eyes serve as a recurring motif throughout the film, symbolising the perspective and innocence of childhood that is gradually eroded by the harsh realities of life in wartime Japan. The motif of the eyes also underlines the theme of observation and witnessing; the students and their teacher are both observers and participants in the unfolding historical events. A number of visual metaphors are used, such as the recurring imagery of the sea and boats, which symbolise both the physical and emotional journeys of the characters. The sea, an ever-present backdrop, represents the vast, unpredictable nature of life and the inevitability of change. The boats, on the other hand, symbolise both escape and return, reflecting the characters' desire to transcend their circumstances while remaining anchored to their roots and responsibilities.

    Philosophically, themes such as pacifism, humanism and the moral complexities of war are pillars of the narrative. Known for his anti-war stance, Kinoshita imbues the film with a subtle but powerful critique of militarism and the societal pressures that drive individuals into conflict. The character of Oishi serves as a moral anchor in the film, her pacifist beliefs standing in stark contrast to the prevailing militaristic ideology of the time. Her compassionate and nurturing approach to teaching reflects Kinoshita's own humanistic philosophy, which emphasises empathy, understanding and the intrinsic value of every human life. The film's narrative arc, spanning nearly two decades, provides a longitudinal examination of the effects of war on individuals and communities. Kinoshita juxtaposes scenes of childhood innocence with the sobering realities of adulthood, creating a poignant commentary on the loss of innocence and the corrupting influence of war. This philosophical exploration of the nature of innocence and experience recalls the work of earlier literary and philosophical figures such as Jean-Jacques Rousseau, who similarly explored the tension between the purity of childhood and the moral compromises of adulthood.

    "Twenty-Four Eyes bears the influence of both Western and Japanese cinematic traditions, blending elements of Italian neorealism with the aesthetic and thematic concerns of Japanese cinema. Kinoshita was deeply influenced by the work of directors such as Vittorio De Sica and Roberto Rossellini, whose films such as Bicycle Thieves (1948) and Rome, Open City (1945) similarly focused on the lives of ordinary people in the midst of socio-political upheaval. This influence is evident in Kinoshita's use of non-professional actors for supporting roles, his location shooting, and his focus on the everyday struggles of his characters. At the same time, the film is rooted in the Japanese cinematic tradition of 'shomin-geki' films, which focus on the lives of ordinary people, particularly those from the lower-middle class. Kinoshita's rural setting and use of a female protagonist echo the work of contemporaries such as Yasujirō Ozu, whose films often focused on the lives of ordinary Japanese families, and Mikio Naruse, who often explored the experiences of women in post-war Japan. However, unlike Ozu's contemplative, static camera and Naruse's often bleak portrayals, Kinoshita's style is more dynamic, combining melodramatic elements with a broader social critique.

    The screenplay, adapted by Kinoshita himself from Tsuboi's novel, is notable for its episodic structure. The film is divided into three main acts, each corresponding to different stages in the lives of Oishi and her students. This structure allows Kinoshita to explore the passage of time and its effects on his characters in a nuanced way. The episodic nature of the narrative also reflects the fragmentation of life caused by external events such as war, which disrupts the continuity of personal and communal histories. The use of temporal ellipses - jumping forward several years between scenes - allows Kinoshita to condense a complex narrative into a manageable running time without sacrificing depth or emotional resonance. These ellipses also serve to emphasise the inevitability of change and the passage of time, themes central to the film's narrative. Moreover, the script's emphasis on dialogue and character development over plot-driven action is in keeping with Kinoshita's broader thematic concerns, which focus on the internal, emotional worlds of his characters rather than external events.

    Kinoshita's narrative style is characterised by a blend of melodrama and realism, a hallmark of his directorial signature. His ability to evoke strong emotional responses from the audience without resorting to overt sentimentality is a testament to his skill as a storyteller. The film's narrative is imbued with a sense of nostalgia, not just for a lost past, but for a lost innocence, both personal and national. This nostalgic tone is heightened by the use of music, particularly the hauntingly beautiful theme that recurs throughout the film, adding to the emotional weight of the narrative. His style is characterised by a focus on the human face and its expressive potential. Close-ups are used sparingly but effectively to capture moments of intense emotion and inwardness, while his preference for medium and long shots allows for a more observational, almost documentary approach to storytelling. This balanced use of different shot types reflects Kinoshita's desire to maintain an emotional intimacy with his characters while also situating them within their broader social and historical contexts.

    In conclusion, Twenty-Four Eyes is a film that exemplifies the convergence of personal and historical narratives, offering a deeply humanistic perspective on a tumultuous period in Japanese history. Through its innovative use of cinematography, semiotic richness, philosophical depth and narrative structure, Kinoshita's film not only reflects the director's personal style, but also contributes to the broader development of Japanese cinema. It is a film that resonates on many levels - emotional, intellectual and aesthetic - making it a timeless classic in the canon of world cinema.