Carmen Comes Home

Howard Orr

Kinoshita wisely choses not to draw a crude distinction between the country idyll and Takamine's worldly city dancer, but focuses on a sort of coming into fruition of her sensuality in the context of a mutually beneficial, bucolic acceptance of the wholeness and purity of beauty -mountain, field, the dance of spirits as well as flesh. And Chishu Ryu does a Judo throw!

Holyphool

One of the most magically funny and beautiful comedies ever made - comparable to Shimizu's "Arigato-San," portrays two Tokyo dancers returning to Lily's idyllic, rural village to visit her parents, but moral issues complicate matters. Japan's first colour film dazzles the eyes like a Michael Powell, the almost all-Schubert soundtrack adds a poignancy and beauty. Please Shochiku/Criterion restore for the world to see.

Eric Eidelstein

The excitement that comes with learning this is Japan’s first movie in color evaporates when you realize that it never fully commits to what it sets itself up to do: use comedy to gently highlight the friction that has and always will exist between modern (here it’s the city) and traditional (the countryside) values.

FISCHER

Considérée comme le premier film japonais tourné en couleur, cette oeuvre quelque peu "nostalgique", réalisée par un solide metteur en scène japonais, n'échappe pas, malgré sa légèreté et son pittoresque, à un certain ennui formel... www.cinefiches.com

Illusion Travels By Streetcar

"There's never been any proof of that tradition actually existing." http://illusionpodcast.blogspot.com/2015/10/episode-75-keisuke-kinoshita-in-living.html