Though i do feel Japanese cinema after golden age was a mess as they were too busy rejecting the older generation and jerking off with existentialism and human darkside, there are exceptions - unpretentious films emanated from deep understanding of human, particularly children and marginalized people. Unoriginal? Yes, but were handled with great reappropriation. To name a few - She and He, Moving and this
A remarkable miniature of post-war Japanese society through childrens' gaze. Their innocence is gradually introduced into the tragedy of existence (fatalities, prostitution, cruelty, suicidal despair, poverty) with an economy of vision that is both fluid and attractive to look at. The compositions are carefully crafted and the poetic melancholy of people's plight is touching from the beginning to the great finale.
I think this director spend time at that boat before writing scenario . Because one of the children was following burned crab until reaching small window .At that scene he saw his friends mother . I dont think that these scenes were experimental . All of them created with clever ideas . these burned crabs are connecting two different situations in the film... very clever idea. I liked this director's imagination.
It will enrich you. The way ridding yourself of neddless stuff enriches. The way that never quite attainable in peaceful times “omnia mea mecum porto” (unless history, regardless of individual convictions, forces that on someone and isn’t this the condition of so many war destitues – to live with only what they can carry upon themselves?) might enrich. The film portrays childhood not as a sweet amoral drift or as an
a film that achieves a rare poetic insight into innocence amongst a people recovering from a terrible war seen through the eyes of two young boys who meet on the banks of a busy riverbank in bombed-out Osaka. Oguri's film is comparable in every way to Satyajit's Ray's Apu films, a journey into events full of magical and sad and terrible moments. One of the greatest evocations of childhood in all cinema.
In a vivid dream of youth we're shown the evolving depth of experience and emotional wonder when two river urchins in postwar Japan find friendship with all its attendant delight and cruelty. Kohei Oguri attains a rarefied altitude of thoughtful art which expands from the personal to the historic to a world view which will never be bested by growing older or wiser. We are all mindful agents of torture and devotion.