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Nijushi no hitomi

Keisuke Kinoshita Japan, 1954

Ashley Spendlove's rating of the film Twenty-four Eyes

For all its sentimentality, the film succeeds well as an epic lamentation for lost innocence. It's at its strongest when Kinoshita allows an easy pace (especially the opening and concluding acts) allowing both action and scenery to breathe. By contrast I felt it lost momentum when forcing too much plot. In a strange way, the film is at its most impassioned and angry when it conveys things in its most gentle way.