Keisuke Kinoshita - Rotten Tomatoes

Keisuke Kinoshita

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Keisuke Kinoshita is considered one of the cinematic masters of the Japanese postwar generation, a generation almost completely overshadowed by the titanic presence of Akira Kurosawa. Kinoshita's films combine wild cinematic invention with sentimental plot. Though his films found a wide audience in Japan, but they have rarely been seen abroad. Born in December 1912, Kinoshita was the son of a grocer in the Hamamatsu, Shizuoka prefecture. From a very young age, he became a passionate cinema buff. Though he dutifully attended a technical high school at his parents' behest, he dreamed of work in film. Upon hearing that the best way to crack into the industry was as a cinematographer, Kinoshita promptly enrolled in the Oriental Photography School. In 1933, after graduation, he applied at Shochiku studios for a job as an assistant cameraman, but he could only muster a job in the film-processing lab. Eventually, he got a job as an assistant to Yasujiro Shimazu's cinematographer. Though he spent three years as a camera assistant, he was frequently reprimanded for watching acting rehearsals instead of focusing on the camera, until Kozaburo Yoshimura, an assistant under Shimazu who would later become a major director in his own right, suggested that Kinoshita transfer to the directors' section. Two years later, Kinoshita managed to do just that after Shimazu's chief assistant Shiro Toyoda was promoted to director. He spent six years along side Yoshimura as assistant director, working exceedingly long hours and enduring Shimazu's famously autocratic demeanor on the set. In 1943, Kinoshita directed his first feature Hana Saku Minato. A light comedy about the difference between country bumpkins and city slickers, the film showcased Kinoshita's deft comic touch. Though he would return to comedy repeatedly throughout his long and productive career, Kinoshita showed a willingness and a remarkable ability to work in virtually every genre found in Japanese cinema. Just as Kurosawa's first film, Sugata Sanshiro (which also debuted 1943), heralded his signature existential humanism, so did Hana Saku Minato presage an enduring theme which would run throughout Kinoshita's works: a fascination with innocence and purity. After his second effort, an ostensible domestic propaganda film entitled Army (1944), ran afoul of wartime censors, he withdrew from filmmaking altogether until the war was over. Kinoshita reached his creative peak during the '50s with a series of popular domestic comedies and dramas. Almost all of these films featured women who are thoroughly good-hearted and naïve. In his joyously optimistic yet sharply satirical comedies such as Carmen Comes Home (1951) and Carmen's Pure Love (1952), this purity manages to overwhelm the societal barrier of class and geography. In his bleak tear-jerking tragedies, society wins out. In Nihon no Higeki, a widowed mother works and slaves only to be rejected by her greedy, materialistic children. In his masterpiece Nijushi no Hitomi (1952), a young schoolteacher who lost both child and husband to the war teaches peace to her young students only to be fired by the militaristic authorities. Like the women that populate the films of Kenji Mizoguchi, the women in Kinoshita's tragedies sacrifice, nurture, and endure.Though his plots tend toward the traditional and sentimental, Kinoshita continuously experimented with his film's visual style. In Morning for the Osone Family (1946), he shot the entire film within a single interior set of a house (save the final scene, which the U.S. occupation forced him to shoot at a prison) while his 1948 work Onna was shot entirely on the craggy hills of the Atami peninsula. His 1951 comedy Carmen Comes Home was the first feature in Japan to be entirely shot in color. The Ballad of Narayama makes deft use of spotlights, expressionistic color, and sets that recall Kabuki theater while You Were like a Wild Chrysanthemum (1

Highest Rated Movies

Filmography

MOVIES

RATING TITLE CREDIT YEAR
No Score Yet Nijushi no hitomi (Children on the Island)
  • Screenwriter
2014
No Score Yet Karumen junjo su (Carmen Falls in Love)
  • Screenwriter
  • Director
2013
No Score Yet Koge (The Scent of Incense)
  • Screenwriter
  • Director
2012
No Score Yet Nogiku no gotoki kimi nariki (She Was Like a Wild Chrysanthemum)
  • Director
2012
No Score Yet Shozo (The Portrait)
  • Director
2012
No Score Yet Konyaku yubiwa (An Engagement Ring)
  • Director
2012
No Score Yet Rikugun (The Army)
  • Director
2012
No Score Yet Ojôsan kanpai (Here's to the Girls)
  • Director
2012
No Score Yet Onna (Woman)
  • Director
2012
60% Nijushi no Hitomi (Twenty-Four Eyes)
  • Director
  • Screenwriter
1999
No Score Yet The River Fuefuki (Fuefukigawa)
  • Director
  • Screenwriter
1999
No Score Yet A Japanese Tragedy
  • Director
1999
No Score Yet Immortal Love
  • Screenwriter
  • Director
1999
No Score Yet Big Joys, Small Sorrows (Shin yorokobimo kanashimimo ikutoshitsuk)
  • Director
1986
No Score Yet Children Of Nagasaki
  • Director
1983
No Score Yet Tragedy of Japan
  • Director
1979
No Score Yet Eien no Hito (Immortal Love)
  • Director
1961
No Score Yet Fuefukigawa (The River Fuefuki)
  • Director
1960
No Score Yet Thus Another Day
  • Screenwriter
  • Director
1959
No Score Yet Farewell To Spring
  • Director
1959
No Score Yet Kono Ten no Niji
  • Director
  • Screenwriter
1958
100% Narayama bushiko (Ballad of Narayama)
  • Director
1958
No Score Yet Danger Stalks Near (Fuzen no tomoshibi)
  • Director
1957
No Score Yet Taiyo to Bara (The Rose on His Arm)
  • Director
1956
No Score Yet Love Letter (Koibumi)
  • Screenwriter
1953
No Score Yet Karumen kokyo ni kaeru (Carmen Comes Home)
  • Director
  • Screenwriter
1951
No Score Yet Yotsuya Kaidan, Part 2
  • Director
1949
No Score Yet Morning For The Osone Family (Osone-ke no ashita)
  • Director
1946
No Score Yet The Girl I Loved
  • Director
1946

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