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MY JAPANESE CINEMA - PART 1 - The 1950

Based on my 22 films for beginners, I start here attempting putting together a personal selection list of my favorite films of the last six decades of Japanese cinema. For each decade, I choose a representative of 10 plants and place them briefly. For the 50s and 60s this is achieved easily, but not later than the 1980s, the difficulties begin. Let's see how far I get. To reduce the dominance of a single film makers (eg Kurosawa), I limit myself to a maximum of two works of a director per decade.

addition to the collapse of the cinema culture in the 1970s, make this my still insufficient knowledge of the Japanese cinema history, the biggest problem An example such as Masaki Kobayashi's trilogy barefoot through the hell is (Joken Ningen no) which I still could not see. With the advent of German DVD in December, but this will soon change. Therefore, this (their nature, highly subjective) list is of course for future changes open.

-1950s -

Tokyo Monogatari (8.5 / 10)

Yasujiro Ozu (1953)

behalf of Ozu's late work, I chose to travel to Tokyo, as with cherry blossoms, just recently a German quasi-remake of the movies came. This film is a prime example of Ozu's late work and demonstrates his mature style and aesthetics once again that he can manage is one of the great masters of Japanese cinema. But while as Kurosawa and Mizoguchi vied for recognition of a worldwide cinema audience, Ozu remained reluctant arrested in the Japanese market.

access to his work, I remember, as compared to the other two listed directors, much heavier, which in particular at the his choice of subjects is unspectacular film that deal with all of them everyday family stories. The modern movie-goers for an unusually thoughtful narration forces the viewer's own pace to slow down and go into an almost meditative posture. Ozu's static camera put me in the perspective of a seated person, so I'm taking the place of a silent observer present in the room, when I was a Ujigami, a guardian spirit who follows the fortunes of the residents.

RASHOMON (10/10)

Akira Kurosawa (1950)

film Historically, the film that pushed open the doors to the Japanese cinema to the West. By winning the Golden Lion 1951, Japanese movies to a permanent resident on the European film festivals and opened up a new global audience. I personally find fascinating the story told from different perspectives, the dynamic camera work Kurosawa, the buzz of shade under the canopy des Waldes, der Sturzbach des Regens auf dem in Trümmern liegenden Rashomon-Tor.
Nach Ryūnosuke Akutagawas Kurzgeschichten IM GEBÜSCH und RASHOMON schuf Kurosawa hier einen meiner japanischen Lieblingsfilme.

SHICHININ NO SAMURAI - Die Sieben Samurai (10/10)

Akira Kurosawa (1954) 

Nach einer alten japanischen Legende erschuf Kurosawa eine eindringliche Parabel über die Vergänglichkeit allen Heldentums, das vom ewigen Kreislauf des Lebens hinter sich gelassen wird. Nicht der tapfere Samurai, but the simple peasant life to truly understand it can be located under the cycle of nature, grow things, while the Warriors finally knows only the destruction of a vital energy from other nourishing parasite, a dog of war.

By the Samurai braces against his own nature, and assisting the farmers in their struggle for survival, he sentenced himself to death. The dying warrior falling in the mud sink in it will return to Earth. Since I saw this great adventure film as a child, he belongs to me to my eternal Top5-inflamed Kurosawa, one of the movies that my passion for Japanese cinema first.

Saikaku ichidai ONNA - The Life of O-Haru (10/10)
Kenji Mizoguchi (1952)

This emotional drama is simply my favorite wife film by Mizoguchi. Within minutes I grabbed the tragic life story of O-Haru, and held me all the melodramatic film about the course under control.

not so cluttered like Ugetsu Monogatari convinced the film through his great compassion, his great sensitivity. The fate of their own older sister, Suzu, which since its 14. Years working as a geisha had to, and thereby the training funded, Mizoguchi moved to the suffering of women in the center of his work to provide. With films like NO REGION Shimai and Saikaku ichidai ONNA Mizoguchi took it as a great "understand women" in the history of Japanese cinema.

Ugetsu Monogatari
stories under the Moonlight and Rain (9 / 10)
Kenji Mizoguchi (1953)

On European Film Festival Mizoguchi was in the 1950s, a frequent and welcome guest. It seemed after the international success of Kurosawa's Rashomon, as if half a generation older Mizoguchi again wants to show all the force who is the boss in the ring, who was the greatest living Japanese director. After his success on the respect for the Venice Film Festival in 1952 was followed by Saikaku ichidai ONNA 1953 Ugetsu Monogatari, who won the Silver Lion. Mizoguchi's film wove different elements, a classic ghost story, the inhumanity of war and united the whole thing with his favorite subject, the humiliated wife. Aesthetically Ugetsu is probably the strongest of Mizoguchis films, the camera revels in great through-composed tableaux, the costumes und Bauten wirken beinahe schmerzhaft schön, die erzählerische Überfrachtung macht mir aber dennoch andere seiner (weniger ambitionierten) Werke sympathischer. 

NIJUSHI NO HITOMI - 24 Augen (9/10)
Keisuke Kinoshita (1954)

Mit NIJUSHI NO HITOMI schuf Keisuke Kinoshita einen der Klassiker des sentimentalen fernöstlichen „Heimatfilms“. Das japanische Publikum mag scheinbar diese beinahe kitschigen Rührstücke. Die junge Lehrerin Hisaki erhält in einer kleinen ländlichen Schule eine neue Stelle und must prevail over the initial suspicion of the villagers and the tricks of their students. After initial resistance to tear the children and their young teacher, but together and form a secret society. Despite all sorts of personal tragedies, such as the war-related deaths of individual classmates, is the bond between them unswervingly for several decades. Concentrated

The film, even if the contemporary historical background sometimes cast a shadow over their community, lie on the rural everyday life, with all its joys and injustices large and small. The great success of NIJUSHI NO HITOMI in Japan, könnte in der großen Sehnsucht des Publikums begründet liegen, knapp 9 Jahre nach dem großen Krieg, in Nostalgie und verklärten Erinnerungen zu schwelgen. Ein Phänomen das dem geschichtsblinden Nachkriegsdeutschland der 1950er Jahre und seiner Flucht in die heile Welt des Heimatfilmes gleicht. Doch nur wenige Filme dieses Genre erreichen die herausragenden kinematographischen Qualitäten von Keisuke Kinoshitas sentimentalem Meisterwerk.

BIRUMA NO TATEGOTO - The Harp of Burma (9/10)
Kon Ichikawa (1957)

Am Ende des 2. Weltkrieges, über die erkaltenden Schlachtfelder Burmas stolpernd, das verwesende Fleisch der Kameraden vor Augen, sucht der Soldat Mizushima Erlösung und bemüht sich verzweifelt den Toten ihre Würde zurückzugeben.
Das japanische Kino versuchte zwar nach Leibes Kräften die Erinnerung an den zweiten Weltkrieg zu verdrängen und den Eskapismus des Publikums zu bedienen, doch es gab auch vereinzelt ernsthafte Bemühungen die Schrecken der Vergangenheit greifbar zu machen, den Versuch den Opfern, vor allem in den eigenen Reihen, eine Stimme zu geben. Die eigene Kriegsschuld blieb dabei aber, bis auf weiteres, weitgehend ausgeblendet. So auch in diesem Meisterwerk Kon Ichikawas, dass sich intensiv mit der Traumatisierung der Soldaten durch die Gräuel des Krieges befasst, ohne aber den das große Morden auslösenden Militarismus anzusprechen. Der Krieg erscheint hier eher wie eine unausweichliche Naturkatastrophe, dem die japanischen Truppen, einem Erdbeben gleich, machtlos ausgeliefert sind. Was BIRUMA NO TATEGOTO dennoch zu einem herausragenden Antikriegsfilm macht, ist zum einen die lyrische Narration, die (schrecklich) großartigen Bilder die Ichikawa findet um den Bußgang des Soldaten Mizushima zu visualisieren. Zum anderen das Verneinen des Todeskultes der japanisch kaiserlichen Armee, die das Überleben, die Kapitulation vor dem Feind, als ehrlose Tat verunglimpft und von jedem Soldaten den (sinnfreien) Hero calls. But this was still in the old ways of thinking arrested Japanese public an imposition.

Narayama bushiko - The Ballad of Narayama (8.5 / 10)
Keisuke Kinoshita (1958)

a remote Japanese mountain village. characterized by the eternal struggle for survival in the harsh mountains, the community lives under strict rules. Theft of food supplies is considered a capital crime and is punished according bloody. With the reach of the 70th Age of leaving the old traditional village and seek death on the slopes of Nara, so their families could not longer be a burden. The unusually vigorous Orin feels bound steadfastly to this tradition, forcing her eldest son, after they believe everything to be left in an orderly fashion, to expose them to the wild.
Japanese cinema has produced two versions of the amendment Shichiro Fukazawas. Besides Shohei Imamura great version from 1983, Kinoshita contributed to a much older, in 1958, produced in color, very different kind of film. Stylistically Narayama bushiko served in the traditional Kabuki theater and developed in its strictly balanced cinematography very own suction effect, an impressive Exercise in style that inspires in its elaborate studio aesthetic.

HAKUJADEN - stories of a white snake (9 / 10)
Taiji Yabushita (1958)

A white snake is transformed into a young woman and wins the love of Xu Xian. The monk versed in magical arts Fahai misunderstands the situation and believe erroneously that Xu's life was in danger. With all the power he tried to separate the young couple, but ultimately it must fail, because love always finds a way.

Japanese Produktionsstudio Toei-Animation erreichte 1958 mit diesem ersten abendfüllenden farbigen Anime der japanischen Kinogeschichte seinen Durchbruch . Nach der Vorlage alter chinesischer Legenden schuf Yabushita mit HAKUJADEN einen zeitlosen Klassiker, der mich in seiner Farben-Ästhetik, seiner märchenhaften Handlung, seinen detailverliebten Animationen, auch heute noch begeistern kann.