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When the Japanese lost the war, this trauma had to be explained and given meaning. Ironically, shortly after Hiroshima, obvious Japanese films critiqued the aggressive militarism that led to the anguish [See Kurosawa's "No Regrets for our Youth]. Then, the Japanese films changed. They stopped focusing on their possess culpability in the distress or their gain war crimes, and concentrated on the loss, tragedy, and sorrow of losing so many Japanese sons. This film, “Twenty-Four Eyes,” fits into that category…and for that reason has been so well-liked in Japan for fifty years.
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As an example, when World War II looms, the boy students talk about becoming soldiers. Their teacher, Ms Oishe, responds that she prefers fishermen or rice sellers to soldiers. Later she is criticized gently for her “lack of patriotism” in her speech to the boys. To be shapely, one aspect of anti-militarism ..the loss of freedom of speech…is well handled.
The fable focuses on a self-sacrificing teacher and her relationship to 12 students over two decades. Everything is filmed around a microscopic village bordering the ocean. Over these many years, the female teacher forges strong emotional bonds with all her students…and so when the boys go to war…and some don’t return, her deep, personal loss is as rude as that of a parent. The themes are reinforced though the changing moods of the sea or of the folk songs which the school chants. It’s a very finely done film, although perhaps overly sentimental for my tastes. A sizable deal of attention is given to the calm, contemplative cinematography.
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But…the director certainly never addresses the many injustices practiced by the Japanese on so many other Asian peoples. It reminded me, in a design, of the Buddhist movie “The Burmese Harp”…another capable anti-war film that also sidesteps the disclose of Japanese culpability. Nevertheless, few films are so poignantly intimate in treating the loss of life in war as this Japanese perceive. It does this because it slowly acquaints the viewer with the daily lives of the twelve boys and girls – all adorable – who grow up with their teacher in the cramped, terrible village on the sea. In other words, the memory of the soldiers…as children…is a very considerable perspective because what this film does, which no other movie does quite as well, is to depict war as The Death of Innocence.
Recommended.
This movie has been considered a classic in Japan since its release in 1954, and it’s easy to look why. It begins as a charming, innocent portrait of a unique teacher and her first grade class and slowly deepens into a touching yet realistic depiction of how each child’s life goes on in its contain scheme. Some of the children prosper, some descend into poverty and tragedy, but the matter-of-fact method that profound emotional issues are handled in this film without putting off the viewer is a feat that has never been accomplished so well before or since. A truly mighty share of art.
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