Tadashi Ota

Illegal immigrant, neglect, chastisement, air guns, alcohol, paper planes, apartments. The battlefield is also right beside us in Japan. With a deep gaze and transparent kindness, it depicts the fleeting sympathy of a boy and a girl who are trying to survive there.

A Fond Face from the Past is also set in a rural community, specifically a village outside Kameoka, near Kyoto. In some ways this short, thirty-six-minute film is Naruse's most moving negotiation of the militarist restrictions of the time, perhaps because it is also his most direct engagement with the culture of war. When a newsreel comes to Kameoka featuring a local man named Yoichi, it causes some excitement in the community and, of course, in Yoichi's own family. First of all his mother makes the newsreel (Nippon News, no. 14), which begins with the same marching music that opens his own film, followed by a curious baby judging context in Los Angeles featuring two hundred Japanese babies. Released in January 1941, almost a year before the pacific war begins, this “found footage” is indicative of Japanese imperialist ambitions beyond Asia long before Pearl Harbor.

9th directorial work by Yamamoto Satsuo.

A forceful indictment of the devastating effects of war and nationalistic fanaticism on the average man, who, in the face of the absurdity of violence, is reduced to apathy or victimhood.

The Whole Family Works, Mikio Naruse's adaptation of a Sunao Tokunaga novel, feels more of a piece with the writer/director's quietly observant and psychologically charged later work. For the Naruse-familiar, it is an anomaly only in its placement within his filmography—indeed, this could be a film made by the elder, stasis-minded Naruse momentarily inhabiting, through a metaphysical twist of fate, his stylistically exuberant younger self. Set in depression-era Japan around the time of the Sino-Japanese War (which the director evokes, during a brief dream sequence, by dissolving between children's war games and actual adult warfare), The Whole Family Works gently observes a family coming apart at the seams. Ishimura (Musei Tokugawa) is the jobless father of nine children.

Unno, a masterless samurai, has been supported financially since his father's death by his wife, who makes small paper balloons. He hopes that Mouri, his father's former master, will hire him after being given a letter from Unno's father. Unno's neighbor, Shinza, a hairdresser by trade, is under constant threat by gang members after running gambling dens on their territory.