Keisuke Kinoshita

 Keisuke Kinoshita




Morning for the Osone Family (1946)

Phoenix (1947)

The Portrait (1948)



RANKED:

3. Phoenix (1947)


In 1947, Japan was on the other side of the terror and horror of the war and film was taking off in a way like it had never before in the country. One of its filmmakers of note, Keisuke Kinoshita, was making films of thematic relevance to the country's post-war anxieties. His 1947 film "Phoenix" centers on a lonely widow reminiscing on life with her military husband. She emerges on the other side of the hardships of his death and must figure out a new lease on life, just as the people of Japan had to figure out after the aftermath of World War II.




2. The Portrait (1948)


Centering on a mistress who is getting her portrait done, Keisuke Kinoshita's 1948 film "The Portrait" is a tale about perspectives. When two corrupt home owners attempt to kick a family out of their home by moving in, the family's kindness and joy of life becomes infectious and changes their perspective. The mistress sees in her portrait a woman she could never be, an idealized version of herself. However, that person is attainable. You can always manifest the person you want to be simply by changing your perspectives on life and changing your behavior to choose kindness and virtue. 




1. Morning for the Osone Family (1946)


With his 1946 film "Morning for the Osone Family," Japanese director Keisuke Kinoshita takes a look at the common domestic experience of Japanese families living during the war. A militaristic uncle sends all of the young boys off, the father of the home is arrested for anti-war sentiments, and the woman of the family (the mother and daughter) are left to deal with the uncle, as well as food shortages, bombings, and other social troubles. "Morning for the Osone Family" is a film that is able to tap in to the sentiment of the average Japanese family and ask the question "what do we do now?" after so much devastation and destruction has brought Japan to its ease. Thankfully, the final moments of the film offer hope, believing that Japanese citizens are looking at a 'new Japan' on the horizon.

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