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Twenty-Four Eyes (1954)
"Nijûshi no hitomi" (original title)

Not Rated  |   |  Drama  |  15 September 1954 (Japan)
8.1
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Ratings: 8.1/10 from 1,424 users  
Reviews: 26 user | 27 critic

Schoolteacher Hisako Oishi forms an emotional bond with her pupils and teaches them various virtues, while at the same time worrying about their future.

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(screenplay), (novel)
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Title: Twenty-Four Eyes (1954)

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Won 1 Golden Globe. Another 9 wins & 1 nomination. See more awards »

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Cast

Cast overview, first billed only:
Hideki Gôko ...
Isokichi Okada - Bunkyôjô Jidai
Itsuo Watanabe ...
Takeichi Takeshita - Bunkyôjô Jidai
Makoto Miyagawa ...
Kichiji Tokuda - Bunkyôjô Jidai
Takeo Terashita ...
Tadashi Morioka - Bunkyôjô Jidai
Kunio Satô ...
Nita Aizawa - Bunkyôjô Jidai
Hiroko Ishii ...
Masuno Kagawa - Bunkyôjô Jidai
Yasuko Koike ...
Misako Nishiguchi - Bunkyôjô Jidai
Setsuko Kusano ...
Matsue Kawamoto - Bunkyôjô Jidai
Kaoko Kase ...
Sanae Yamaishi - Bunkyôjô Jidai
Yumiko Tanabe ...
Kotsuru Kabe - Bunkyôjô Jidai
Ikuko Kanbara ...
Fujiko Kinoshita - Bunkyôjô Jidai
Hiroko Uehara ...
Kotoe Katagiri - Bunkyôjô Jidai
Hitoshi Gôko ...
Isokichi Okada - Honkô Jidai
Shirô Watanabe ...
Takeichi Takeshita - Honkô Jidai
Jun'ichi Miyagawa ...
Kichiji Tokuda - Honkô Jidai
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Storyline

Schoolteacher Hisako Oishi struggles to imbue her students with a positive view of the world and their place in it, despite the fact that she knows full well that most of them will die in the war. Written by Jim Beaver <jumblejim@prodigy.net>

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

Not Rated | See all certifications »
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Details

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Release Date:

15 September 1954 (Japan)  »

Also Known As:

Twenty-Four Eyes  »

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Aspect Ratio:

1.37 : 1
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Referenced in Violence at Noon (1966) See more »

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Annie Laurie
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User Reviews

Another postwar japanese gem
2 July 2003 | by (Los Angeles CA) – See all my reviews

Compared to a film like "Pigs And Battleships", or even "I Live In Fear"; Kinoshita's film is a middlebrow, mainstream, even sentimental take on the Japan's war years and it's aftermath.

Still, the film is graceful and touching, with what Pauline Kael called "concealed art." Kinoshita's approach seems to be to take potently maudlin situations, and film them from an objective distance; with as direct and simple emotion as possible.

This may short change the great Takamine a bit; we seem to be an hour into the film before the great actress receives a close up. Still, her performaces gains power as the film goes on.

Though politics are kept in the background, as perhaps they had to in a Japanese film of this nature; but there is an anger lurking in the backgroud; an inditement of a culture that would waste the strength of it's woman and worse; reduce it's men to cannon fodder. Was it something in Japanese life; rather than just it's military, that led to it's disasters? Even the country's great filmmakers seem hesitant to speculate. In any event, another strong film of interest to all those who have fallen under the spell of great Japanese film.


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