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Youth of the Son (1952)

Musuko no seishun (original title)
The story of a father and two teen-aged sons, and the rivalry between the two siblings as they begin to discover the attraction of girls.

Director:

Masaki Kobayashi

Writers:

Fusao Hayashi (story), Sadao Nakamura
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The story takes place in feudal Japan, when any commerce with the rest of the world was strictly prohibited. An idealist suddenly appears in an isolated inn (the one that the title refers ... See full summary »

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Cast

Credited cast:
Akira Ishihama Akira Ishihama
Chishû Ryû
Kuniko Miyake
Yôko Kosono Yôko Kosono
Rest of cast listed alphabetically:
Motoji Fujiwara Motoji Fujiwara ... (as Genji Fujiwara)
Motoo Isogai Motoo Isogai
Ryûji Kita Ryûji Kita
Keijirô Morozumi Keijirô Morozumi
Tsutomu Niijima Tsutomu Niijima
Naruaki Noto Naruaki Noto
Yoshiko Shima Yoshiko Shima
Toshio Shimamura Toshio Shimamura
Susumu Takase Susumu Takase
Keiji Tsuchida Keiji Tsuchida
Edit

Storyline

The story of a father and two teen-aged sons, and the rivalry between the two siblings as they begin to discover the attraction of girls.

Plot Summary | Add Synopsis

Genres:

Comedy | Drama

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Details

Country:

Japan

Language:

Japanese

Release Date:

25 June 1952 (Japan) See more »

Also Known As:

My Sons' Youth See more »

Company Credits

Production Co:

Shôchiku Eiga See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Aspect Ratio:

1.37 : 1
See full technical specs »

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User Reviews

 
Cute and innocent family comedy that really managed to charm me
28 February 2013 | by Gloede_The_SaintSee all my reviews

Kobayashi's debut is not only the anti-thesis of the films he's most known for - It's warm, bubbling and charmingly innocent - but also an thoroughly impressive first film. Though constantly threading close to the silly this romanticized drama comedy about an average Japanese family and their son who is becoming a man, was just too irresistible. I can easily see why many wouldn't consider it a great work however, and some contrivances were pushing it. It's saving grace here is the consistent style that allows this. Can't see any veteran doing this better, and my, in hindsight, the contrast to his latter work is as if planned. Having yet to discover most of his early films I can't wait to see the rest of his evolution and how he went from this to Black River, that until now was the earliest film I had seen from him. The change could not be greater, the only thing they have in common is his craftsmanship.


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