While Japanese director Keisuke Kinoshita came to regret his early work made during WWII, this summer of 1944 film must be about as far as you could get at the time from parroting war effort slogans & patriotic jingoism. A gentle look at a small neighborhood, just a few blocks on Jubilation Street, due for demolition/redevelopment, and the remaining tenants putting their affairs in order before moving out. A nervous husband with a pregnant wife. A pair of romantic neighbors unable to convince either parents that they should marry. He’s a rare catch since his military service as a test pilot keeps him in the city. If only his father hadn’t split ten years ago her parents might give them the okay to wed. A small business trying to finish all their back orders before closing up shop, bidding goodbye to an old workhorse of a tool & die machine as if it were a favorite uncle. Small kindnesses, rueful reproaches, and rote promises to stay in touch, the formalities of civility. Tragedy will strike, a missing relative will return too late, a new life will start, everything will go on/nothing will be the same. Subtly and suitably handled by Kinoshita in a manner that recalls the mysterious manner Hollywood’s Leo McCarey held his sentimental/episodic films together. Both getting us instantly involved in the hopes & troubles of their dramatis personae.
ATTENTION MUST BE PAID: Kinoshita likes to end bitter arguments or misunderstandings by slamming shut one of those traditional Japanese sliding doors. Less violent, noisy or satisfying than a hinged swinging door getting slammed. A lesson in Japanese etiquette & custom built on domestic architecture.
DOUBLE-BILL/LINK: For more WWII Kinoshita Write-Ups: https://maksquibs.blogspot.com/search?q=kinoshita
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