Morning for the Osone Family Screen 5 articles

Morning for the Osone Family


Morning for the Osone Family Poster
  • Even though Kinoshita clearly subscribed (as I do) to the film’s antiwar message, that message is conveyed in a hectoring tone that grows progressively shriller and reaches its nadir in an imposed happy ending that Kinoshita was obliged to add (as I learned from Audie Bock’s Japanese Film Directors), breaking away from the film’s central one-house set in a manner that undermines (rather than subverts) everything preceding it with its bogus uplift.

  • Released in early 1946, the exceptionally well-crafted, impassioned Morning for the Osone Family takes place while the war is still going on.

  • By the time of Morning for the Osone Family, Kinoshita was especially adept at formulating a cinematic space through which his characters and camera could move freely and at their own pace. Never a demonstrative stylist (unassuming pans, carefully held close-ups, and continuity editing predominate), he could nonetheless compose arresting images through modest means, his aesthetic voice only growing more accomplished through the years.

  • The single postwar film, Morning for the Osone Family (1946), filmed after surrender, allowed Kinoshita to cut loose, focusing his redoubtable powers of delicacy and dramatic punch on the sort of liberal pacifist family that suffered domestically during Japan's headlong kamikaze campaign, and how they are almost entirely ruined by the war.

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    Sight & Sound: Alexander Jacoby
    July 03, 2015 | August 2015 Issue (p. 98)

    Kinoshita's subtle use of the camera and delineation of character keep the focus on the human suffering the war has caused. The end of that conflict brings morning not only for the Osone family, but or Japan. In the new, more liberal Japan, Kinoshita was to craft some of the masterpieces of post-war liberal humanist cinema.