Twenty-Four Eyes

This Saturday I managed the catch the last film of the Susan Sontag-curated “Classics of Japanese Film” series at the LACMA.

TWENTY-FOUR EYES
A devastating study of nearly two decades in the life of a teacher who comes to a small island in the sea of Japan and the twelve students (hence the 24 eyes) in her care. Starts off idyllic, but soon the War in Manchuria, then the Pacific War comes to disrupt the lives of everyone. Director Keisuke Kinoshita works the audience with this classic melodrama, and I would say half of the theater was reduced to blubbering tears, especially near the end where
Apparently, all of Sontag’s choices have had either a subtext or a context of anti-war sentiment, and Keisuke Kinoshita’s “Twenty-Four Eyes” struck chords with many in the audience, especially the war fervor that grips the students as the film develops, the accusations against the teacher of being “unpatriotic” , the grim economic future that ruins the educational chances of many of her students, the indoctrination through the schools. You could almost feel the audience bristle after some of the more anti-war lines, none of which I can remember now. The film was shot and framed beautifully, and the most horrific of realities understood through the most economical of shots (as the war progresses and the island have lost all their first generation of youth, we have a brief scene of younger teenagers (I assume something like 15 or so) being groomed and sent off to die as kamikaze pilots. It’s a chilling scene of war madness, but Kinoshita doesn’t give us music cues or scenes of villagers talking about what was happening; he just lets it play out (he also didn’t have to explain it to his audience in the ’50s.)
Ten years ago we would have watched this and thought abstractly about war and the toll it took on the Japanese. Now we see the film and it’s like gazing into a mirror, and beyond that, the abyss.
Unfortunately, the film is not available on video or DVD as far as I know. Here’s hoping you can see it sometime in the future.