二十四只眼睛1954

木下惠介的生平：
木下惠介（1912年（大正元年）12月5日 — 1998年（平成10年）12月10日）日本电影导演，出生于静冈县滨松市。弟弟是作曲家的木下忠司，妹妹是编剧楠田芳子。木下惠介曾就读于东方照相学校，1933年进入松竹公司任摄影助理。1936年转入导演部任助理导演。1943年成为导演，拍摄了第一部影片《热闹的码头》。1946年导演的《大曾根家的早晨》是其成名之作，被《电影旬报》评为当年10部最佳影片第一名。木下惠介善于喜剧的创作，但他的重要作品多为反映日本政治、社会等问题的悲剧片。
1954年自编自导的《二十四只眼睛》是他最有代表性的作品之一，影片描述了12个孩子与女教师之间的感情，影片将个人的悲剧融入了历史的悲剧之中，导演手法朴实、细腻而富于抒情性。该片获《电影旬报》评选的当年10部最佳影片第一名、电影导演奖以及《每日新闻》电影奖的导演奖、编剧奖和电影作品奖。他的另一部重要作品是1958年执导的《楢山节考》，影片讲述了因贫穷而抛弃老人的古老传说。该片全部用布景拍摄，具有日本歌舞伎的独特韵味，获《电影旬报》当年10部最佳影片第一名和电影导演奖。1964年后主要从事电视剧的创作，近年又拍摄了反映当代日本社会问题的影片《冲动杀人，儿子啊!》（1979）、《父亲啊！母亲啊！》（1980）等，获较高评价。其主要作品还有：《破戒》（1948）、《破鼓》（1949）、《卡门归乡》（1951）日本第一部彩色电影、《日本的悲剧》（1953）、《女人的园地》（1954）、《愿君如野菊》（1955）、《亦喜亦悲几度秋》（1957）、《笛吹川》（1960）、《永生的人》（1961）、《香华》（1964）等。
1977年被授予紫色绶奖章。1984年被授予功劳四等级旭日小绶章。1998年12月30日因脑塞在东京都港区家中逝世。
 

In the article, “Kinoshita and the Gift of Tears: Twenty- four Eyes,” Keiko McDonald presents Kinoshita who is renowned for his evocation of the lyrical. To evoke lyricism in this the most “lachrymose” postwar film, the director uses three unique methods.
“First, he presents a set of individual characters, who are very much like us in their responses to everyday life”(233). The director led us often thinking the way as though we were in the characters’ position. For example, at first we see a young woman who rides a bicycle and wears a Western dress. At that time we are thinking like those parents: she seems not really fit in this conservative village. The attitude changed when Oishi called students by their nicknames. An action that we feel friendly, but criticized by those old fashion parents make audiences become more sympathetic toward Oishi. Because we can understand why she is doing that, we share the same value system with her and it makes us feel we would do the same if we were in her shoes. Oishi and those 12 children are so vivid, just like people who live around us. The articles lets audiences feel no generation gap and allows audiences to easily become one with them.
Second, “Kinoshita uses popular children's songs associated with certain sentiments as a background.”(233). This is the most interesting part when I watching the movie. Although I am from China, there is lots of songs are familiar to me. In these scenes, the songs intensify the emotional. “Nanatsu no Ko” [Seven Baby Crows] is the song most used in this movie. Every time this song appears, we can feel the emotion connection between Oishi and her pupils. But the emotions are different each time. Through a same song in different times we can feel the relationship between students and teacher are getting closer. For example, at the first time, it seems like Oishi was teaching students this song, it expresses Oishi’s affection for pupils. The second time the song shows up is when Oishi falls down and some of the students begin to cry. This indicates a maternal relationship was formed. Also in the scene Oishi decided move to the main campus, and say goodbye to her students. When she gets into the boat, pupils sing the song to her together. This time we feel the students’ respect and love for the teacher. There is an interesting detail, when the first time those children singing “Nanatsu no Ko”, the song is totally out of tune. But in the departing moment, they already were singing beautifully.
Finally, the third way to evoke lyricism is by the “drama of rhythmic continuity. The whole movie presents us Oishi and 12 students’ lives since they met. Everyone’s fate was affected by the war. Their life was intertwined with joy and sorrow. The director led us to experience those ups and downs in their lives make us easy to take the inside view.
Towards the end of 1950s “war” began to be treated as a theme for popular entertainment. (Shimazu, 111) But in this great movie we can see the humanists presented by the director. Kinoshita transferred this famous women’s literature into the cinema to let people wonder if this war really worthwhile and ponder the meaning of life.