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...tradition, of "taking responsibility" that has evolved from the Japanese family system. Even the nation is considered a family, headed by the Tennô or Emperor. If one member stains the family reputation, his relatives are expected to make a show of remorse and expiation. In Jerusalem, Japanese Ambassador Eiji Tokura appeared on television. "Dear citizens of Israel," he said in halting Hebrew, "it is my wish 40 express my sorrow and apologize for this terrible crime perpetrated by Japanese nationals." Then he burst into tears...

Author: /time Magazine | Title: JAPAN: Limited Apology | 6/19/1972 | See Source »

...bombing of Hiroshima was a dreadful example of man's mistreatment of man. It should be unforgettable to everyone. But unfortunately, owing to the elusive disposition of human memory, it isn't. Her solution at film's end: stop worrying about it, accept the affection of Eiji Okada (who has been having as much mnemonic trouble as she) and start...

Author: By Randall Conrad, | Title: Hiroshima Mon Amour | 5/21/1965 | See Source »

...Woman forced by her backward comrades to live alone in a huge hole in the sand by the seashore? Weekly, they lower her enough water and rations to survive in her ramshackle hut. When a young school teacher-amateur entomologist (bugs) happens along, they let him (Eiji Okada) down the rope ladder for her (Kyoko Kishida...

Author: By Paul Williams, | Title: Woman in the Dunes | 1/6/1965 | See Source »

...city and wanders into the desert. He wanders alone, and over his shoulder he carries a net. He is searching, he says, for a new kind of life, for a creature that will bear his name and make him in some sense immortal. All day the solitary figure (Eiji Okada) moves among the moving sands, but he does not find what he is seeking. At sunset a stranger appears, a man at home in the desert, and leads him to a deep...

Author: /time Magazine | Title: Cinema: A New Kind of Life | 10/30/1964 | See Source »

Woman in the Dunes, the second picture directed by Hiroshi Teshigahara, 37, is a cinema masterpiece. Deep, original, strange, it propounds the parable of a young teacher (Eiji Okada again) who takes a field trip to an isolated duneland, misses the last train, accepts an invitation from the village elders to sleep in a shack at the bottom of a sand pit. In the morning he finds the ladder drawn up and no way out of the pit. "I'm sorry," says the young woman (Kyoko Kishada), who lives alone in the sand pit. "You cannot leave." Again...

Author: /time Magazine | Title: Cinema: Festival in New York | 9/25/1964 | See Source »

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