Word: eiji
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...directed by Susumu Hani, 35, is an exquisitely ironical tragedy of progress. The hero (Eiji Okada), a rising young executive who lives in a handsome Tokyo housing development, discovers to his dismay that one of his old college chums is living in the ragman's row he can see from his back window. Tactfully he offers to get the fellow a better job; tactfully the ragman refuses. Why? Perhaps, Hani suggests, it is difficult to have a house full of things and a heart full of joy. Perhaps, in building a terrestrial paradise, modern man is actually building...
Behind her, sometimes as far as one reel back, a man (Marcello Mastroianni? Alain Delon? Eiji Okada?) appears. He is doing The Walk. His hands are sometimes in his pockets; sometimes one hand is in one pocket (curiously, two hands are never in one pocket, nor is one hand ever in two pockets). He may or may not be following the woman-it is almost impossible to tell because he, like she, seems in no hurry. The director (Michelangelo Antonioni? Alain Resnais? Federico Fellini? Francois Truffaut?) is definitely in no hurry. The movie (La Notte? L'Av-ventura...
Resnais has not allowed the dominant pacifist theme to obscure the nature of the characters themselves, and he builds the character of the girl with especial care, using a series of deft, slightly uncanny flashbacks. Both of the actors, Emmanuele Riva and Eiji Okada, perform excellently--she with an old woman's weariness--he with a solid diffidence which is never completely penetrated. Both as piece of cinematic fiction and as a document of the war, Hiroshima Mon Amour has outstanding merit. Every-one should see it at least once--more often if at all possible...
...first quarter of the film, Director Resnais states his theme with great power; in the second he develops it in an allegro of relationship between the hero (Eiji Okada), a Japanese architect, and the heroine (Emmanuelle Riva), a French actress. Later, in a passage of gloomy elegy that evokes the heroine's "amour impossible" with a German soldier during World War II, the film begins to lose a little of its immediacy and drive. And in the long, obscure, lugubriously beautiful finale the theme is lost in sententious variations...
Kick from Behind. Osaka's Communists tried but failed to make capital of the "rationalization" firings, thanks largely to the vigilance of the city's hefty, even-tempered police chief, 49-year-old Eiji Suzuki. Chief Suzuki started his regime by cleaning up Osaka's formidable gangs of thugs and black-marketeers. When the Communists began making trouble, he went after them with equal vigor. Last July, when a Communist-published kabe shimbun (wall newspaper) published stories charging G.I.s with attacking Japanese women, Suzuki saw his chance. Under an Army directive forbidding falsification of news about...