Kôjô no tsuki

Some Japanese films are culturally specific, and could only have been made in Japan. Others are more universal, that with a little adjustment could have been made anywhere. This film is one of the latter. The Shochiku production was directed by Sasaki Kojiro, a relatively experienced and a relatively forgotten director, who had started his directorial career at the same studio ten years earlier. This is his most widely seen film, and for a reason. After Japan had aligned itself with Germany and Italy, the country gained access to the Venice film festival. Kôjô no tsuki (Moon Over the Ruins, 1937) and Shimizu Hiroshi's childhood depiction "Kaze no naka no kodomo" (Children of the Wind, 1937) were the first Japanese films to compete for international awards, this being the prestigious "Mussolini Cup", which the festival handed out for the best domestic and best foreign film from 1934 - 1942. Neither film won, but Japan's festival luck was better the following year with Tasaka Tomotaka's "Five Scouts" (1938).

"Kôjô no tsuki" is by no means high art, but is a capably directed drama, that establishes a nice atmosphere, and features a bunch of characters that make the Japanese look like a kind and likable nation. It is made better, if the viewer is a Shochiku fan, since the film boasts an array of familiar faces. Sano Shuji is the star, or perhaps this was his star-making performance. He had only done a few films before this, which I have not seen, but I have always liked him in his subsequent roles, whether they be in an Ozu film or a more usual studio affair. Sano plays a composer who arrives to country-side. He is met at the train station by Saburi Shin - a favorite of mine, but bit of a wasted resource in this role - and Sano comes to stay with his family, which also includes the great Iida Choko. The film follows the protagonist's dealings with the country-folk, his worries and eventually, his work. He is a kind soul who improves the lives of others, and there is even hint at a romance. But eventually, it gets more dramatic.

Possibly the main song Sano is composing in the film was already a hit before the film, as it considered very important for the plot. I am not going to spoil the ending, but for modern audiences and people who have seen more films about composers, it does feel very cliched. Out of the two sent to Venice, the Shimizu film much more deserves a classic status, though I don't consider it to be among his best either. This one is pleasant, bit too light-weight drama, with some nice scenery and good actors playing characters who are slightly too good, and start to feel one-dimensional after a while.