Gembaku No Ko

Kaneto Shindo

T. Ing.: Children Of Hiroshima; Sog., Scen.: Kaneto Shindo; F.: Takeo Itchi(Ito); Mo.: Zenju Ìmaizumi; Scgf.: Takashlmarumo; Mu.: Akira Ifukube; Su.: Kenjlnagaoka; Int.: Nobuko Otowa (Takako Ishikawa), Osamu Takizawa (Iwakichi), Niwa Saito (Natsue Morikawa), Chikako Hosokawa (Setsu, Madre Ditakako), Masao Shimizu (Toshiaki, Padre Ditakako), Tsuneko Yamanaka, Shinya Ofuji, Takashiito; Prod.: Kindaieiga Kyokai, Mingei; Pri. Pro 6 Agosto 1952; 35mm. D.: 97′. Bn.

info_outline
T. it.: Italian title. T. int.: International title. T. alt.: Alternative title. Sog.: Story. Scen.: Screenplay. F.: Cinematography. M.: Editing. Scgf.: Set Design. Mus.: Music. Int.: Cast. Prod.: Production Company. L.: Length. D.: Running Time. f/s: Frames per second. Bn.: Black e White. Col.: Color. Da: Print source

Film Notes

Far more ambitious, stylistically, than any of these films [by Imai Tadashi] was the eclectic Shindo Kaneto’s Children of Hiroshima (Gembaku no ko, 1952). This was the first fictional feature film to reveal the true horrors of Hiroshima and Nagasaki after the American ban on the subject had been lifted with the end of the Occupation. Generally speaking, of course, it is no accident that this militant cinema developed chiefly after 1952. Shindo’s film played a considerable role in the campaign which resulted in Japan’s solemn renunciation of nuclear weapons. Its grandiloquent lyricism, also reminiscent at times of early Soviet imagery (Arsenal), as well as its semi-documentary nature and fragmentary construction, make it one of the most effective films of the period (on a par with Kinoshita’s Japanese Tragedy). In some ways it even anticipates the films of Oshima and his contemporaries.

Noel Burch, To the Distant Observer, Scolar Press, London, 1979