Morning at the Ozone House

In the same year, Kurosawa Akira made his debut with Sugata Sanshiro at Toho, but in the selection for the Yamanaka Sadao Award for the most outstanding new director, Kinoshita and Kurosawa were both awarded the prize. Since then, they have been considered worthy rivals, and in fact, each other's first postwar films, Kinoshita's Morning at the Ozone House and Kurosawa's No Regrets for My Youth (both 1946), are considered "the first masterpieces of postwar democratic Japanese cinema" (Iwasaki Akira). He has made films with a wide variety of themes and styles, ranging from humanist films depicting the tragedies of war and anti-war sentiment (Army, 1944; Japanese Tragedy, 1953; Twenty-Four Eyes, 1954) to romantic comedies (The Young Lady, 1949; Carmen Comes Home, 1951; This Year's Love, 1962), but the two major underlying characteristics that underlie his works are often called "lyricism" and "modernism."

*Some of the terminology used in "Morning at the Ozone Family" is listed below.

Source | Heibonsha World Encyclopedia 2nd Edition | Information

…同年，東宝では黒沢明が《姿三四郎》でデビューしたが，もっとも優れた新人監督を対象とした山中貞雄賞の選考では，木下，黒沢ともに甲乙つけがたく2人そろって受賞。以来，好敵手とみなされ，実際，お互いの戦後第1作，木下《大曾根家の朝》と，黒沢《わが青春に悔なし》(ともに1946)は，〈戦後の民主的な日本映画の最初の代表作〉(岩崎昶)になる。戦争の悲劇や反戦の思想を描いたヒューマニズム映画(《陸軍》1944，《日本の悲劇》1953，《二十四の瞳》1954)からロマンティック･コメディ(《お嬢さん乾杯》1949，《カルメン故郷に帰る》1951，《今年の恋》1962)に至るまで，多種多様の主題と傾向の映画をこなすが，その底に共通する二つの大きな特質は〈抒情〉と〈モダニズム〉ということばでしばしば呼ばれるものである。…

※「《大曾根家の朝》」について言及している用語解説の一部を掲載しています。

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