I didn’t know that Takamine Hideko (whom I consider the Japanese Olivia de Haviland) could do more than suffer delicately, but she was quite entertaining as a pure-hearted Tokyo stripper returned home to her native village in the first Japanese movie shot in color, Kinoshita’s 1951 “Carmen Comes Home” (Karumen kokyo ni kaeru). I wouldn’t call it “sentimental,” but it is life-affirming and her censorious father (Sakamoto Takeshi) and the school principal (Ryû Chishû) eventually take “wild naked dancing” in stride and fine good use for the money Carmen left for her father.
And Maruju, “the transportation magnate,” makes enough money from the performance by the visiting pair of stripper’s (Kin/“Carmen” and her friend Akemi, played by Kobayashi Toshiko) that he feels benevolent and ends an injustice he had committed. With a recurring hymn to Mount Asama (in Shinshu) and shots of it, the scandalous homecoming movie drags at times, especially when Ryû sings, and the roles are types are not developed characters. The rationalizations of showing naked flesh as “art” are gently pilloried. What seems most funny to me is that Lily Carmen believes she is an “artist” and her stripping “art; moreover even the most skeptical of the villagers (her father and the gradeschool principal) don’t entirely reject the conception.
I’m not sure whether Kinoshita thought the big-city strippers innocent, though the warm farewells of the locals as their train takes them back suggests acceptance of them, which, after all their gnashing of teeth, the principal and Kin’s father also do. The latter was ashamed, but no one shows/feels guilt about naked displays (or anything else).
Though first shooting two other films, Kinoshita filmed a sequel set in Tokyo the next year (1952).
©2016, Stephen O. Murray