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Shimizu’s postwar filmography encapsulates the everyday tragedies of life, the delicate sentiments of love and loss in the wake of the war, and the pains that befall common people—from the hardships of motherhood to the ostracization of disability.
Jul 26, 2004 · Certainly the masterpiece of Shimizu’s post-war career, it is also one of the outstanding neo-realist films. The opening scene sketches in the dog-eat-dog economics of this desperately poor society: the orphans beg for bread, but they are expected to turn this over to an old man who sells it for a profit on the black market, leaving only the ...
- Alexander Jacoby
The Cinematheque has plucked four gems from this year’s historic touring exhibition, each produced during Shimizu’s brilliant (and neglected) postwar career after he left Shochiku and formed his own independent studio, Hachinosu Eiga.
Apr 26, 2020 · Shimizu’s film is a kind of anti- Taxi Driver (1976), of course Martin Scorsese’s relentless, furious film of a lonely taxi driver, Travis Bickle (Robert De Niro), whose isolation and loathing of society cannot help but lead him down a violent, destructive path, in an infernal New York.
- Nicholas Bugeja
Starting in the silent era and working through the transition to sound, the industry’s turn to wartime propaganda, and the post-war devastation and occupation, Shimizu’s work remains essential viewing for its historical value alone.
With over 160 films directed over a 35-year-career that spanned the silent era into the golden age of Japanese cinema, Shimizu is distinguished by his unconventional approach to plotting—one loosely sketched and carefree—and a roaming camera that drifts through the open airs of provincial Japan.
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Highly regarded by director Billy Wilder, Seitz worked with him on the films noir Double Indemnity (1944), The Lost Weekend (1945), and Sunset Boulevard (1950), receiving Academy Award nominations for each. During his career, he received seven nominations for Academy Award for Best Cinematography.
