Post Anime Club: Carmen Comes Home & Carmen's Innocent Love
In search of color and jaunty angles, Carlo and Jenna throw it back to the early 1950s with two early collaborations between Hideko Takamine and Keisuke Kinoshita. Colors and jaunty angles they indeed do get, all at once not enough and a bit too much when it comes to Carmen Comes Home (1951) and Carmen’s Innocent Love (1952).
The first is Japan’s first color film, following the return of the titular Carmen to her rural hometown after making it as a dancer in the big city. What they don’t realize is that she’s actually a burlesque performer, and what she doesn't realize is that that’s in any way an issue. In the sequel, color is replaced with a film almost entirely shot in dutch angles. We follow Carmen around Tokyo as she works to help her friend Akemi raise a baby alone and falls for a truly out there modern artist.
Join us for another Post Anime Club, where Carlo doles out some Hideko Takamine goods and they both discuss what works and what absolutely falls flat with these slightly outdated films.
The following films are mentioned:
• Carmen Comes Home (1951)
• Carmen’s Innocent Love (1952)
• Twenty-four Eyes (1954)
• Yearning (1964)
A new episode of Notes From the Back Row will be released every other week. If you have a new movie premiering, drop us a line – we might be interested in setting something up with you too!
Subscribe today on iTunes, listen on Spotify, use our handy RSS feed in your favourite podcatcher, or keep visiting us right here at Back-Row.com. Help support the show by becoming a member of our Patreon account.
