If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

Watch something else. There are very few redeeming qualities to this film.

I have absolutely never seen anything like this movie before. You have to see this movie.

The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

Noir is everywhere. It even raises its nerve-shattering head in a light, wistful, nostalgic and otherwise comically convivial romance of the movies like Yoji Yamada's 1986 spectacular, "Final Take", in which the innocent hero is savagely beaten to a pulp by the Tokyo police who have insanely confused Karl Marx with the Marx Brothers. Oddly, the hero doesn't seem to bear the police any ill will for this misunderstanding. It's just one of those things. This attitude, of course, is right against the normal noir protagonist's response, so Final Take cannot really be regarded as a noir entry. Nonetheless, it's a fascinating re-visiting of many facets of film-making in Japan back in 1933 and is most ingratiating enacted by Kiyoshi Atsumi as the lolly-girl "discovery" and the astonishingly gruff Ittoku Kishibe as her discoverer. (Available on a 10/10 Shochiku DVD).

This is a film about the film industry in Japan in the early 30's. Specifically, it is about Koharu (the pretty, fresh faced Narimi Arimori), a candy seller at a movie theater who is discovered by director Ogura, to be an actress in a film. She doesn't do well at all. and the film is basically about what happens to her. The film is sometimes uneven, but it has heart. By far the best part of this film is Ms. Arimori, she is very believable as the novice actress. I am not sure how much of a history lesson this is, but it has comic moments, as well as drama. The film Koharu ends up working on is "Floating Weeds", coincidently (I don't believe its a coincidence) the name of a film by the great Ozu. This film is entertaining but not great. Its worth a look, especially if you have an interest in how films, even so long ago, were made.

This work of Yoji Yamada shows the transition of eiga from the silents to the talkies (shades of "Singin' in the Rain").Watching this proved to be a lesson in film history. I learned that eiga during the late '20s to early '30s was patterned after the Hollywood studio system.Being under American control during those years, Philippine movies also have the same characteristic. (Unfortunately, most of those were destroyed during the Second World War, or deteriorated due to neglect)."Kinema no Tenchi" shows movie history in an eclectic montage. Chaplinesque-Marxian humor can be noted. The rise of the actress to fame was depicted in a melodramatic fashion, a popular genre then and now.I recommend this movie to any cineaste.

I first saw that film at the Montreal Film Festival. It chronicles the beginning of film-making in Japan with wit and intelligence. Much of the film is spent with the main actress and her career. Reminds me a bit of another Japanese film called "The actress", but with a faster pace and a lighter tone. A real pleasure.