(1939), gave way to fifteen years of inactivity, including a mysterious decade of detention in Manchuria. Wherever his reputation will finally settle, Uchida is at the least an inspired director of spatial relations and of light and sound, capable of electrifying moments of pure cinema in the most unlikely contexts. MoMA's nineteen-title "Tomu Uchida: A Retrospective"
contains a number of films that haven't screened in the U.S. in recent memory; of the known quantities, don't miss the dazzlingly kinetic Police Officer
(1933) and the novelistic, unobtrusively bleak A Hole of My Own Making
(1955)."Tomu Uchida: A Retrospective" runs through November 7 at MoMA. Click here for the screening schedule.
A contemporary of Mizoguchi, Ozu, and Naruse, Japanese director Tomu Uchida was for years the property of genre specialists who admired his stunning action sequences in unheralded Sixties period films. Gradually the historians took up the case, rediscovering an often brilliant filmmaker whose prestige period, culminating in the celebrated