Kenji Comes Home is a 1949 documentary film produced by Paul F. Heard. Written and directed by Charles F. Schwep, it was filmed on location in Japan and employed native actors. The film is the story of Kenji, a repatriated prisoner of war in Japan, and his difficulties in settling down. He is torn between the glowing promises of communism and ideals of his girlfriend Aki's Christian religion. The film was nominated for an Academy Award for Best Documentary Feature.
This short feature follows the return of “Kenji Morikawa” to his Japanese hometown some two years after the end of WWII only to find himself alone. He has no family, no job and no home so cuts quite a lonely figure as he wanders the streets. Fortunately, he encounters the enthusiastic young “Shiru”, a bit of an urchin, and together they visit the home of “Aki” and her mother. She was the sister of one of his childhood friends who did not survive the war and soon the two are soon spending time together. Meantime, “Kenji” manages to get himself a job in a factory and things begin to look up. At work, however, the well-intentioned introduction of an elementary trades union is beginning to develop into something less democratic and more Communist in nature. For a nation of citizens used to obeying orders, it would seem that this might bode poorly for the future. What is “Kenji” to do? Well as it happens “Aki” is a Christian and studies at the university, so perhaps she can offer him a way out of this latest predicament before she leaves the city to study elsewhere? This was produced by the Protestant Church Commission and so clearly has an agenda that in many ways is just as underhand as that employed by the Communists - taking those vulnerable and offering them a solution that will ostensibly empower them and improve their lives. To that end the story does resonate at the start reminding us that displaced people all need to find purpose if civilised society is to thrive in what was left of the 1940s, but the overly simplistic narration that develops merely suggests another form of indoctrination with the “sheep” here not so very different from the previous flock that followed a divinity with more human features. There is quite an engaging effort here from the young lad who plays “Shiru” - there are no acting credits anywhere - and the unfettered message of the first ten minutes reminds us that reconciliation is never an easy process. Sadly, though, once it’s funding proprietors get hold of the script and it’s editorial direction of travel then I am afraid it merely preaches another version of control. Watch it though. See what you think?