Though known as the first ever japanese film in colour , kinoshita actually simultaneously shot a black white version of the film as well , just in case there were problems with the colourisation process which unfortunately did come to pass with the sequel 木下惠介回顾展选映的十八部电影中，最难得一见的是这部黑白版的《卡门还乡》 。
And imamura shohei , who remade the classic tale in 1982 . with every film he directed , kinoshita experimented with form , narrative and camera movements , employing severe long takes and fast cutting with equal mastery . nonetheless , his innovations never overwhelm the innate humanistic qualities within each work , thus ensuring his legacy as a true cinematic master 他的《日本的悲剧》紧抓住时代脉膊， 《 ?山节考》活用古典戏剧传统，反战的《二十四只眼睛》让举国上下同声一哭，而《卡门还乡》则不但是日本首部彩色片，更是杰出风俗喜剧，又能寓同情于讽刺，其荒诞幽默感，在日本电影中可谓首开先河。
