Mikio Naruse’s earliest film in circulation is a charming, breezy short about an impoverished insurance salesman, Okabe, who is desperate to sell a policy to a wealthy family, and his scrappy young son, whose fisticuffs among the other boys of their village put Okabe’s livelihood in jeopardy. This rare Naruse film about a father and son hints at some of the fluid technical experimentation that would come to define his first films. –The Criterion Collection
Mikio Naruse is one of the least known of Japan’s early master directors, both in the West and in Japan, yet he created some of the most moving, darkly beautiful works in Japanese cinema. Like Kenji Mizoguchi, Naruse showed an uncanny understanding for the psychology of women. Like Yasujiro Ozu, he preferred subtle shifts of character over broad strokes of plot. Unlike either of these early greats, however, Naruse’s vision of humanity was much darker and more clinical. He stripped all vestiges of hope or acceptance from his films, what remains is only a willful struggle to endure. His relentlessly negative view of human existence has resulted in Naruse’s often being labeled a nihilist.
Born in Tokyo, in 1905, Naruse was the youngest of three sons of a desperately poor embroiderer. Although he excelled in elementary school, his family could not afford to further his education. He was instead enrolled in a two-year technical school. There, he spent virtually all of his free time… read more
This early short and silent Naruse film packs quite an emotional punch and shows a director willing to experiment. I was totally unprepared for how this film developed because it began as a simple and charming comedy about a struggling insurance salesman, hampered in his work by the trouble his very cute but sparky young son keeps getting into. The tone changes when a domestic argument leads to a potential tragedy...
A discussion of five early films by Mikio Naruse.