Mikio Naruse presents a compassionate, resigned, and poignant examination of human struggle, perseverance, and sacrifice in Okasan. Juxtaposing the innocence and optimism of youth with the austerity of life in postwar Japan, Naruse reflects the gradual erosion of hope in the face of change and uncertainty: the town festivals that coincide with episodes of illness and death in the family; the Fukuharas’ fond reminiscence of their hectic life as young parents with a newly opened business, as Ryosuke looks forward to the laundry shop reopening despite his debilitating illness; Chako’s picnic at an amusement park that exacerbates Masako’s motion sickness. From the opening shot of Toshiko’s affectionate voice-over against the image of the resourceful Masako, arched forward, cleaning the house, Naruse conveys the understated and bittersweet image of his archetypal, resilient heroine – an unsentimental, yet graceful and reverent portrait of a tenacious, aging woman struggling – and literally yielding – against the interminable burden of poverty, heartache, disillusionment, and unrealized dreams. —Strictly Film School
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
Quaint family drama, set amongst the ravagement of post-war Tokyo. Ostensibly paying tribute to the resilience of motherhood in the face of such adversity, it resembles a more nostalgic, optimistic domestic ensemble piece, and a solid one at that; Naruse’s montage being simple, modest. Also comparable, as well as a contrast to the bleak milieu of Rossellini’s Germany Year Zero.
There are so many films with the title "Mother." Anyway, this film was enjoyable, but a total tease. It builds and builds to all these possible events as the climatic ending, and then ends with nothing.
This is one of Naruse's most emotionally satisfying films told from the loving perspective of older daughter, whose mother deals with family deaths, tribulations, sadness and joy as she endeavours to hold her family together. Kinuyo Tanaka is mesmerising, every facial detail revealing hidden depths. Scenes of death, departure and leave-taking the family home, esp youngest daughter are unbearably moving...