Naruse said this film “suited [his] tastes,” and it’s easy to see why. The title characters are a female samisen player and a male ballad singer whose backstage bickering threatens to break them up. Japanese film historian Shigehiko Hasumi has written of this film: “We are astounded again with the fact that by simple directing Naruse could easily and simply fill the screen with sensitivity for the light that is essential to movies.” —Smithsonian Institution
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