MUBI

Naruse’s great muse, Hideko Takamine, gives one of her most effective performances in this modernist classic, as a bar hostess stuck in a rut, unable to commit to herself, or any number of potential suitors. The economic structure of post-war Japan, and the thin line between “hostess”, geisha, and prostitute, play as much a part here as in any of Naruse’s essential 50’s women’s films (though technically this straddles the border of 50’s and 60’s modernism), and the disgust, frustration, sadness, and complacency of Takamine’s always fascinating face/mask is forever powerful, touching.

I suppose this could be seen as Naruse’s direct response to the New Wave growing in Japan at the time.
The opening titles sound out an icy jazz score as if it were one of these modern films. After that there is a narration, as if this were a documentary-style film by Susumu Hani or Kiju Yoshida. And then: it instantly becomes Naruse. What is so interesting about this is that the setting and atmosphere should feel as modern as the appear to be, but he sticks to his own style and tosses aside those modern techniques employed by young filmmakers. You could say that it is like watching the world through a sheet of glass.
In a way, I would like to think that Hideko Takamine is much like Ruan Lingyu, the great Chinese actress from the 1930s. In that, like her, she seems to so easily change from one expression to another, and in the way that she seems to let her audience almost read her thoughts just from what is on her face. In fact, this is what sets Naruse apart from Ozu. Ozu’s character hide behind masks always concealing their true thoughts and keepng from being expressed. Yet Naruse seems to feel that his characters should be allowed to express their socially tortured selves. Accept of course, Takamine actually smiles throughout most of the film. She must do that as a bar hostess in order to appeal to her customers.
Framed statically almost in its entirety, the film’s cinematography may somewhat mirror Takamine’s character. Indeed, static camera angles are a very good means of conveying the emotional weights placed upon a person. She is the camera, and Naruse’s camera has no escape from the image in front of it.

Beautifully shot in black and white and a sheer pleasure to watch. A special mention of Nakadai. I don’t think I have ever seen any actor deliver such a huge variety of roles in his career as this guy. Nakadai delivers another supreme act which is almost a cameo and that too in the presence of several great actors who are part of this movie. Hideko Takamine looks gorgeous and delivers another excellent performance. The movie doesn’t reach the greatness of Floating Clouds(which incidentally is the only other Naruse I have seen yet) but its a very good movie nonetheless.

Note: An interesting thing I noticed that at one point during this movie you almost feel like you were watching Floating Clouds due to the similarity of characters and the situation. Maybe Naruse did this on purpose.

“When a Woman Ascends the Stairs” is obsessed with finding the money to survive. Hideko Takamine’s character, Mama, is constantly getting the shakedown.

And it’s also very melodramatic. Mama’s got a dead husband, a tumultuous love life, polio stricken nephew. Mr. Welch’s comparison to Jane Wyman is apt because we really could just weep our way through, and claim that the film is overly sentimental. You’ll recall that Jane Wyman was the star of Douglas Sirk’s subversive ’women’s films’.
I’m saying that there’s a lot more going on than materialism and melodrama.

Donald Richie provides one of the better commentary tracks I’ve come upon. Dives into the film, deconstructing individual scenes, and takes us out into the cultural/historical context, and the life of the auteur. Never really forces his opinion, rather he raises questions that leave the movie up for interpretation

Fascinating film with a fascinating character. I don’t think the comparison with “Lost Weekend” or “Man with a Golden Arm” is very accurate because the woman condition of the main character is essential, while in the other two movies their condition as a man is not very significant. If I had to pick two other movies to compare with, I would choose “Gertrude” and Barbara Loden’s “Wanda”. This movie is superior though (believe it or not).