An unconventional, significant and decidedly shocking work in the director's oeuvre, it may be his most demeaning portrait of the woman in post-war Japan as it debases the moral integrity of its female lead almost to that of an animal worth beating, for the sake of a maudlin, trite denouement and, in context, a searing indictment on Japanese family values after the war. Recommended for sure, but I don't approve it.
Prostitution, Poverty, Sickness. After WWII, Japanese people were also suffering. The sole optimistic character is played by Chishu Ryu. This was also the first time that I watched domestic violence described so vividly in a Yasujiro Ozu film. Recommended.
Ozu looks at post-war Japan and doesn't see much he likes; from the drab industrial wasteland in the background to the precarious social position of it's returning veterans and struggling unemployed, simmering shame and violence beneath his usually subdued familial protagonists.
Bleak. Trades in some ugly truths. Can a moment make a film? It really hits the mark once the husband returns, hijacking the story to make a case about the horrible expectations of men, culminating in one of the most shocking moments I have seen in a drama. It offers a view of abuse that peddles far more in the murky greys of the world we inhabit.
A post-war Ozu drama similar to the films of Mizoguchi & Naruse. Ozu wisely concentrates not on the rape, prostitution, and war scenes but the effects. The main overarching theme is very clear: The decay of Japan due WWII. And though the spousal abuse (shown in full detail and predicted by the falling metal can) is a little unconventional for Ozu, Tokiko's perseverance is touching until the very last frame.
Seems this isn't as well received as the films Ozu would make afterwards. I thought this was a marvellous addition to his post war canon. Also, very surprised by the scene on the stairs at the end. Something very rare for Ozu.