An incredibly complex, challenging Naruse. The melodramatic sweep is so big, so tragic, that it takes some time for the viewer to settle in and properly follow the rushing current of cinematic subtleties flowing through every scene.
I will be revisiting this one as soon as I can.
So damn raw, honest and emotional. Naruse has created a beautiful piece, so elegant amongst the grime and grit. The emotional weight is carries is almost too strong, and the two lead performance are quite amazing. This film sparked a discussion afterwards which was almost as long as the film itself. Perfect. 5/5
The first half was truly evocative in its post-war detail and does a great work introducing its characters, but as the film goes along you can tell its pessimistic agenda is played on a single, monotonous note throughout the entire film, rendering the inspired use of ellipsis and ever-changing characters helplessly predictable before its ponderous melodramatic intentions.
Le montage avec les flash back qui se superposent au présent est incroyable. On sent la chaleur de l'Indochine où naît l'amour, et le froid de Tokyo où les sentiments sont morts. J'ai cent fois préféré le film au livre....
On est touché et porté par une histoire blessée, dans un Japon agonisant. Puissance des images, beauté absolue des acteurs, l'amour s'empêche dans les non- dit et dans les trop-tard d'une vie trop courte usée par la guerre . La belle histoire n'a plus d'issue.
A tough one for me, as I love Naruse, but I don't care much for the overtly melodramatic, sweeping tone and oppressive use of music. Kengo, to me, is a weak, womanizing douchebag and only Hideko Takamine saves Yukiko's clingy character some, even though she's on the brink of being too expressive. As per usual, Naruse's heavy focus is on the materialistic means of human relationships and those aspects save the film.