We really need to start insisting it be understood that Mikio Naruse is not just as important a filmmaker as Ozu, but equally a master of form. He is merely less ostentatious in this regard. He is perhaps one of the truly great masters of fluid montage. Everything glides along, but does so at the hand of a rigorous methodology. Setsuko Hara possesses unreal power in her ability to register the putrefaction of dreams.
Une envie de liberté, d'autre chose, pour la jeune femme au foyer qu'interprète Setsuko Hara (toujours aussi splendide) quand elle voit sa jeune nièce arriver chez elle et perturber son couple. Cette dernière est un justificatif pour partir. C'est un film sur la recherche d'une autre possibilité de vie, d'un doute, d'une remise en question, qui aboutira à un renoncement déchirant.
Seemingly unironically declares that a woman should find happiness in domestic simplicity. The compositions are nice but uninteresting and the character developments are flippant. After watching this and, the albeit preferable and far superior, When A Woman Ascends The Stairs I'm losing the joyous hope of discovering a Mizoguchi, Ozu or Kobayashi in Naruse.
the framing of setusko hara's relentless background labor was smart. beneath the domestic drama, shows that people will take advantage if that is the line of best fit. unburdeners can become burdens etc etc. of course no matter the situation women are the unburdeners (of men, of each other)
Though at a first glance Michiyo seems to be just another of Naruse's trapped women, I really enjoyed how this portrayal of a seemingly doomed marriage played with our expectations regarding melodrama, but also the realistic depiction of Japan in the aftermath of the war. Naruse has a great eye for the everyday detail as a means of describing a character (pay attention to Hatsunosuke’s shoes).