In Naruse’s last film, made when he already knew he was dying, a woman recently widowed finds herself forced from all sides to embark on a new relationship before she’s emotionally ready—a fateful mishap of timing.
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her hand in mine. hesitating eyes, diffident move. her hand in mine. he´s looking somewhere in the distance and i know. she´s at the stairs one step closer. tormented, fragile, with the smile of frightened sun. she´s one step closer. he sings to me, he wants me to be happy. how, i think. we´re one different life far away.
Melting... by that dangling ice pack on my forehead. Naruse's film's fabrics are of such delicate, tender threads, weaving intricate tapestries of love, so fragile, so vulnerable that they are bound to disintegrate by catastrophe or rapid erosion.
Possibly only Floating Clouds can better this in Naruse's cannon (granted I haven't seen them all). This film has a really profound effect on the viewer, it is somewhat indescribable, but this is an almost perfect film. 5/5
one of the most beautiful Naruse's , dealing with the major theme of golden age japanese cinema - the struggle of people to living peaceful by the ideology of love which it was actually against tradition.
'Scattered Clouds' imputes a fate cruelly disturbed not once, but twice by the callous parting of chaos. Teetering on the fine edge of downfall, Mishima’s swansong is likewise Naruse’s valedictory exclamation: of man’s diminution, his utter futility in humanist "free will" and conscience further decimated by the impossibility of a foregone universal creed, denying evermore a union of souls undestined in the stars.
Naruse's last film, an elegant, depressing romance between a widow and the remorseful driver who accidentally killed her husband. As with Naruse's best films, which this is one, the conventions of society, economy, modesty, and tradition act as barriers to any kind of long term happiness. With a sweeping, typically lovely score by Toru Takemitsu.
Dernière œuvre (en couleur) du prolifique metteur en scène nippon (92 films) ce splendide mélodrame japonais qui rappelle par bien des aspects UNE AUTRE FULGURANCE du Septième Art, (le secret magnifique de Douglas Sirk) véritable chant du cygne d'un cinéaste qui a toujours été relégué (à tort) derrière l'indécrochable triumvirat formé par Ozu, Mizoguchi et Kurosawa... www.cinefiches.com