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Ratings & Reviews

  1. David Grillo's rating of the film Street Without End

    Even love can be misleading and individual freedom is above all the film transitions from her simple life as a waitress a dance of roving perspectives and human interactions into a rigid house of feudal customs the idea of decency and the people who feel distinguished from others but her intentions stay pure and even though the spirit of her youth has been crushed she returns from which she came and perseveres.

  2. kit duckworth's rating of the film Street Without End

    what if mikio naruse's entire silent film career is just a maturation from bedside reconciliations to bedside anti-reconciliations

  3. AKFilmFan's rating of the film Street Without End

    Even Naruse didn't want to direct this melodrama. But despite an ordinary script (that other directors didn't want to touch) he makes good use of it with his directional skill & good performances. Naruse even adds a bit of social commentary about feudalism & family to keep his last silent film interesting.

  4. Howard Orr's rating of the film Street Without End

    Another wonder from Japanese cinema from the 1930s, surely the greatest "lost" decade in all cinema.

  5. Stu Witmer's rating of the film Street Without End

    Nice little melodrama that asks the question “Think you’ll be happy as a bourgeois housewife?” Naruse shows his excellent eye for mood setting editing, interesting camera angles and background detail (the portrait of Emperor Hirohito in the middle class family’s house and the modern car posters in the brother’s apartment). Beautiful final sequence.

  6. Adam Suraf's rating of the film Street Without End

    A tea waitress forgoes a potential film career to marry a rich mama's boy who proves ineffectual in shielding her from his spiteful family. Naruse's last film for Shochiku, a melodramatic, beautifully edited woman's picture.

  7. a Smith's rating of the film Street Without End

    As I finish the Silent Naruse set, I find it interesting the way his camera movement and unusual editing become less common over the course of the films to the point that movement is used sparingly here (and I don't recall any dolly-ins that were so excessive in one of the earlier movies), and unconventional cuts are saved for the most intense sequences. Although less restrained, I actually prefer Every Night Dreams