4,5. Cinematography by Masao Tamai. A paradox: how to film the social change in Japan from a patriarchal and rural society to an economic tertiarization with a change in women's role, while in formal terms is practiced the more accurate of the classic processes? Like some Russian literature of the nineteenth century, a narrative of a complex family structure with a beautiful use of scope-framing and light.
Initially bewildering: there are too many characters, too much happening at once, and it feels like Naruse doesn't have a hold on things. But once it settles down, once the director begins to tighten the strings, you begin to see how it all comes together, and at film's end you have one of the very greatest of the director's late works.