Mikio Naruse - Otome-gokoro - Sannin-shimai aka Three Sisters With Maiden Hearts (1935)

Quote:
Three Sisters with Maiden Hearts, writer-director Mikio Naruse's first sound film, tells the story of three very different siblings forced to work as samisen street musicians to make ends meet. O-Ren (Chikako Hosokawa), the eldest, is on a downward spiral into Tokyo's Asakusa district underworld, exasperated middle sister O-some (Masako Tsutsumi) attempts to protect her sisters by appeasing their demanding mother Hahaoya (Chitose Hayashi), and Chieko (Ryuko Umezono), the youngest, pursues love and romance with kindly restaurateur Aoyama (Heihachiro Okawa). Three Sisters is one of Naruse's most formally experimental works, making use of an intricate, yet playful flashback structure and a fluid, constantly moving camera to delineate the sisters' varying paths through life. Chieko's Folies Bergere-like dance numbers are a particular highlight, demonstrating Naruse's affinity with and understanding of the psychology of performance. And even at a relatively brief 64 minutes, it feels as if Three Sisters explores a lifetime of heartache and tragedy, culminating in a wrenching train station climax where O-some makes the ultimate sacrifice to preserve a complicated sense of familial status quo.


















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Subs: Castellano/English
no pass

Mikio Naruse - Ishinaka sensei gyojoki aka Conduct Report on Professor Ishinaka (1950)

Catherine Russell on the film:

"In Conduct Report on Professor Ishinaka (Ishinaka sensei gyojoki, 1950), the professor (Miyata Shigeo) is a novelist living in Aomori prefecture, the northernmost tip of Honshu, just south of Hokkaido, but the professor has only a minor role in the film named for his character. He appears in each of the three short vignettes that make up the film as a local authority who is consulted by the townspeople. Each story features the courtship of a young man and woman, and in each instance it is suggested that the professor will undoubtedly write a novel about the events that have transpired. Based on an original story by Ishizaka Yojiro, the film has a reflexive element by which it comments on its own process of taking the materials of everyday life and transforming them into narrative. This realist conceit is enhanced by the rural setting, which is photographed with some care, including the mountainous landscapes and the farmhouse interiors. Many of the actors have strong Aomori accents, and Naruse even includes footage of several local festivals, complete with lanterns, banners, dances, and songs. The film is in some respects a sequel to Hideko the Bus Conductor, taking up both its rural setting and its writer character, although the women have grown up a little since 1941."













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no pass,no subs

Mikio Naruse - Shiroi yajuu aka White Beast (1950)

Quote:
The third film that Naruse made in 1950, White Beast (Shiroi yaji, 1950), was described by Kinema Junpo critic Tsumura Hideo three years later as "so indescribably miserable as to haunt me even today." Tsumura represents the bulk of Japanese critics of the time, who felt that Naruse experienced a terrible slump throughout the 1940s and this film seemed to be the "bottom of the ocean." The critical establishment was clearly not prepared to accept a woman's prison film featuring former prostitutes recovering from venereal diseases, unwanted pregnancies, and estranged lovers. With its catfights, hysterical tantrums, film noir lighting, and dramatic music, White Beast is indicative of the new influences of the Hollywood psychological thriller on Naruse. Caged (John Cromwell, 1950) initiated a cycle of women's prison movies in the United States that may or may not have been shown in Japan, but the stylistics of White Beast draw on the same paranoid woman's films and film noir conventions that preceded the American cycle.











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Subs: Castellano/English
no pass

Mikio Naruse - Bangiku AKA Late Chrysanthemums (1954)

Sadness and nostalgia permeate Late Chrysanthemums, a 1954 film by Japanese auteur Mikio Naruse, now undergoing a retrospective of his long unavailable films thanks to James Quandt of Cinematheque Ontario and The Japan Foundation. Based on three stories by Fumiko Hayashi, Late Chrysanthemums tells the story of four retired geishas, now middle-aged, whose lives have become full of disappointment and regret. Performance are uniformly outstanding, particularly that of Haruko Sugimura, who starred in films by Ozu's Late Spring, Floating Weeds, and Tokyo Story among others. Sugimura portrays Kin, a former Geisha who has no children and lives only with her young maid who is unable to speak.

She has become cynical about men and has turned her attention to money, particularly real estate speculation and loaning money to her friends, Nobu (Sadako Sawamura), Tamae (Chikako Hosokawa), and Tomi (Yuko Mochizuki), all former geishas. Kin's friends live in meager circumstances and complain about how Kin has become greedy and Tomi spends considerable time gambling to try and make ends meet. Both Tomi and Tamae are in the process of losing their children. Tamae's son is leaving to work in the coalmines in Hokkaido, and Tomi's daughter has decided to accept a marriage proposal from an older man. Both resist the change in their circumstances but come to accept it as inevitable.

Two male friends visit Kin, Seki a former lover with whom she once contemplated double suicide, and Tabe (Ken Uehara), another lover who she looks forward to seeing again after many years. Her mood is upbeat but soon turns to resentment when she discovers that the two men are only interested in borrowing money. Naruse cuts between two extended sequences seamlessly as Kin confronts Tabe and Tomi and Tamae console each other over the loss of their children The dialogue is extremely natural and the characters are women of strength who, though their future does not seem bright, refuse to see themselves merely as victims. Late Chrysanthemums has the simplicity, humor, and stoic acceptance of life prominent in the films of Ozu and is a bittersweet reminder of the slow passing of time and the comfort that memory and companionship can bring along the way.

Full article
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Subtitless: castellano,it&Eng (.srt)
password: zorraelabad