Kikuko is a housewife stuck married to the neglectful Shuuichi, who ignores her, and is cheating on her with another woman. Shingo, Shuuichi's father, has grown fond of Kikuko and tries to resolve his sons many problems. Meanwhile, Shuuichi's sister, Fusako, and her kids, have arrived at the house to stay with the family, after fleeing from her husband.
Naruse is the one Japanese director I have not seen a single film from. He's often compared to Mizoguchi, or Ozu, yet his films are rarely seen. The 3 film out-of-print boxset this film is from, is selling for over £70 on ebay, so I ordered it from Lovefilm. Regrettably, as I prefer to purchase films and support the smaller DVD labels.
The first thing that struck me when I began watching, was the similarities with Yasujiro Ozu. The camera-shots, the characters, the actors. Everything is virtually parallel. However as the film progresses, the film becomes an Ozu hybrid, carrying those similarities, while adding a melodramatic tone, a more powerful story while making a statement about women's place in society. Melodrama plays a large part in this film, so the film turns into a Sirk melodrama or a good version of one of those 1930s-1940s Romances (The Lady Eve, Now Voyager etc).
The power the film creates, derives from the acting leads of Setsuko Hara and So Yamamaru. Setsuko Hara is a veteran film actress starring in many Ozu, Naruse, Kurosawa and Yamanaka films. Known for 'Tokyo Story', but I think 'Tokyo Twilight' is far superior. One of two Japanese actresses which defined a film-making era (the other being Kyoko Kagawa, both of which are still alive). She plays the damaged character of Kikuko with passion, and is one of the reasons this film really takes off the ground. So Yamamaru, also appeared in 'Tokyo Story' and 'Tokyo Twillight', but here, plays the affectionate, caring father. The magnificent acting combined with his distinct, clear voice, makes his character memorable and relatable.
Naruse is all about the characters's gaze. Each look the character's make, you can tell exactly what they feel, a technique a surprising few directors can pull off. The entire film is set in the beautiful, rural Japan. Not much of the film is set outside, but the scenes which are, have an elevated beauty. Something so simple like a country road, or a public park, makes for some appealing backdrops (see the picture below).
The simple story of a small, problematic family, is fascinating to watch. Naruse focuses on the escalating relationships (like Ozu), and fallen women (like Mizoguchi), creating an intimate and relevant character study.
TO CONCLUDE
This film was a joy to watch, and is on-par with Ozu.
SCORE
79
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