Cinema Talk

Kawase’s debut feature is not quite as memorable as her later Shara but it is, for whatever reason, a film that ultimately feels more complete and perhaps, ironically enough, more mature. Once again, she is working in familiar territory. A family drama that takes place within a secluded mountain village. Immediately, many of the “elite” directors in Asian minimalism come to mind: Hou Hsiao-Hsien (particularly A City of Sadness) as well as Kawase’s fellow countryman, Hirokazu Koreeda. It’s quite odd to think that Kawase went from her documentary features to a much more slower-paced style, but then returned to the documentary aesthetic in Shara. It should still be made clear though that she is definitely towards the front of the pack when it comes to modern Asian directors, as well as modern female directors.

Cousins Eisuke and Michiru fall in love over a long period of time, but unrelated issues between their families prevents them from expressing their love. Sachiko is old but still laboring in the fields, while Yasuyo is fed up with the repetitions that come with being a housewife. The cousins’ relationship blossoms while the family undergoes an influx of trials, economically and emotionally.

The French DVD leaves a lot to be desired (as one can see from the screenshots) especially since this seems to be even more visually-focused than Kawase’s other films. Here, as opposed to the usual chaotic handheld camera, we are treated to a very lyrical, slowed-down slice of life. This is, of course, fine by me, but the film is never quite as visually fascinating as its style would believe. On the other hand, the 8mm footage that Kawase fuses with her static shots look fantastic. In a way, this is most likely what a meeting between Harmony Korine and Nobuhiro Yamashita would result in. Such a comparison may seem like a reach, but Kawase comes across as genuine. Never do the stylistic transitions feel forced. If anything, the 8mm footage is what lends the film its very nostalgic tone. Otherwise, it would probably feel incomplete.

Made the same year as Chikamatsu Monogatari, this final collaboration between director Kenji Mizoguchi and actress Kinuyo Tanaka represents one of cinema’s greatest tag teams at their very best. In contrast to the more historical and mythological tone of Chikamatsu, this falls under the more downplayed modern drama. A genre that defined Mizoguchi’s work in the 30s, but also shows from time to time in his post-war features. Exquisite photography and great performances round out the package. This is not Mizoguchi’s greatest film, but it does seem to be one of his more accessible.

Following a failed suicide attempt, Yukiko returns home with her mother, Hatsuko, who runs a successful geisha house. Yukiko is slow to adapt; she despises her mother’s profession as well as the woman who become slave to it. Eventually, she begins to soften up and befriends some of the brothel’s employees. In the mean time, Hatsuko is busy trying (but failing) to seduce the young Dr. Matoba, who is creating a strong connection with Yukiko. Eventually, the tension becomes unbearable and the two women must open up about their respective secrets.

As mentioned earlier, this is one of the more downplayed modern relationship dramas that Mizoguchi put out during the 50s. Obviously, all of the films made during this time draw on his earlier more socially-driven work but only Uwasa no onna seems to do so stylistically, in addition to the narrative. The most obvious example of this is the painterly, but indoors, static compositions that the film is centered around. Of course, there’s plenty of slow panning and tracking but not as much as in a film like say, Ugetsu. Personally, I think the lack of camera movement is much more reflective of this film’s character-based nature.

Unfortunately, this would be the last time Kinuyo Tanaka and Kenji Mizoguchi would work together. Tanaka branched out, and gave her own try at directing, a move that Mizoguchi (for whatever reason) wasn’t very fond of. In the most over-discussed and over-dramatized element of their careers, it was possible that Mizoguchi was deeply infatuated with Tanaka. This is reflective of the way she is shot in almost all of his films. In the case of this film, it is hard to avoid the many rejected advances made by many of the characters. The most obvious case being Dr. Matoba’s resistance to Hatsuko, but Hatsuko herself turns down the invitations made by the much older Yasuichi. The many failed romances make sense in light of Mizoguchi’s typical melodramatic structure but it is hard to ignore what was going on in his personal life at the time.