Mikio Naruse

(SPOILERS!)

Quote:
The best moments of A Wife’s Heart involve things not said or seen and this is most explicit in the interactions between Kiyoko (Hideko Takamine) and her bank clerk bachelor confidant Kenkichi (Toshiro Mifune). Kiyoko, along with her husband Shinji (Keiju Kobayashi), wants to open a coffee shop and so goes to Kenkichi to ask for a loan. Director Mikio Naruse never focuses on the duo’s talk of money; as filmed, their entire relationship is a series of beginnings and endings with the middles cut out. It is at first purely a business association, though after Shinji (at the manipulative behest of his matchmaker mother) gives a majority of the loan to his deadbeat brother Zenichi, Kiyoko starts to think that her feelings for Kenkichi may be more then platonic. Following through on his setup, Naruse never lets either character nakedly confess their heart’s desire. The closest they come is during a sequence, set against the backdrop of a torrential downpour, where Kenkichi utters the first few words of a thought that he will never finish. In other hands this scene might have played as masochistic repression, but Naruse allows the rainstorm to act as an expressive emotional outlet—nature thus concludes what Kenkichi cannot.Read More »

Slant Magazine wrote:
At first, Yearning appears to be a typically late-Narusian offering, a low-key and observational drama that obsessively details Reiko’s day-to-day routines. In addition to keeping her small business afloat, Reiko must deal with her meddling in-laws, who have their minds set on selling the grocery store, and also attend to Koji, who inexplicably indulges in a rebellious cycle of petty crime and violence. One of Naruse’s great talents is in making the mundane mysterious so when Koji declares, seemingly out of nowhere, that he’s been in love with Reiko for years, it takes more than a few moments to acclimate to the film’s suddenly malleable emotional terrain, even though, in retrospect, it makes perfect psychological sense. It’s a shock to witness how charged and raw the duo become after Koji’s admission, and Naruse’s camera, under the guiding eye of cinematographer Jun Yasumoto, never blinks, maintaining a harsh, voyeuristic presence as the characters move, like increasingly frenzied celestial bodies, through a space made unfamiliar because of a naked confessional moment.Read More »

Shigeko, a recently widowed mother from Nagano,brings Hideo,her sixth-grade son,to live with his uncle in Tokiyo.Shigeko soon gets a job at the Mishima hotel.The shy Hideo doesn´t respond wellto his newsurroundings,preferring the companyof hisKabutomushi (helmet beetle ) to that of other people.He does,however,meet Junko,daughter of the woman who runs the Mishima and the two become goods friends.Junko´s mother has a patron who supports her and one day he comes to the city with his legitimate family. Junko feels inferior to his real children.Hideo too experiences the sorrow ot wathching his mother Shigeko prepare to go out with one of her patrons (Tomioka).Meanwhile,his beetle disappears and he depends more and more on Juko for companionship.hideo´s aunt sends him a replacement beetle.Elated,he runs to tell Junko,only to discover that she has left Tokyo and the Mishima has been sold.Saddened,Hideo brings his beetle to the roof of a building and looks out on the Tokyo skyline.Read More »

Quote:
“The elegance and indisputable hard punch of Naruse’s storytelling become immediately clear the moment the lovers kiss and the director cuts, midclinch, to an almost identical shot of them kissing in the past, an edit that suggests this is a passion that transcends even time and space.”
– Manohla Dargis, New York Times (October 28, 2005)Read More »