Naruse's final silent film "Kagirinaki hodô" (Street Without End, 1934) was produced by Shochiku, where the director spent his silent period though not for much longer. It has survived in complete form and while the plot-line is not a masterwork, the film offers fascinating glimpses into Japanese modernity of the 1930's, early Showa period. For myself, it was more enjoyable due to the cinematography, the locations, the culture and the fashion than for the narrative, which is pretty plain and superficial for the director.
The film is a lightweight melodrama about two waitresses, Sugiko (Shinobu Setsuko) and Kesako (Katori Chiyoko). Being modern girls, they work for a living. But this still being Japan, work is seen as a transitional period. They aren't quite sure what they want for the future. There's a talent scout from a movie studio who is interested in Sugiko, but it's her friend who would like to become an actress. Sugiko gets engaged with a guy, but then tragedy occurs. She is hit by a car, and the guy thinks she doesn't want him after all. Little "Love Affair" before "Love Affair" (1939). It's hard to see this in a completely melodramatic light when the man jumps to conclusions like that. Anyway, this gives Sugiko a chance to get to know the driver who hit her, and Kesako goes on to pursue the career thing. Both are in for some let-downs.
This film has a lively feeling to it. Though it's a melodrama by plot, the characters appear easy-going and relaxed. In one scene a couple goes to see "The Smiling Lieutenant" (1931) by Ernst Lubitsch, a director whose fanbase included most notable Japanese directors of the time. The women bounce between modernity and tradition, and these things aren't always black and white. The material isn't a prize winner, but Naruse does the best he can with it, and by 1934 he had developed into a fine storyteller with an eye for visuals as well. This is a pleasant watch for anyone interested in the time period, or the director.
