Aggiungi una trama nella tua linguaWhen she reaches adulthood, a precocious young woman sets out to find her biological father, who, as her mother tells her, abandoned them for another woman.When she reaches adulthood, a precocious young woman sets out to find her biological father, who, as her mother tells her, abandoned them for another woman.When she reaches adulthood, a precocious young woman sets out to find her biological father, who, as her mother tells her, abandoned them for another woman.
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Although not quite as famous as 1950s Japan's Golden Age of Cinema, movies from the Land of the Rising Sun in the 1930s were experiencing quite a bit of popularity in Asia. However, United States film fans were oblivious to the great works coming out of Japan until director Minoru Naruse's September 1935's "Wife! Be Like A Rose!" The now-Japanese classic finally was shown two years later in America after its initial release. An untimely New York Times' scathing review of the film put an end to its domestic showing, but other more aware critics acknowledged its innovative visuals were unique in filmmaking.
"Wife! Be Like A Rose!" has drawn parallels to films coming out of the French New Wave movement in the 1950s rather than belonging to the mid-1930s. Naruse's forte was heavily-focused on his female characters. Its plot centers around a daughter, Kimiko (Sachiko), about to get married. Her father had left the family 15 years earlier and remarried a geisha woman in the countryside. Kimiko hopes to get her father to walk her down the aisle at her wedding, but her finance's father insists he meets him before he does. Kimiko's troubles are compounded by a depressed mother who pines for her ex-husband and writes sad poems all day.
The character Kimiko can easily be placed in today's world. Director Naruse's "sprightly, modern feel" reflects Kimiko's progressiveness as a departure from her mother's traditionalistic behavior in marriage. "What makes this film so fascinating is the sheer level of characterization that goes into so many of the onscreen personalities," notes film reviewer Miles Imhoff. "Wife! Be Like A Rose!" was the winner of the 1936 Kinema Junpo Award for Best Film of the Year-equivalent to the Academy Awards Best Picture. Although Naruse was recognized as one of Japan's most influential directors at the time, his studio, Toho, besides "Wife! Be Lake A Rose!" had a habit of giving him weak scripts. He felt his superior filmmaking techniques were required to overcome the bad plots as well as the bad acting from the studio's contracted actors. After World War Two Naruse was a member of a select group of directors responsible for the resurgence of Japanese 1950s films in its golden age of film.
"Wife! Be Like A Rose!" has drawn parallels to films coming out of the French New Wave movement in the 1950s rather than belonging to the mid-1930s. Naruse's forte was heavily-focused on his female characters. Its plot centers around a daughter, Kimiko (Sachiko), about to get married. Her father had left the family 15 years earlier and remarried a geisha woman in the countryside. Kimiko hopes to get her father to walk her down the aisle at her wedding, but her finance's father insists he meets him before he does. Kimiko's troubles are compounded by a depressed mother who pines for her ex-husband and writes sad poems all day.
The character Kimiko can easily be placed in today's world. Director Naruse's "sprightly, modern feel" reflects Kimiko's progressiveness as a departure from her mother's traditionalistic behavior in marriage. "What makes this film so fascinating is the sheer level of characterization that goes into so many of the onscreen personalities," notes film reviewer Miles Imhoff. "Wife! Be Like A Rose!" was the winner of the 1936 Kinema Junpo Award for Best Film of the Year-equivalent to the Academy Awards Best Picture. Although Naruse was recognized as one of Japan's most influential directors at the time, his studio, Toho, besides "Wife! Be Lake A Rose!" had a habit of giving him weak scripts. He felt his superior filmmaking techniques were required to overcome the bad plots as well as the bad acting from the studio's contracted actors. After World War Two Naruse was a member of a select group of directors responsible for the resurgence of Japanese 1950s films in its golden age of film.
10Red-125
The Japanese film "Tsuma yo bara no yô ni" was shown in the United States with the title, "Wife! Be Like a Rose!" or "Kimoko" (1935). It was directed by Mikio Naruse.
This film was the first major film directed by Naruse, but it's clear that he had already mastered the art of cinema. Naruse's films are typically melodramas about middle-class or working-class people. His movies, like this one, are often tinged with sadness.
Sachiko Chiba plays Kimiko Yamamoto, a young office worker who has a modern outlook and dresses in western fashion. She lives with her mother, who is a talented poet. However, her mother is depressed, and most of the poems she writes are about her husband, who has left the family and moved to the countryside.
Kimiko travels to her father's village, in order to convince him to return home to his wife and to her. When she meets with her father, she learns that matters are not at all what they had seemed.
I wish I could write more about this very interesting plot, but the enjoyment of this film depends upon the unexpected events that occur during and after Kimiko's trip. I have no intention of spoiling the movie for those reading this review.
We saw this film at the Dryden Theatre, in an original 35mm print that is owned by The George Eastman Museum. It's hard to believe that this movie is apparently unavailable in the U.S. on DVD. In fact, I hesitated to review it, because what's the point of a review if no one can see the film? However, the movie was excellent, and possibly it will play in a Naruse retrospective in your location. If so, don't miss it!
Note: In 1937, two years after the film was made, Naruse married the star of the film--Sachiko Chiba. Sadly, life followed art, and they were divorced three years later.
This film was the first major film directed by Naruse, but it's clear that he had already mastered the art of cinema. Naruse's films are typically melodramas about middle-class or working-class people. His movies, like this one, are often tinged with sadness.
Sachiko Chiba plays Kimiko Yamamoto, a young office worker who has a modern outlook and dresses in western fashion. She lives with her mother, who is a talented poet. However, her mother is depressed, and most of the poems she writes are about her husband, who has left the family and moved to the countryside.
Kimiko travels to her father's village, in order to convince him to return home to his wife and to her. When she meets with her father, she learns that matters are not at all what they had seemed.
I wish I could write more about this very interesting plot, but the enjoyment of this film depends upon the unexpected events that occur during and after Kimiko's trip. I have no intention of spoiling the movie for those reading this review.
We saw this film at the Dryden Theatre, in an original 35mm print that is owned by The George Eastman Museum. It's hard to believe that this movie is apparently unavailable in the U.S. on DVD. In fact, I hesitated to review it, because what's the point of a review if no one can see the film? However, the movie was excellent, and possibly it will play in a Naruse retrospective in your location. If so, don't miss it!
Note: In 1937, two years after the film was made, Naruse married the star of the film--Sachiko Chiba. Sadly, life followed art, and they were divorced three years later.
I admit I find this to be a little uneven, and it's possible that my opinion stems in part from an inability to fully appreciate the film-making and storytelling sensibilities that figure into it. (By the same token, though relatively rare, I believe it is unfavorable when the lasting value of a picture is in some measure dependent on cultural context.) One way or another, there are points where the dialogue and scene writing come across as rather rigid and unnatural - and for that matter, Naruse Mikio's direction as well - and slivers of tonal discrepancy also curiously raise their head, even in Ito Noboru's complementary score. In fairness, these issues diminish, if not resolve entirely, as the plot develops beyond the exposition in the first third that establishes characters, their relationships, and the scenario. It's still unfortunate, though, that with a shorter runtime of only seventy-four minutes, those issues consequently feel more pronounced. However worthy 'Wife! Be like a rose!' may or may not otherwise be, to some small extent it doesn't necessarily meet its full potential.
Yet thankfully such matters represent but a fragment of the movie, and regardless of how much we might scrutinize it this is, overall, quite strong, enjoyable, and satisfying. Though without specific examples coming to mind I'm reminded somewhat of some contemporary fare out of Hollywood or England in how the story initially seems ready to focus on Kimiko's relationship with boyfriend Seiji, but instead shifts to the more dramatic focus of her family's structure, with father Shunsaku having left her and mother Etsuko years ago. This is probably the more interesting story, anyway, for through it we see the complexities of relationships between men and women, not to mention the complexities of individual people; the false assumptions that we make about people based on limited information, and the difficulties of reconciling our hopes for the future with the realities of the past and present; and more. This carries itself with a soft tone, declining to heavily emphasize any beat or idea, but that works perfectly in the film's favor as the tale and its themes are allowed to speak for themselves. And so they do. It's worth further observing that in 'Wife! Be like a rose!' we see a quite modern vision of Japan, with Kimiko moreover being an intelligent, independent-minded young woman, and writing that denotes Shunsaku's culpability - unlike a lot of contemporary works in which Men Never Do Any Wrong unless they were outright villains - while also recognizing the complicated situation in which the characters find themselves. I don't think the title is impeccable, yet Naruse's writing is generally superb as he adapts Nakano Minoru's play.
In all other ways this is splendidly well made, with Suzuki Hiroshi's cinematography striking me as especially smart and dynamic. As the feature maintains a soft, reserved tenor, I think the cast are given more of an opportunity to meaningfully demonstrate their nuanced range and emotional depth, and from one to the next the performances are excellent. By all means, some roles are larger than others, yet I'm equally pleased with all the actors, from Chiba Sachiko (Komiko), Ito Tomoko (Etsuko), and Fujiwara Kamatari (uncle Shingo), to Hanabusa Yuriko (Oyuki), Maruyama Sadao (Shunsaku), and Horikoshi Setsuko (Shizuko). The filming locations are lovely, and the sets no less so; the costume design is sharp and fetching. Truthfully, while I'm of the mind that there are some shortcomings, when all is said and done I think the strengths this boasts well outshine any weaker spots, and the impression I'm left with is of a quietly rich, rewarding drama. One would be remiss not to observe this to have seemingly been one of Naruse's first sound pictures, and one of the first Japanese pictures to have made its way to the United States, and from the outside one might wonder if it has any further value to offer ninety years later. I'm happy to say that as far as I'm concerned it very much does, and I'm glad to give a warm, hearty recommendation for 'Wife! Be like a rose!'
Yet thankfully such matters represent but a fragment of the movie, and regardless of how much we might scrutinize it this is, overall, quite strong, enjoyable, and satisfying. Though without specific examples coming to mind I'm reminded somewhat of some contemporary fare out of Hollywood or England in how the story initially seems ready to focus on Kimiko's relationship with boyfriend Seiji, but instead shifts to the more dramatic focus of her family's structure, with father Shunsaku having left her and mother Etsuko years ago. This is probably the more interesting story, anyway, for through it we see the complexities of relationships between men and women, not to mention the complexities of individual people; the false assumptions that we make about people based on limited information, and the difficulties of reconciling our hopes for the future with the realities of the past and present; and more. This carries itself with a soft tone, declining to heavily emphasize any beat or idea, but that works perfectly in the film's favor as the tale and its themes are allowed to speak for themselves. And so they do. It's worth further observing that in 'Wife! Be like a rose!' we see a quite modern vision of Japan, with Kimiko moreover being an intelligent, independent-minded young woman, and writing that denotes Shunsaku's culpability - unlike a lot of contemporary works in which Men Never Do Any Wrong unless they were outright villains - while also recognizing the complicated situation in which the characters find themselves. I don't think the title is impeccable, yet Naruse's writing is generally superb as he adapts Nakano Minoru's play.
In all other ways this is splendidly well made, with Suzuki Hiroshi's cinematography striking me as especially smart and dynamic. As the feature maintains a soft, reserved tenor, I think the cast are given more of an opportunity to meaningfully demonstrate their nuanced range and emotional depth, and from one to the next the performances are excellent. By all means, some roles are larger than others, yet I'm equally pleased with all the actors, from Chiba Sachiko (Komiko), Ito Tomoko (Etsuko), and Fujiwara Kamatari (uncle Shingo), to Hanabusa Yuriko (Oyuki), Maruyama Sadao (Shunsaku), and Horikoshi Setsuko (Shizuko). The filming locations are lovely, and the sets no less so; the costume design is sharp and fetching. Truthfully, while I'm of the mind that there are some shortcomings, when all is said and done I think the strengths this boasts well outshine any weaker spots, and the impression I'm left with is of a quietly rich, rewarding drama. One would be remiss not to observe this to have seemingly been one of Naruse's first sound pictures, and one of the first Japanese pictures to have made its way to the United States, and from the outside one might wonder if it has any further value to offer ninety years later. I'm happy to say that as far as I'm concerned it very much does, and I'm glad to give a warm, hearty recommendation for 'Wife! Be like a rose!'
A very dear film by the young Naruse Mikio, and the theme is what it so often is in the great Japanese cinema of the 1930s, 40s and 50s: the heart wants what it wants. The lovely daughter is played by Chiba Sachiko, and she would later marry Naruse. The wonderful Japanese actor Maruyama Sadao plays the father. Maruyama would later be exterminated in the U.S. terror bombing of Hiroshima.
A young middle-class woman sets out to a remote mountain village in Nagano to bring her estranged father back to Tokyo where his presence is needed to fulfill some pressing social obligations - chief among them a meeting between her parents and the father of her intended bridegroom. Her own father, though, would rather stay with his common law wife - a former geisha - and their two children despite their relative poverty and "disgraceful" circumstances. Father is happy prospecting for non-existent gold in the rivers of his adopted rural home, while his selfless and devoted 'wife' ekes out a living as a hairdresser.
Back in Tokyo, Etsuko, the abandoned wife and Kimiko's self-absorbed and pretentious mother publishes mournful haiku for her long lost husband and patiently waits for his return. Will Father return to his "rightful" place with his "legitimate" family or will he forsake them for his mistress and their two children? Naruse Mikio's comic and heart stirring melodrama 'Wife! Be Like a Rose' offers a surprising and refreshing take on familiar Japanese themes on 'self-sacrifice' and filial devotion.
Back in Tokyo, Etsuko, the abandoned wife and Kimiko's self-absorbed and pretentious mother publishes mournful haiku for her long lost husband and patiently waits for his return. Will Father return to his "rightful" place with his "legitimate" family or will he forsake them for his mistress and their two children? Naruse Mikio's comic and heart stirring melodrama 'Wife! Be Like a Rose' offers a surprising and refreshing take on familiar Japanese themes on 'self-sacrifice' and filial devotion.
Lo sapevi?
- QuizThis was possibly the first fictional feature film from Japan to be distributed in the United States, under the name "Kimiko."
- ConnessioniRemade as Koi ni mezameru koro (1969)
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- Wife! Be Like a Rose!
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By what name was Tsuma yo bara no yô ni (1935) officially released in Canada in English?
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