Caminhada sem Destino

When not making goofy giant monster movies Toho were known for their bleak period pieces, this is the latter.

It tells the story of one girls struggle as she fights to make her way through a difficult life, poverty, hunger and poor companion choices. As you can imagine this critically acclaimed piece doesn't make for the easiest viewing.

At just over two hours in length it manages to spread out the girls plight and it makes for a very sad watch. Many Toho movies are and it's very difficult to find a balance of sadness and entertainment, there is only so dark you can go before the latter becomes absent.

I'm not sure the balance was right here, though it has its moments it's a very bleak little story and might not have quite the payoff you feel necessary.

Watchable stuff, great performances but I struggled to find enjoyment.

The Good:

Fantastic performances

The Bad:

Unmercifully bleak

Things I Learnt From This Movie:

Children should thank their fathers for skipping their first 8yrs

Can you imagine how miserable the movie would be if Toho merged the bleak with the monsters!?

I've seen four films (None on DVD) of Hideko Takamine, three with director Mikio Naruse, and She certainly must have been one of the dominate Star's of Japanese film in her age. Going by the IMDb, She started in silent film in 29 and then did roughly a movie a year before retiring in 79.

Houroki-ki is a good film with a masterful performance from Takamine, She curls her body in a sensual pout whenever sizing up the situation, determined to rise above it even as She feigns not caring. Naruse's work is steady and intelligent and here the film never quite falls into "soap opera", as some of Takamine's vehicles seemed too.

I really recommend this one and "The Four Chimneys;" it's about time more

was known in the West of the impressive Ms. Takamine.

How is it possible that Hideko Takamine can transform herself into this character so easily? My answer is that she was, 100%, an actress of heart. (Unlike so many Japanese actors and actresses these days who can only make faces.) And she does great things with her heart. She was by far one of the most talented actresses in the 20th century not only in Japan but anywhere. After playing several of Fumiko Hayashi's characters, Deko-Chan plays Fumiko Hayashi herself in Hourou-ki. And it is amazing to watch. From the beginning of the movie there is a deep sadness on Fumiko's face; and even when she is expressing other emotions in the movie, that sadness is still there in her face — it never goes away. Wow. I think that unlike most actors and actresses Hidoko Takamine can completely transform herself into her character; erase herself completely

It's the story of the early life of Fumiko Hayashi: her penniless upbringing, her desperate poverty in her young adulthood, her awful choice in men, and ultimately the beginning of her success as a writer.

Mikio Naruse's sixth and final movie based on Miss Hayashi's works -- including the revered MESHED and my personal favorite, INAZUMA -- is a story of tragedy from the beginning to the end. The choice to play the writer, Hideko Takamine, seems an odd choice, but she makes herself unattractive and utterly believable. Likewise, Kinuyo Tanaka seems older and more futile than in anything I've ever seen her in.

It's clearly an important movie, released to celebrate Toho's thirtieth anniversary as a production company. He directs it as one of those endless tales of Tokyo poverty that he and other socially conscious directors supervised in the 1930s, combined with the story of a woman mistreated by Japan's misogynistic society that Naruse so often offered.

I found it a tough watch; not only is it difficult to see a movie about a poet in another language -- although the rhythms of the translation in the version I watched were excellent -- but the unending misery, accurate to Miss Hayashi's life and written story though it may be, was hard to watch befalling my favorite Japanese actress. Don't mistake me: it's a great movie. But it's not one I'm likely to visit again soon.

Hourou-ki (1962) was shown at the Gene Siskel Film Center in Chicago with the title Her Lonely Lane. The film was co-produced and directed by Mikio Naruse, and is based on an autobiography written by Fumiko Hayashi. The film stars Hideko Takamine as Fumiko Hayashi.

This is the first Naruse film I've seen, and I feel as if I'm starting at the end of a cycle rather than at the beginning. Naruse had adapted several books by Hayashi for the screen, and this was the last. In the same way, Takamine was one of the director's favorite female actors, who had worked with him on several previous films. Under those circumstances, I can only give a general review of the film--I wish I could have seen it in sequence after having seen some of the others.

As a director, Naruse reminds me of Ozu. The movie is quiet, and the camera work is unobtrusive. The film is very sad. As portrayed in the movie, Hayashi's childhood and young adulthood were spent in bitter poverty. This is shown as something far beyond low income--Hayashi often doesn't have enough to eat, and has to take a succession of low-end jobs just to have enough money to pay for her meals and to send funds to her equally impoverished parents.

It's interesting that the film--and presumably the book--doesn't portray the protagonist as a saint. Hayashi not only makes bad choices, especially in men, but she commits a truly unethical act in order to advance her own literary career.

Even at the end, when the older Hayashi is wealthy and famous, she is scarred by the life she left behind. Rather than being portrayed as a kind, benevolent mentor, she is shown as shrewd, bitter, and self-serving.

I enjoyed this film, but I struggled somewhat with cultural differences about which I was uncertain, and subtitles which I suspect didn't do justice to the dialog. Even so, it was a privilege to be able to see this rare film and to learn of a new (for me) and highly talented Japanese director.