Story 1 : "The Thirteenth Night". Seki turns up at her parents' house in the dead of night, where she breaks down and says she cannot continue to live with her husband, a rich man to whom th... Read allStory 1 : "The Thirteenth Night". Seki turns up at her parents' house in the dead of night, where she breaks down and says she cannot continue to live with her husband, a rich man to whom the family is indebted. After a tearful and long discussion, they convince her to return. On... Read allStory 1 : "The Thirteenth Night". Seki turns up at her parents' house in the dead of night, where she breaks down and says she cannot continue to live with her husband, a rich man to whom the family is indebted. After a tearful and long discussion, they convince her to return. On the way home, the rickshaw driver turns out to be an old school friend, and they reminisc... Read all
- Awards
- 5 wins & 1 nomination
Photos
- Yamamura Kahee (Story 2)
- (as Susumu Tatsuoka)
- Director
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Storyline
First, a word about Tadashi Imai. During the Golden Age, Imai was the most honored director in the Japanese industry except for Ozu. There were a number of interesting reasons for this. Imai was considered a committed Leftist, a fact that impressed critics of the day. His films consistently tackled social issues of the wartime and postwar eras, a trait which said "serious artist" to critics then. Furthermore, at a time when the half dozen major studios completely dominated the industry, he refused to submit to their censorship, producing his work independently (although a few other prominent directors, including Kaneto Shindo, also did so).
So should we sneer at these critics and their "shockingly" bad preference? No, because though they were clearly wrong to prefer Imai to Ozu or Mizoguchi, picking "Muddy Water" as best film was not a crass or idiotic choice, because it turns out to be a really excellent "Golden Age" film: intelligent, sensitive and evocative. Based on three grim stories, all set during the Meiji era, by the esteemed writer Ichiyo Higuchi, who died near the end of the 19th Century at the age of 24, the tales provide a devastating portrait of the low status of Japanese women then -- which was certainly not irrelevant to gender relations in mid-20th Century Japan.
In the first story, an unhappy wife, who has abandoned her philandering, verbally abusive husband, seeks shelter in her parents' home. The father, speaking for the dominant culture, reminds her of her duty to serve her awful husband and her young child (and also urges her to think of the financial situation of her family, who are accepting money from the rich husband). Now considering her desire for a bit of happiness in life selfish, the unfortunate girl resolves to return to the husband. She is transported back by a rickshaw driver whose drunken rudeness startles her -- until she realizes that he's an old childhood friend. The evocation of youthful happiness by these two unhappy adults is delicately and sensitively rendered, and the tale ends with a kind of sigh of resignation.
In the second story, a young, orphaned servant girl serves a rich, miserly mistress. (It's not clear why she never seeks other employment.) When she's forced to ask her employer for a two-yen loan to help the sick uncle who raised her, the woman promises her the money, then reneges. Given charge of a sum of money by the rich woman, the honest but desperate girl yields to temptation and steals the two yen. The resolution of this plot reminded me curiously of the stories of O. Henry. Yoshiko Kuga usually played very modern women, and so seems a bit uncomfortable in a rare period role as the servant girl. But she gives a fine, intelligent performance.
The last, longest and best of the stories is set in a brothel in Tokyo's Yoshiwara (red light) district. The beautiful O-Riki (Chikage Awashima) is the Number 1 girl in the house, and it's easy to see why. Beneath her hardened exterior, however, she harbors romantic dreams that won't go away, as she reveals to a mysterious customer, Asanosuke (So Yamamura). Meanwhile, she avoids a former customer named Gen (Seiji Miyaguchi), a laborer whose expensive addiction to O-Riki has ruined himself and his family. (She does this, she tells Asanosuke, for the man's good and her own.) Meanwhile at Gen's home, his long-suffering wife (the great Haruku Sugimura) begs her husband to forget O-Riki and think of herself and her son. Instead, for reasons that become clear only at the end, he kicks both wife and child out of the house.
It goes without saying that all this ends very sadly for all concerned. It also goes without saying that Awashima, Yamamura, Miyaguchi and, particularly, Sugimura give superb performances, and the restrained ending is quite moving. This is a classic Golden Age movie. The films of Tadashi Imai, who has fallen into obscurity, are hard to find, but I intend to try to seek out at least some of them.
- dylanfan-2
- Mar 12, 2015
- Permalink
Details
- Runtime1 hour 44 minutes
- Color
- Sound mix
- Aspect ratio
- 1.37 : 1