Yearning

I have all the respect in the world for Mikio Naruse, I really do. His films always touch on things that are still relevant- he's good at exploring timeless themes. His films always have good acting, and are also always nice to look at. They're also tremendously empathetic, and focus far more on female characters than many films from the 1950s and 60s. In that way, they also feel forward-thinking and maybe even radical.

But at the same time, I do always find them slow-going and a little hard to really get into it. There's a certain distance I feel every time I watch one of his movies, even while I recognise they're very well-made. And there's no proper criticisms I can make about it; not more than saying I just find his films a little boring.

It's a me problem. I still respect what he did as a filmmaker, and I do understand why he's so highly regarded. His movies just aren't really for me - not any I've seen yet, at least.

I have binge watching Naruse films and have liked all but one. Yearning may be the moving both as a love story and as a story of social change. The theme of small businesses being run out by large corporations is as timely today in the US as it was in 1964 Japan. The two leads are terrific and have great chemistry. Highly recommended

I was really astonished to see so few reviews on such a great movie.

Yearning (A woman in upheaval in its French title, Midareru in Japanese - being disturbed) is a movie that deserves your attention. And not only if you like Japan. Of course, it is really characteristic of Japanese culture at that time and the change that proceeds in this country at that time, beginning to shift from tradition to modernity. But it is also the wonderful tale a the relationship between two people and how the social constraint applies to them. And how this relationship begin to shift (yes, like the country itself, however not in the same way).

Emotion, society, money, this movies addresses a lot of topics but do not forget to follow its story. Helped with a great acting, with a beautiful female lead characer, it is a successful movie in every aspects. Do take your time to enjoy it!

I saw YEARNING (MIDARERU, 1964) at a screening at New York's Asia Society on Dec. 3, 2010. It's only the second film by Mikio Naruse that I've seen, but I'm eager to see more. (The first was WHEN A WOMAN ASCENDS THE STAIRS, 1960, seen on Criterion DVD earlier this year.) YEARNING is a quiet but emotionally honest drama about Reiko, a war widow who has given her best years to her late husband's family, managing their grocery shop while Koji, her younger, handsome brother-in-law, gambles, drinks and loafs. The family plots to tear down the shop and build a supermarket in its place, pushing Reiko out of the top position. Koji protests. When he decides to take a stand, on more than one front, it changes his relationship to Reiko and forces her to make a life-changing decision.

Naruse shoots in a spare, classical style with sync-sound recording, both on location and in the studio, and gets strong performances out of the entire cast. Yuzo Kayama, whom I know primarily from period movies like SANJURO, CHUSHINGURA and SWORD OF DOOM, plays Koji as a spoiled son and brother who begins to mature before our eyes. Hideko Takamine plays the still-beautiful 30-something widow whose self-effacing front hides her own submerged desires. She never acts on her own behalf, but just dutifully runs the shop and waits for Koji to grow up. No matter what is happening in her heart, she simply won't ask for anything or accept it when it's offered. Even when she makes her big move midway through the film, it's only because she thinks it will help Koji. Reiko resembles an Ozu heroine, while Keiko, the lead character in WHEN A WOMAN, also played by Takamine, was more like a Mizoguchi heroine. The film was shot in widescreen black-and-white and the action is set mostly in a small rural town far from Tokyo where a new supermarket loudly promotes itself and its cheaper prices, causing hardship for the small shopkeepers like Reiko. (This is why Koji's family wants to expand the store-to compete.) Later, the film stays with Reiko on a train ride for a long stretch, wrapping up in a small, picturesque resort town.

Mie Hama, the petite beauty who played Kissy Suzuki, the Japanese agent who marries James Bond in YOU ONLY LIVE TWICE (1967), appears in two memorable scenes as Koji's cute and fickle young bedmate who chews gum (and spits it out on the floor of the shop) and boasts a beauty shop hairdo like American teenage girls were wearing at the time. She's quite keyed into her own desires in a way that Reiko can only envy. When she was on screen, I kind of wished the movie would stay with her for a while.

The abrupt ending may leave some viewers unsatisfied. I would have preferred some kind of epilogue, like the final scene of WHEN A WOMAN. However, I've learned to accept that with certain filmmakers like Naruse, one should take the ending on faith, even if you don't get the reason for it right away. YEARNING remains a beautiful, moving Japanese drama with an insistent subtext about the lingering effects of the war on Japanese families some 20 years after the surrender.

In the War, Hideko Takamine married a soldier. He was killed within six months. His family's liquor store was caught in a bombing raid, and while most of the community fled, she singlehandedly worked to rebuild the business. Now eighteen years have passed and the store and the family are prosperous. However, there are two new supermarkets in town, drawing all the business. Yûzô Kayama, her husband's younger brother, has been strangely lazy. He had a job with a good corporation, but quit. Instead of working at the store, he spends his days loafing. Yet he is smart enough to realize that, with the store's good location, there is an answer: convert to a supermarket. The family is enthusiastic. His sisters' husbands are willing to back the expanded venture in return for directorships, and the sisters are ecstatic. Yûzô says that Hideko will have to be an executive; she has, after all, saved the family and run the store for almost two decades. The sisters think this is ridiculous; she is not, they insist, a blood relative. Nothing gets done. Hideko is only vaguely aware of the proposal, because her brother-in-law won't talk about it. then he tells her the secret he has been silent about for so long:he is in love with her.

Here's Mikio Naruse again, plowing the same patch he did for so many years, the Shomin-Gekim. He was often compared to Ozu, to his own detriment. Although he produced masterpieces, there is nowhere near as much consideration of his work. He did not concern himself with the workings of the family, but with the individual, usually the oppressed woman (although Kamaya suffers for his love, Miss Takamine is not even permitted to consider the matter): very bad! His focus is not the collective. He does not plant his camera humbly on the mat and look at his subject through long, unmoving takes: very bad! How is a film critic supposed to recognize his style? He does not use the same actors, over and again, in much the same roles: very bad! A true auteur tells the same story, over and over! His characters suffer the strictures of society, with only private tears: very bad! The bourgeouisie win again!

It's a false dichotomy, as if by admiring Ozu more, we must despise his colleagues. I admire Ozu greatly, and I also admire Naruse, who told his tales of woe with great compassion and despair, and did so with fine actors. As he does here.