Mikio Naruse

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Michael Kerpan
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#26 Post by Michael Kerpan » Mon Sep 12, 2005 2:08 pm

backstreetsbackalright wrote:Is this an adaptation of Kawabata's Sound of the Mountain?
Yes -- but bleaker than the original. ;~}

(I love both the book and the film)
backstreetsbackalright wrote:Anyone notice the big ups to our own Michael Kerpan in the latest issue of Film Comment?
Not me! What on earth does it say? (putting on running shoes to get to the nearest Borders before all copies of this issue are snapped up).

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#27 Post by backstreetsbackalright » Tue Sep 13, 2005 2:02 pm

Michael Kerpan wrote:
backstreetsbackalright wrote:Anyone notice the big ups to our own Michael Kerpan in the latest issue of Film Comment?
Not me!

What on earth does it say? (putting on running shoes to get to the nearest Borders before all copies of this issue are snapped up).
The newest issue has a piece on Naruse. I don't have it on my person right now, so I can't quote it exactly. Author Chris Fujiwara thanks several people for their help and Naruse knowledge. Your name was one of them.

BTW, Film Comment's website doesn't show the new issue yet, so I dunno if it's hit stands yet. I'm a subscriber, and sometimes get them a little earlier.

Here's the actual text:
The author wishes to acknowledge the generosity of Sachiko Watanabe, Reiko Murakami, Miguel Marias, Michael Kerpan, and Kent Jones in providing materials for preparing this article.

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#28 Post by Steven H » Tue Sep 13, 2005 2:46 pm

The author wishes to acknowledge the generosity of Sachiko Watanabe, Reiko Murakami, Miguel Marias, Michael Kerpan, and Kent Jones in providing materials for preparing this article.
He's probably talking about *another* Michael Kerpan who's generous and knowledgable about Naruse. One day I can say "I knew him when..."

As for Yearning, an interesting perspective on the film (for me) is to compare it with some of the New Wave films made a little after (Yoshida's Story Written With Water, Imamura's Insect Woman, or Oshima's Ceremony) which also involve extended families in Japan in the postwar era, and the internal (or sexual) and social battle of giri and ninjo. Yearning takes my breath away when I watch it, and it's one of the films I would love to see on DVD with english subtitles someday soon.

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#29 Post by Michael Kerpan » Tue Sep 13, 2005 3:31 pm

Steven H wrote:As for Yearning, an interesting perspective on the film (for me) is to compare it with some of the New Wave films made a little after
The opening section reminds me a bit of Masumura's "Giant and Toys" (from 6 years earlier). "Insect Woman" was actually made the year before "Yearning".

Naruse's late films show him to have been paying a good deal of attention to what his younger colleagues were doing.

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#30 Post by tavernier » Fri Sep 16, 2005 10:24 pm

Film Forum press release:

[quote]NARUSE: THE UNKNOWN JAPANESE MASTER Complete Schedule
OCTOBER 24 - NOVEMBER 17 at New York's Film Forum

OCTOBER 21/22/23/24
WHEN A WOMAN ASCENDS THE STAIRS‚ New 35mm Print!
(1960) Just-turned-thirty widow Hideko Takamine works as a bar hostess in an exclusive Ginza nightclub, remaining high-minded while dreaming of opening her own place, as round-heeled colleagues cash in and her skirt-chasing manager Tatsuya Nakadai cheers her on while admiring her from afar, amid suicides, her own ulcers, and marriage proposals. Could rich exec Masayuki Mori (Rashomon) be the way out? 1:00, 3:10, 5:20, 7:30, 9:40

OCTOBER 25
WIFE New 35mm Print!
(1953) Unusual for Naruse, salaryman Ken Uehara is on the receiving end, as wife Mieko Takamine sleeps in, eschews housework, and even leaves hairs in his bento lunches, and who, when she finds out about his affair with his widowed secretary, seems to get even more unsympathetic. Based on a novel by Fumiko Hayashi. 1:00, 2:50, 4:40, 8:20, 10:10

OCTOBER 25
OLDER BROTHER, YOUNGER SISTER New 35mm Print!
(1953) It's bad enough for a domineering rural dad to realize his family survives on the money from Mom's riverside tea stall and that his son, erstwhile classy intellectual Masayuki Mori, is turning into a tattooed brawler. But then eldest daughter Machiko Kyo (Rashomon) returns from the city sporting a pregnancy by a university student. Third and most acclaimed adaptation of a popular novel. 6:30

OCTOBER 26 (2 Films for 1 Admission)
APPROACH OF AUTUMN New 35mm Print!
(1960) Recently widowed Nobuko Otowa (Onibaba) re-locates for a job at Tokyo's Mishima Hotel, but her shy sixth-grader has trouble adjusting, preferring the company of his pet beetle - until he befriends the hotel manager's daughter. A rare and masterful focus on children for Naruse. 1:00, 4:30, 8:00

SUDDEN RAIN New 35mm Print!
(1956) Those little habits can sure get annoying after four years of marriage -- husband Shuji Sano reads at the table, wife Setsuko Hara clips recipes before he's finished the paper, etc. Then a niece's visit and those next-door newlyweds help to stir the pot. 2:40, 6:10, 9:40

OCTOBER 27
DAUGHTERS, WIVES AND A MOTHER New 35mm Print!
(1960) In suburban Tokyo, a son of the Sakanishis dies, leaving his widow with a king-sized insurance payoff - and then the family descends, with backbiting, disasters and recriminations so horrific that the mater familias looks to check into a nursing home for the kids' sake, with only the widow herself with a shot at happiness. Color, Scope and an incredible all-star cast: Setsuko Hara, Hideko Takamine, Ken Uehara, Masayuki Mori, and Tatsuya Nakadai. 1:00, 3:30, 6:00, 8:30

OCTOBER 28/29
FLOATING CLOUDS (aka DRILLING CLOUDS) New 35mm Print!
(1955) Amour fou in post-war Tokyo, as, in neurotic playing of almost painful intensity by Hideko Takamine, a woman who, knowing full well her lover's weakness and instability, sacrifices everything to follow him. As the lover, Masayuki Mori's enigmatic performance keeps the man's true feelings ambiguous until practically the final shot. The director's biggest commercial success and winner of a poll in Kinema Jumpo, Japan's leading movie magazine, as best of the year - even Ozu raved about it to his diary. 1:00, 3:30, 6:00, 8:30

OCTOBER 30/31
FLOWING New 35mm Print!
(1956) Young star geisha Hideko Takamine complains, while head-of-the-house Isuzu Yamada (Throne of Blood) always looks on the bright side, but quietly observing maid Kinuyo Tanaka (Ugetsu) is the only one who actually realizes the inevitable end of the world of the geisha in a harsh post-war Tokyo. With the three super-stars leading an incredible cast - including two of the Seven Samurai - with Yamada showing her actual shamisen prowess and a wordless final reel. 1:00, 3:20, 5:40, 8:00

NOVEMBER 1
ANZUKKO New 35mm Print!
(1958) Shizue Natsukawa, with distinguished novelist dad So Yamamura's encouragement, sends suitor after suitor to the rejection pile, until she finds two winners in a row: a young veteran and an aspiring novelist. But does she pick the right one? 1:00, 3:10, 5:20, 7:30, 9:40

NOVEMBER 2
SUMMER CLOUDS (aka HERRINGBONE CLOUDS) New 35mm Print!
(1958) Naruse's first film shot in the country, and in color & Scope, introduces a rare sweep and burst of fresh air. And in glamorous Ozu star Chikage Awashima -- cast against type as a war widow working her husband's small plot -- a strong protagonist (even by Naruse standards) walking knowingly into an affair with married reporter Isao Kimura (Seven Samurai). With a stunning conclusion, both tragic and upbeat. 1:00, 3:35, 6:10, 8:45

NOVEMBER 3
A WIFE'S HEART New 35mm Print!
(1956) Every time Hideko Takamine raises enough yen for that coffee shop, her family scarfs it; then her husband gets jealous of her bank loan officer. With Toshiro Mifune guesting in his second and last Naruse picture. 1:30, 5:15, 9:00

HUSBAND AND WIFE New 35mm Print!
(1953) Bumped from family lodgings when brother decides to marry, Yoko Sugi and husband Ken Uehara end up lodging with eccentric Rentaro Mikuni, but even as Uehara resents the strange magnetism of Mikuni, his wife announces a blessed event. But do they want to have it? 3:30, 7:15

NOVEMBER 4/5
LATE CHRYSANTHEMUMS New 35mm Print!
(1954) While her three former geisha colleagues still have hopes in their children and in life, hard-bitten retired chrysanthemumÂ

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#31 Post by King of Kong » Sat Sep 17, 2005 12:13 am

Another Japanese director to discover. So many movies...

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#32 Post by rossbrew » Tue Sep 20, 2005 1:21 am

Hey Vancouver cineastes: the cinematheque is programming this retro in February 06!

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#33 Post by backstreetsbackalright » Tue Sep 20, 2005 1:43 pm

rossbrew wrote:Hey Vancouver cineastes: the cinematheque is programming this retro in February 06!
Oh snap! Road trip!

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#34 Post by Michael Kerpan » Thu Sep 22, 2005 8:19 am

My comments, such as they are, on the films in the retrospective --

A WOMAN ASCENDS THE STAIRS
Story: B+/A-, Performances and cinematography: A ((widescreen b&w at its best)

WIFE
Not seen – supposedly quite good

OLDER BROTHER, YOUNGER SISTER
Interesting film, with nice rural cinematography. Major flaw is Masayuki Mori's performance – miscast both physically and psychologically (as a thuggish, lout of an older brother).

SUDDEN RAIN, THE APPROACH OF AUTUMN
First is a fascinating quickie, more cynical than N's norm. Very tense edgy performances from Hara and Uehara.

Second unseen and unknown.

DAUGHTERS, WIVES AND A MOTHER
Nice story of a dysfunctional extended family, with a very lovely performance by Hara. Color cinematography is a bit humdrum. This is as close as Naruse gets to a sweet Hollywood style romance (with Hara as Audrey Hepburn)

FLOATING CLOUDS
Absolutely essential. One of N's few romantic "tragedies". Extraordinary performance by Takamine.

FLOWING
Essential. An extraordinary assemblage of Japan's greatest actresses performing exceptionally well. Sumiko Kurishima even makes a rare come-back (after almost 20 years of retirement).

ANZUKKO
unseen

SUMMER CLOUDS
Excellent lead performance by Chikage Awashima. Interesting, but very complicated extended family story. Not sure about the effectiveness of the color cinematography (given nature of copy I've seen).

Note : This is NOT the first Naruse film set in the country. Even if "Traveling Actors" is set aside as occuring in a small town in the countryside, "Natsukashi no kao" (A Fondly Remembered Face) definitely was set in a farming village.

A WIFE'S HEART, HUSBAND AND WIFE
unseen

LATE CHRYSANTHEMUMS
I like this more and more each time I re-watch it. I increasingly
focus as much or more now on Sugimura's "less successful" old cronies. Their part of the film is one of N's only buddy films for females. (N's male buddy films seem to be e a critically ignored part of his output).

GINZA COSMETICS
Good film. First example of the new type of film that he developed in the 50s. Tanaka is excellent (as one might expect)

A WANDERER'S NOTEBOOK
Essential. One of Takamine's greatest performances.

WIFE! BE LIKE A ROSE! , NOT BLOOD RELATIONS
First is quite entertaining – and was the first Japanese sound film
shown in the US (to critical indifference, alas). Stars the future
Mrs. Naruse.

Second not seen.

TALE OF THE ARCHERY AT THE SANJUSANGENDO, THE SONG LANTERN
Neither seen

MOTHER
The mawkish opening narration (that sounds nothing like Kagawa's voice) initially put me off – but on re-watching it bothers me less – and the rest of the film really is quite extraordinary.

YEARNING
Visually absolutely stunning. Story is off-beat, maybe a little too much so for some.

SOUND OF THE MOUNTAIN
Absolutely essential. One of the best films ever made.


LIGHTNING
Essential. Takanine and her mother (Kumeko Urabe) are both wonderful in this – and the rest of her dysfuntional family is also quite good. As close to a comedy as one gets in later Naruse.

REPAST
Absolutely essential. Another of the best films ever made.

THREE GIRLS WITH MAIDEN HEARTS, STREET WITHOUT END
both unseen

THE WHOLE FAMILY WORKS, TSURUHACHI AND TSURUJIRO
both unseen

TRAVELLING ACTORS & APART FROM YOU
The first is one of N's quite funny buddy pictures. It almost seems
like N was so taken by the two-man "horse" in Ozu's "Story of Floating Weeds" that he built a story around this motif. Delightful, even if not "consequential".

The second is almost as wonderful as "Everynight Dreams". close to essential.

SCATTERED CLOUDS
If this were not N's last film, it might be viewed as a comparatively
minor pot-boiler. Of course, the typical level of his pot-boilers is
extremely high.

One more essential Naruse film "Yogoto no yume" (Every Night Dreams) is also being shown on Sept 27 at the Film Forum as part of the 110 Years of Shochiku retrospective. Sumiko Kurishima's performance in this is truly exceptional. And Tatsuo Saito (as her well-meaning but hapless) husband gets a chance to shine in a more serious role than he typically was assigned.

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#35 Post by acquarello » Thu Sep 22, 2005 10:20 am

Minor correction: Every Night Dreams is at Walter Reade, or so my ticket says. ;)

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#36 Post by Michael Kerpan » Thu Sep 22, 2005 10:25 am

Minor correction: Every Night Dreams is at Walter Reade, or so my ticket says.
Shochiku's website says that this series was supposed to happen at MOMA. And no fair rubbing this in! (Even on unsubbed video, though -- this film is absolutely stunning).

Ooops -- I see Shochiku says that films will be shown BOTH at MOMA and as part of the NYFF.

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#37 Post by artfilmfan » Sun Sep 25, 2005 1:42 pm

Back to Naruse's films (after a brief detour that includes viewings of a trio of other Japanese films: "Kaza-hana", "Sharasojyu" and "Tokyo Marigold") ...

Yama no Oto (Sound of the Mountain): Pending rewatching (this film and "Repast") with English subtitles someday, this film could end up being my most favorite Naruse film. It's just an excellent film all around: the story, the acting, the cinematography, and the music. So Yamamura's performance in this film is great. The same can also be said of Setsuko Hara's. Hara's "meowing" performance is very impressive :)

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#38 Post by Michael Kerpan » Thu Sep 29, 2005 7:00 pm

artfilmfan wrote:Back to Naruse's films (after a brief detour that includes viewings of a trio of other Japanese films: "Kaza-hana", "Sharasojyu" and "Tokyo Marigold") ...
Please let us know what you thought of these -- in the New Films section, of course. (I've seen two -- and like both very much)..
artfilmfan wrote:Yama no Oto (Sound of the Mountain) Pending rewatching (this film and "Repast") with English subtitles someday, this film could end up being my most favorite Naruse film. It's just an excellent film all around: the story, the acting, the cinematography, and the music. So Yamamura's performance in this film is great. The same can also be said of Setsuko Hara's. Hara's "meowing" performance is very impressive :)
Sound of the Mountain was my favorite -- until Repast edged past it -- seeminglu for good.

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#39 Post by Steven H » Fri Sep 30, 2005 12:26 am

After seeing the Nightly Dreams screening, and enjoying it quite a bit (Saito Tatsuo is always fantastic) I'm still certain that (unlike Yamanaka and Ozu, for instance) his filmmaking wasn't up to the level of his later work. I loved the film, and wouldn't call it a criticism, after all, how often can a director say he got better until the end?

Sakamoto Takeshi with a moustache? I laughed as soon as I saw him.

The ending is great though. In fact, there's very much a tragicomic vibe running through this one. Shiro Kido must have really pushed for this feel in these films (as much as for the "happy ending") because it's something all these directors have in common (other than Yamanaka, the jidai-geki filmmakers I'm not familiar enough to comment on).

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#40 Post by Michael Kerpan » Fri Sep 30, 2005 8:24 am

I think Naruse did quite a bit of experimenting throughout his career. He was always fascinated with camera movement (much more than Ozu), and here he really goes a bit wild with proto-zooming.

(Query, has HONG Sang-soo seen this? viz. Tale of Cinema). ;~}

In any event, my high rating for Nightly Dreams is based (to a large degree) on the extraordianry lead performances.

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#41 Post by artfilmfan » Fri Sep 30, 2005 12:56 pm

Michael Kerpan wrote:
artfilmfan wrote:Back to Naruse's films (after a brief detour that includes viewings of a trio of other Japanese films: "Kaza-hana", "Sharasojyu" and "Tokyo Marigold") ...
Please let us know what you thought of these -- in the New Films section, of course. (I've seen two -- and like both very much)..
If I were totally virtuous" (hahaha, let's not go there) ...

I like all of the three films mentioned above, equally.

Kaza-hana is probably the most conventional of the three. The synopsis posted at YesAsia.com best describes the film. To say more than that would spoil the fun.

Sharasojyu is the least conventional, but the most artsy, of the three. The opening and closing sequences are haunting. Some parts of the film are so slow and low-keyed that I'm reminded of "The Scent of the Green Papaya". One aspect that I like a lot is the use of symmetry. When one of the boys runs away at the beginning of the film, a certain route through the neighborhood is taken. The same route is taken later on in the film when the remaining boy (young man) and his girlfriend rush home, thinking that the mother was in labor (?). Of the three, this is the one that I will probably revisit more often.

Tokyo Marigold is one of those films that get a lot of help from the ending section (in the same way as "When a Woman Ascends the Stairs"). It has one of those endings that hit you where it matters most: the heart (just like "... Woman Ascends ...").

Back to Naruse ...

There's one little thing (blame it on the make-up artist who worked on this film) about "Sound of the Mountain" that really annoys the heck out of me (in the same way that the music in Floating Clouds did). I may not be able to overcome this annoyance; therefore, "Repast" could eventually become my favorite Naruse film. We'll see.

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#42 Post by Michael Kerpan » Mon Oct 03, 2005 8:04 am

I like "Sound of the Mountain" and "Floating Clouds" so much that I just can't let little flaws bother me.

But "Repast" is flawless. ;~}

"Tokyo Marigold" is very endearing -- and the ending is wonderful (if a bit enigmatic). "Shara" is just plain haunting (in the best sense). I've already watched this at least three times (maybe four). It might well be my very favorite film of the last couple of years.

Naruse in Boston ---

I saw 8 films this week-end. Repast looked far more gorgeous on film than on the quite good Toho DVD. All the Toho films we saw seemed to be new prints and looked good though. The two Shochiku films were older prints -- but passable.

The real eye-opener so far was the unheralded 1943 "Uta andon" (the print called this "Lantern Song", the brochure "Song Lantern" -- the former makes more sense in terms of the film). One of the most visually stunning films I've ever seen -- the light effects here are breathtaking -- especially in the section where our hero gives lessons in Noh dancing to the heroine in a forest. I was positively gasping at the beauty (and the utter mastery of light on film) -- not something that has happened often in my long film watching career. Despite the slightly wooded performance of the lead actor, this fairy tale-like film (Naruses' only one of this sort?) may well be a masterpiece. If this comes anywhere near -- do not miss this!

The other rarity we saw -- A Tale of Archery at the Sanjusangendo (1945) -- was entertaining -- especially thanks to the work of Kinuyo Tanaka and Kazuo Hasegawa. It seemed to have an element of tribute to Yamanaka (Million Ryo Pot -- or perhaps earlier), even if some bits were a little pedestrian. Neither of the war-time films I saw showed any real trace of propaganda.

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#43 Post by artfilmfan » Tue Oct 04, 2005 9:40 pm

Michael Kerpan wrote:The real eye-opener so far was the unheralded 1943 "Uta andon" (the print called this "Lantern Song", the brochure "Song Lantern" -- the former makes more sense in terms of the film)... If this comes anywhere near -- do not miss this!
I'm starting to think that a 4.5-hour trip to NYC is "near" :)

Hopefully, acquarello will be starting to write the program for the Naruse retro at the NGA soon. He wrote the program for the Ozu retro, as I recall. And if he's reading this, I hope he'll give us some hint.

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#44 Post by acquarello » Mon Oct 10, 2005 12:14 pm

Hopefully, acquarello will be starting to write the program for the Naruse retro at the NGA soon.
No red lights on my Batphone yet, maybe spring? :( I'm not going to be able to catch most of the Film Forum Naruses though, so I'd have to pass on the notes.

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#45 Post by artfilmfan » Tue Oct 11, 2005 7:37 pm

acquarello wrote:
Hopefully, acquarello will be starting to write the program for the Naruse retro at the NGA soon.
No red lights on my Batphone yet, maybe spring? :( I'm not going to be able to catch most of the Film Forum Naruses though, so I'd have to pass on the notes.
Yep. The Naruse retro most likely will come to DC in the spring, to coincide with the Cherry Blossoms. I'm hanging my hope on that. Do drop us some hint if you have any news.

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#46 Post by Michael Kerpan » Fri Oct 21, 2005 9:44 am

Saw another "unknown" Naruse film -- "Tsuruhachi and Tsurujiro". Some scenes are absolutely wonderful visually. Plotwise, not as engaging as "Lantern Song" but more effective than "Archery Contest". This deals with a (male) singer (Kazuo Hasegawa) and a (female) shamisen player (Isuzu Yamada) who are highly successful as a team on stage -- but have a tendency to feud behind the scenes. Lots of musical performances in the film. Excellent acting performances. Very funny at times -- sort of a cross between a screwball comedy and a romantic melodrama. Not an essential Naruse film, perhaps, but an enjoyable one.
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#47 Post by analoguezombie » Fri Oct 21, 2005 11:15 am

Another reason I wish i lived in NYC. A friend of mine is going to see a differnet Naruse movie every single day during his restrospective.

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#48 Post by Michael Kerpan » Fri Oct 21, 2005 11:32 am

I've made it to 13 films here in Boston -- with hopes of one or two more....

I'm jealous about the extra 11 or so films that NY-ers are getting a chance to see (that never made it to Boston).

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#49 Post by KeystoneCop » Sat Oct 22, 2005 6:45 pm

The Naruse mini-retro is starting here in Los Angeles in a couple weeks at UCLA. They're playing:

Floating Clouds
Repast
Sound of the Mountain
Flowing
Late Chrysanthemums
Summer Clouds
Wife! Be Like a Rose!
Lightning
Her Lonely Lane
When a Woman Ascends the Stairs
Yearning
Mother
The Whole Family Works

I've seen a few of these (Floating Clouds, Late C's, Her Lonely Lane, When a Woman..., Yearning, and Mother), but I was wondering if anyone here has seen Summer Clouds or The Whole Family Works. Those are the two I haven't heard much about. Thanks for any info.

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#50 Post by Michael Kerpan » Mon Oct 24, 2005 8:37 pm

KeystoneCop wrote:I've seen a few of these (Floating Clouds, Late C's, Her Lonely Lane, When a Woman..., Yearning, and Mother), but I was wondering if anyone here has seen Summer Clouds or The Whole Family Works. Those are the two I haven't heard much about.
I wasn't able to get to "the Whole Family Works" -- but I have seen "Summer Clouds" on video (with French or Spanish subs). I rather like this, but wouldn't rate it at the very top. It is great to see Chikage Awashima (Setsuko Hara's side-kick from Early Summer) get a good leading role -- and the overall cast is quite good. This depicts the travails of a large rural extended family - so it gets a bit complicated (but not overly so).

Ongoing coverage and commentary on the traveling Naruse Retrospective (now in NYC).

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