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Munekata kyôdai (1950)

Setsuko is unhappily to Mimura, an engineer with no job and a bad drinking habit. She had always been in love with Hiroshi but both of them failed to propose when Hiroshi left for France a ... See full summary »

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Cast

Credited cast:
...
Setsuko Munekata
...
Mariko Munekata
Ken Uehara ...
Hiroshi Tashiro
Sanae Takasugi ...
Yoriko Mashita
...
Tadachika Munekata
...
Ryosuke Mimura, Setsuko's husband
Yûji Hori ...
Maejima
Tatsuo Saitô ...
Jou Uchida, the Professor
Kamatari Fujiwara ...
Sangin's master
Setsuko Horikoshi ...
Sangin's maid
Reikichi Kawamura ...
Sangin's customer
Yoshiko Tsubouchi ...
Mieko
Rest of cast listed alphabetically:
Atsuko Ichinomiya
Noriko Sengoku
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Storyline

Setsuko is unhappily to Mimura, an engineer with no job and a bad drinking habit. She had always been in love with Hiroshi but both of them failed to propose when Hiroshi left for France a few years ago. Now he is back and Mariko (Setsuko's sister) tries to reunite them. She too is secretly in love with Hiroshi. Written by phs

Plot Summary | Add Synopsis

Genres:

Drama

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Release Date:

25 August 1950 (Japan)  »

Also Known As:

Las hermanas Munekata  »

Company Credits

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Technical Specs

Sound Mix:

Aspect Ratio:

1.37 : 1
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Connections

Featured in Le hérisson (2009) See more »

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User Reviews

 
Underrated masterpiece!
4 November 2011 | by (Mexico) – See all my reviews

It might be one of Ozu's least known films, and quite different from his other ones too, but his techniques and masterful skills are still there.

I've had the privilege to watch his films chronologically, from "The Only Son" to the last film he made, so I can notice that there was a big change from his (in that time) previous film "Late Spring" to his subsequent one "Munekata Sisters" and practically different from his other previous ones in general. Although the subject matter in this film is more romantic and dramatic in comparison to his previous films, as I just mentioned, his filmmaking style remains the same, the static camera and his beautiful close-ups are still there. Also another interesting thing to say is that this film resembles Mizoguchi's themes, he could have easily done this one of his films if he'd had the chance.

I might get the readers bored for repeating myself, but you can rest assured this is another essential film from Ozu you surely should get your hands on if possible.

Also this may be the last time I review one of Ozu's films, not because I don't like his other films, but because you simply can't go wrong with him, you either get his filmmaking or not. If you get it, then you'll probably love most of his films; therefore, you should really watch all you can get from him.

My score: 9.2/10


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