The businessman Ogata Shingo works with his son Shuichi, who is his secretary, and they live together in the suburb with their wives Yasuko and Kikuko respectively. Shuichi has a love ... See full summary »
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In 17th century Kyoto, Osan is married to Ishun, a wealthy miserly scroll-maker. When Osan is falsely accused of having an affair with the best worker, Mohei, the pair flee the city and ... See full summary »
A few days in the life of a quiet geisha, single mother of a young, smart boy, in the lively Tokyo quarter of Ginza. A woman devoted to other people's needs, she will end by taking part ... See full summary »
On her way to meet her boyfriend, Sugiko is hit by a car and hospitalized. When she doesn't arrive at the meeting place, her boyfriend believes she has betrayed him, and he returns to his ... See full summary »
The businessman Ogata Shingo works with his son Shuichi, who is his secretary, and they live together in the suburb with their wives Yasuko and Kikuko respectively. Shuichi has a love affair and a loveless marriage with Kikuko. Yasuko has dedicated her entire life to her family but Shingo married her only because her older sister had died. Kikuko is the pride and joy of Shingo and they are close to each other. Out of the blue, Shingo and Yasuko's daughter Fusako leaves her husband and arrives at Shingo's home with her two children. Shingo investigates and finds the address of Shuichi's lover. Meanwhile Kikuko goes to the hospital and Shingo learns that she was pregnant but decided to abort her child. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
"Yama no oto" is, in essence, the story of the love between a daughter-in-law (Setsuko Hara) and the father (So Yamamura) of her neglectful and selfish husband (Ken Uehara). As Yamamura becomes more and more aware of the unhappiness of Hara, he takes ever more unconventional steps to try to rescue his son's marriage (for instance, approaching his son's mistress). Though the issues of infidelity, abortion and divorce swirl through this film, the tone is remarkably low-key and unmelodramatic. The cinematography here is similar to that found in Ozu's films of this period, though not so rigorous. The performances of Hara and Yamamura are superb. A very well-done and moving film by Japan's greatest neglected master.
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