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A woman, whose husband was taken to the war and was killed shortly after their marriage, lives rest of her life as a widow serving her parents-in-law. In Japanese society after the World War II, such women were not few. Takamine Hideko in "Midareru" directed by Mr. Naruse Mikio, and Hara Setsuko in "Tokyo Monogatari" directed by Ozu Yasujiro act the women in such situation, in quite different way.Reiko (Takamine Hideko) is a widow of a would-be heir of a small beverage shop in a local city. The shop was destroyed by the air-raids during the war, but she was the one who rebuilt the shop after the war and made it even larger than prewar through 18 years of hard work. She is a woman in her late 30's, still beautiful but never thought of having another life time partner. But when her 11 years younger brother-in-law, Koji (Kayama Yuzo), confessed love to her, her firm mind is swung.Eventually she chooses to disappear from Koji. But when she gets on a train she finds Koji is following her. This long train journey is the most impressive scenes in this movie. At first Koji stands in the isle apart from Reiko. As other passengers get off, he gradually moves nearer to Reiko, and eventually they sit in the same box. At the same time, a change comes in Reiko's mind, who has once determined not to accept his affection. Takamine Hideko acts this slight change only by subtle expressions. Perhaps, Reiko's expression at the shocking last scene is the best acting of Takamine Hideko in her actress life.The Japanese word "Midareru" means to be out of order, have one's heart swung, fall into disorder, or be corrupt. Reiko has lived her life sacrificing herself under traditional concept of wife and widow. For her, Koji is the closest man that is single and loving her. But even her sisters-in-law recommend her to marring to someone, partly to avoid issues in succession of property, marring to 11 years younger brother-in-law is a scandal. Reiko is on the verge of scandal, and what is the outcome?
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