19yo girl loses husband in war. Bombing destroys his family's shop and the widow stays to rebuild it as the rest of the family flee and runs it for 18 years out of love for her dead husband... See full synopsis »
What is the life of a Geisha like once her beauty has faded and she has retired? Kin has saved her money, and has become a wealthy money-lender, spending her days cold-heartedly collecting ... See full summary »
This sensuously beautiful film chronicles the activities of four sisters who gather in Kyoto every year to view the cherry blossoms. It paints a vivid portrait of the pre-war lifestyle of ... See full summary »
Tashiro (Keiju Kobayashi) coincidentally meets his best friend Sugimoto (Tatsuya Mihashi) in a bar very close to the apartment in which Sugimoto's wayward wife is found dead. Although ... 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 ... See full summary »
Otsuta is running the geisha house Tsuta in Tokyo. Her business is heavily in debt. Her daughter Katsuyo doesn't see any future in her mothers trade in the late days of Geisha. But Otsuta ... See full summary »
Yôko Tsukasa cannot fill the shoes of the great Hadeko Takamine
Scattered Clouds (Mikio Naruse, 1967) - 8.25/10
Probably the biggest disappointment that I've encountered so far with Naruse but in my mind, he really can do no wrong. This doesn't have quite as much insight as Ozu's swan song An Autumn Afternoon. Frankly, it's a very good example of how Naruse can walk a fine line between melodrama and tragedy. Yôko Tsukasa, unfortunately, is not an adequate replacement for the great Hideko Takamine. Fumiko Hayashi, who wrote many of Naruse's great post-war dramas isn't present either, instead replaced by Nobuo Yamada who is mostly known for writing Masahiro Shinoda's Assassination. It's not that the story is particularly bad, but it's just perfectly set up for melodrama. It begins with a death in the family, much like in Naruse's Daughters, Wives, and a Mother but seems to take the exact opposite route. Where as the tragedy in that film is very much downplayed, it seems to be, if anything, magnified here. Despite all this, it is one of his more technically impressive efforts and probably the one with the least amount of dialogue. The opening sequence, in particular, was quite a surprise. It would be smart to read most of the negative comments I left about this film as a comparison to Naruse's other efforts because this is still a very good film but at this point, I expect a little bit more from him.
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