7.0/10
243
1 user 11 critic

Kagirinaki hodô (1934)

Story of a waitress whose life, despite a host of male admirers and even some intrigued movie talent scouts, ends up taking a stiflingly domestic turn after a wealthy businessman accidentally hits her with his car.

Director:

Mikio Naruse

Writers:

Jitsuzô Ikeda, Komatsu Kitamura (story)
Reviews

Photos

Learn more

More Like This 

Drama
    1 2 3 4 5 6 7 8 9 10 7.1/10 X  

A single mother works tirelessly as a Ginza bar hostess to ensure a better life for her young son until--her long-lost husband returns.

Director: Mikio Naruse
Stars: Sumiko Kurishima, Tatsuo Saitô, Jun Arai
Drama
    1 2 3 4 5 6 7 8 9 10 7.2/10 X  

Two Geisha with a connection to a young man deal with life's hardships.

Director: Mikio Naruse
Stars: Mitsuko Yoshikawa, Akio Isono, Sumiko Mizukubo
Drama
    1 2 3 4 5 6 7 8 9 10 6.9/10 X  

An actress returns to Tokyo after a successful stint in Hollywood to reclaim - with the help of her gangster brother - the daughter she abandoned years before.

Director: Mikio Naruse
Stars: Yoshiko Okada, Shin'yô Nara, Yukiko Tsukuba
Short | Comedy
    1 2 3 4 5 6 7 8 9 10 6.8/10 X  

The story of a poor insurance salesman who struggles to provide for his wife and family.

Director: Mikio Naruse
Stars: Shizue Akiyama, Seiichi Katô, Tomoko Naniwa
Ukigumo (1955)
Drama | Romance
    1 2 3 4 5 6 7 8 9 10 7.8/10 X  

A tragic social drama set in post war Japan and concerns a lonely woman trying to find purpose and stability in a devastated Tokyo.

Director: Mikio Naruse
Stars: Hideko Takamine, Masayuki Mori, Mariko Okada
Meshi (1951)
Drama
    1 2 3 4 5 6 7 8 9 10 7.9/10 X  

Michiyo lives in the small place Osaka and is not happy with her marriage, all she does is cook and clean for her husband.

Director: Mikio Naruse
Stars: Ken Uehara, Setsuko Hara, Yukiko Shimazaki
Drama
    1 2 3 4 5 6 7 8 9 10 7.1/10 X  

Three sisters earn money for their bossy mother by being samisen street musicians. This means mainly playing a banjo type instrument for tips in bars. A number of loosely linked episodes ... See full synopsis »

Director: Mikio Naruse
Stars: Chikako Hosokawa, Masako Tsutsumi, Ryuko Umezono
Bangiku (1954)
Drama
    1 2 3 4 5 6 7 8 9 10 7.5/10 X  

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 »

Director: Mikio Naruse
Stars: Haruko Sugimura, Ken Uehara, Sadako Sawamura
Horror
    1 2 3 4 5 6 7 8 9 10 7/10 X  
Director: Keisuke Kinoshita
Stars: Kinuyo Tanaka, Ken Uehara, Hisako Yamane
Drama | Romance
    1 2 3 4 5 6 7 8 9 10 7.9/10 X  

A man falls in love with the widow of a man he killed in a car accident. Eventually she falls in love with him in return.

Director: Mikio Naruse
Stars: Yûzô Kayama, Yôko Tsukasa, Mitsukô Kusabue
Drama | War
    1 2 3 4 5 6 7 8 9 10 7.9/10 X  

Post war Hiroshima: It's been four years since the last time she visited her hometown. Takako faces the after effects of the A-bomb when she travels around the city to call on old friends.

Director: Kaneto Shindô
Stars: Nobuko Otowa, Osamu Takizawa, Masao Shimizu
Sunset Song (2015)
Drama
    1 2 3 4 5 6 7 8 9 10 6.4/10 X  

The daughter of a Scottish farmer comes of age in the early 1900s.

Director: Terence Davies
Stars: Ken Blackburn, Mark Bonnar, Stuart Bowman
Edit

Cast

Cast overview, first billed only:
Setsuko Shinobu Setsuko Shinobu ... Sugiko Shima
Akio Isono Akio Isono ... Koichi, her younger brother
Hikaru Yamanouchi Hikaru Yamanouchi ... Hiroshi Yamanouchi
Nobuko Wakaba Nobuko Wakaba ... Takako, his elder sister
Ayako Katsuragi Ayako Katsuragi ... Her mother
Shin'ichi Himori ... Shinkichi Yamamura
Chiyoko Katori Chiyoko Katori ... Kesako Nakane
Ichirô Yûki Ichirô Yûki ... Machio Harada
Yukiko Inoue Yukiko Inoue ... Yoshiko Hisayama
Fujiko Matsuzono Fujiko Matsuzono ... Her friend
Reikô Tani Reikô Tani ... Butler
Kôji Mitsui ... Guest (at café) (as Hideo Mitsui)
Shozaburo Abe Shozaburo Abe ... Bartender
Tomio Aoki Tomio Aoki ... Bellboy (as Tokkan Kozô)
Takeshi Sakamoto ... Guest for portrait painter
Edit

Storyline

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 hometown. Yamauchi, the man who was driving the car that hit her, proposes to her. Sugiko marries Yamauchi, but is bored with his family's lifestyle. She leaves him and goes back to work as a waitress. Written by Anonymous

Plot Summary | Add Synopsis

Genres:

Drama

Edit

Details

Country:

Japan

Release Date:

26 April 1934 (Japan) See more »

Also Known As:

La rue sans fin See more »

Filming Locations:

Ginza, Tokyo, Japan See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

|

Sound Mix:

Silent

Aspect Ratio:

1.37 : 1
See full technical specs »
Edit

Did You Know?

Connections

Features White Woman (1933) See more »

Frequently Asked Questions

This FAQ is empty. Add the first question.

User Reviews

Broken symmetries, Mt. Fuji
27 February 2012 | by chaos-rampantSee all my reviews

The top layer here is about a modern life of movies and automobiles that is still under rigorous control of feudal structures. A waitress in a café is groomed to be a movie actress but her career hinges on her patrons' opinion of her love life. Finally she is back on the streets. This is so unremarkably blunt that near the middle an intertitle plainly announces as much.

But this is also about a fate that steals into you and hurts spontaneously, capriciously. Love defined by what you see, and what crashes into you.

So a melodrama about love and counter-love but with histrionics that function on decidedly overblown coincidence. The turning point, away from episodes of ordinary life and into soap operatic excess, is when our waitress is approached on the street to become a movie actress, itself a dream scenario. The rest unfolds as one of her movies might have, a lot of tragic irony and brazen emotion.

But there is a third layer here that achieves an exceptional resonance by resolving the play on a level behind narrative. Look for the scene where our waitress drives up with her soon-to-be husband to a majestic view of Mt. Fuji in the distance.

The obvious thing to note in tandem with the overarching message about persisting tradition, is that the modern pilgrimage - Mt Fuji being a traditional destination in the Edo period - is no longer an arduous trek on foot and instead a scenic, leisurely drive. But still to the place in view of the gods.

The other is that Mt. Fuji, the spiritual heart of Japan, can be written with characters meaning 'not-two' (fu-ji), also meaning 'unique'. The contrast of this is the fascinating tradition among adherents of the Shinto faith to construct artificial replicas of Mt. Fuji, small mounds of a few feet high, inside Tokyo, then Edo, and usually in view of the mountain (a famous one used to be in Meguro, others in Takata and Fukagawa, a few dozen of these remain to this day). This was done to facilitate a more comfortable pilgrimage to these 'new Fujis', whereby the people could exercise their religious duty without having to leave behind the bustle of secular ones.

Now most viewers will note that the film is rich in symmetry: two crashes reversing fate, two actresses performing roles, two spurned lovers. We may be inclined to interpret by folding the two ends. We may puzzle when it doesn't really compute as such. One crash is clearly the result of a karmic thread and we see, to that effect, the man actually broken in a hospital bed as result of his mother's and sister's meddling, the other is the result of random causality, pure chance. One of the women becomes an actress and discovers true love, the other doesn't. One lover abandons, the other is abandoned.

So we have only the illusion of symmetry, artificial nature. Things are 'not-two', no two people are the same, no two mountains, no two images, though we construct replicas to that effect - and cinema is a major tool to that effect.

This is a brilliant concept, so deeply visual and Japanese it still seems novel and fresh to this day - the same way Zen gardens of hundreds of years ago look 'modern'.

At the center is only a chance glimpse into a speeding vehicle repeated twice, a movie shot framed from life. And all sorts of narratives implicit by watching, because we expect things to mean things other than themselves. Oh, sometimes they do and there is a story. A woman and a man embracing in a car, what else would anyone surmise but a love affair? But they don't always, and lives are broken in the assumption.

Assymetry, empty space at the center of stories is what Naruse brilliantly achieves, with just these few strokes. You can only illustrate around this space, in our case the enigmatic final shot of the man on the bus.

What does it mean? Is he back? Back and married? Looking for her? Herself looking for him and conjuring the image? You pour your own tea.

But knowing he interpreted wrong the first time is our hint to resist the urge to attach a narrative. Take for what it is, meaning itself. Only the Japanese could do this so well.

Something to meditate upon.


7 of 12 people found this review helpful.  Was this review helpful to you? | Report this
Review this title | See one user review »

Contribute to This Page

Stream Comedy Titles With Prime Video

Explore popular comedy titles available to stream with Prime Video.

Start your free trial



Recently Viewed