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.
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Title: Two in the Shadow (1967)
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Cast
| Cast overview, first billed only: | |||
| Yûzô Kayama | ... | Shiro Mishima | |
| Yôko Tsukasa | ... | Yumiko | |
 |
Mitsukô Kusabue | ... | Ayako, Yumiko's sister (as Mitsuko Kusabue) |
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Mitsuko Mori | ... | Katsuko |
| Mie Hama | ... | Teruko | |
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Daisuke Katô | ... | Hayashida |
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Yoshio Tsuchiya | ... | Yumiko's husband |
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Yû Fujiki | ... | Ishikawa, Ayako's husband |
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Tadao Nakamaru | ... | Fujiwara |
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Fuyuki Murakami | ||
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Gen Shimizu | ||
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Hisao Toake | ||
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Hisaya Itô | ||
| Bokuzen Hidari | |||
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Naoya Kusakawa | ... | Inoue |
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Plot Summary
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Add Synopsis
Storyline
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.
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Details
Country:
JapanRelease Date:
24 April 1968 (USA) See more »Also Known As:
Two in the Shadow See more »Filming Locations:
Towada, Aomori, JapanCompany Credits
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Despite some recent interest in his works in the west, Mikio Naruse has still largely remained in the shadow of his contemporary Yasujiro Ozu, a comparison that has hasn't served Naruse well. Despite some superficial genre similarities however, a wider look at Naruse's work - few of the director's 89 films have been seen outside Japan - shows that the comparison really isn't even merited. Shot in Tohoscope and in colour, Naruse's gorgeous melodrama Scattered Clouds is closer to Douglas Sirk than Ozu, but it's also possible to consider the film's style and subject matter as being influential on other Asian filmmakers like Wong Kar-Wai (In the Mood For Love) and the Korean master of romantic melodrama Hur Jin-Ho (April Snow). The pace is more sedate, but considering the nature of the encounter here, the passions are necessarily of the slow-burn kind.
It takes that long for Yumiko's feelings to change towards the man who was responsible for her husband's death in a car accident. Shiro, a driver for an escort/entertainments company, has been cleared of any wrongdoing, but can't help but feel a sense of guilt for what has happened, particularly when Yumiko is subsequently disinherited from her husband's family protection. It's this sense of guilt on both sides, for different reasons that draws the couple together, and at the same time proves to be an impossible impediment to the love that they eventually feel for each other.
Strikingly shot, delicately understated, with the occasional abstract poetic cutaway to sustain mood and tension, the pacing and balancing of emotions is masterful as the film builds towards a quietly devastating conclusion.