Mikio Naruse

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javelin · #51 Post by **javelin** » Wed Nov 09, 2005 5:37 pm

And for those interested, I got a heads-up from a woman working at the Pacific Film Archive (in Berkeley) that there will be a Naruse retrospective coming in January.

shirobamba · #52 Post by **shirobamba** » Wed Nov 09, 2005 5:51 pm

jonah.77 wrote:Midnight Eye lists a box set of Naruse films arriving (from France) in May 2006:

It`s from

Wildside Video: Coffret Mikio NARUSE - 2 films / 3 DVD: Nuages Flottants / Le Repas

Must be one DVD with extras! Michael, do you know, what that possibly could contain? Are there any extras on the Japanese box sets? But I'd wait for MoC to announce their forthcoming Japanese Summer 06 Naruse title(s). And the Criterion rumours and news list has a couple of Naruses listed under "Distinct Possibilities".

Michael Kerpan · #53 Post by **Michael Kerpan** » Wed Nov 09, 2005 5:57 pm

shirobamba wrote:Must be one DVD with extras! Michael, do you know, what that possibly could contain? Are there any extras on the Japanese box sets?

The DVDs for the individual films sometimes have trailers, more often not. The first set had a nice little hardbound booklet with pictures of the included films. The second set had a bonus disc that didn't seem to contain much that seemed terribly significant. The most amusing was a little snippet of a home movie showing Naruse and some colleagues.

Brian Oblivious · #54 Post by **Brian Oblivious** » Mon Nov 14, 2005 6:00 am

javelin wrote:And for those interested, I got a heads-up from a woman working at the Pacific Film Archive (in Berkeley) that there will be a Naruse retrospective coming in January.

January 12-February 18 to be precise.

Of course the PFA is already showing a few Naruse films as part of the Taisho Chic On Screen series currently running. I just went to a screening of the beautiful, heartbreaking melodrama Apart From You. Three Sisters With Maiden Hearts and Wife! Be Like a Rose! play November 26 followed by Seijun Suzuki's Kageroza.

Incidentally, the films in this series that thank Janus/Criterion in the print source information:

Gosho:
The Neighbor's Wife and Mine
Mizoguchi:
The Downfall of Osen
Osaka Elegy
Sisters of the Gion
Naruse:
Apart From You
Ozu:
the Lady and the Beard
Walk Cheerfully
Woman of Tokyo
What Did the Lady Forget?
Shimazu:
Our Neighbor, Miss Yae
Shimizu:
Japanese Girls at the Harbor
Mr. ThankYou

FilmFanSea · #55 Post by **FilmFanSea** » Thu Nov 17, 2005 1:02 am

Keith Uhlich of Slant Magazine.com has posted a feature on Naruse which includes reviews of 13 of his films (at present). From the introduction:

With the relative dearth of English writing on Naruse, this Slant Magazine feature aims to collect, under one banner, as complete a summary and consideration of the director's body of work as possible... Though created and published in conjunction with the current retrospective (which in toto represents little more than a third of Naruse's 89-film output) this will eventually become a stand-alone database with extant titles added as they are seen.

Michael Kerpan · #56 Post by **Michael Kerpan** » Thu Nov 17, 2005 9:09 am

FilmFanSea wrote:Keith Uhlich of Slant Magazine.com has posted a feature on Naruse which includes reviews of 13 of his films (at present).

More Naruse links:

The unofficial (but highly authoritative) Naruse discussion forum

Daniel Kasman has been commenting on what's he's been seeing (some interesting observations -- even if he utters heresy with respect to Repast. ;~}

a7m4 · #57 Post by **a7m4** » Mon Nov 28, 2005 8:31 pm

I just saw When a Woman Ascends the Stairs and Yearning last night at UCLA. I've gone to all but one of the Naruse screenings there and have completely fallen in love with is films. I was too exhausted to drive 45 minutes to UCLA one nights and I am still regretting that I missed the screening. Unfortunately the UCLA retrospective isn't as extensive at the one at Film Forum. I'm really hoping that all of the Naruse retrospectives going on around the country will generate some interesting in finally getting his films on DVD. I hate to think that I might not see some of these wonderful films again for years. UCLA is playing Mother and The Whole Family Works on Friday which is the final screening of the series. There is no way that I am going to miss it.

acquarello · #58 Post by **acquarello** » Sat Dec 31, 2005 3:46 pm

National Gallery has posted the March Naruse schedule, and also indicates (scroll to the bottom of page) that Freer/Sackler and AFI will also provide additional venues for more films in the same timeframe.

artfilmfan · #59 Post by **artfilmfan** » Sun Jan 01, 2006 10:46 pm

Thanks for the great news, acquarello. With these Naruse films coming to town, it's going to be another springtime to remember in DC.

#60 Post by **kinjitsu** » Mon Jan 16, 2006 12:52 pm

Updated: Pacific Film Archive, Berkeley

Scattered Clouds: The Films of Mikio Naruse January 12 - February 18

SHOCKMASTER · #61 Post by **SHOCKMASTER** » Mon Jan 16, 2006 6:54 pm

Kinjitsu wrote:Updated: Pacific Film Archive, Berkeley

Scattered Clouds: The Films of Mikio Naruse January 12 - February 18

I cannot wait, I'm going to try to see as many as I can. I've never experienced a Naruse film before.

Jun-Dai · #62 Post by **Jun-Dai** » Fri Jan 20, 2006 7:28 pm

Anyone going to catch Okasan and Repast on Sunday? I'll be there wearing a brownish, tweedish sports coat and sporting an untrimmed but not overly impressive beard.

javelin · #63 Post by **javelin** » Sat Jan 21, 2006 1:16 am

I'll be there. I'll be one of the young ones. Also: to those that pm'd me: sorry I haven't got back to you re: tix. Email me at mkanbergs@berkeley.edu and I'll see what I can do as far as tix go.

SHOCKMASTER · #64 Post by **SHOCKMASTER** » Sun Feb 05, 2006 6:15 pm

Anybody see FLOATING CLOUDS and FLOWING last night at Berkeley? I was there. I still have mixed feelings about the amount of melodrama in FLOATING CLOUDS. I'd love to hear the thoughts of those who've seen the film, especially last night.

Michael Kerpan · #65 Post by **Michael Kerpan** » Sun Feb 05, 2006 6:29 pm

The first time I saw "Floating Clouds", I was overly focused on the "melodramatic" elements. On re-visiting, I decided it was a lot more complex and sophisticated (not to mention visually beautiful) than I initially noiced.

SHOCKMASTER · #66 Post by **SHOCKMASTER** » Sun Feb 05, 2006 6:55 pm

Yeah. I REALLY want to see it again. This might be dumb, but which is your favorite of the Naruse films you've seen? And have you seen ANZUKKO? Please comment on it if you have...

I forgot to add in my last post that in the program notes for the retrospective, Berkeley thanks The Criterion Collection/Janus Films for the usage of FLOATING CLOUDS and SCATTERED CLOUDS. So then can we add those to films in the distinct possiblity thread?

Michael Kerpan · #67 Post by **Michael Kerpan** » Sun Feb 05, 2006 7:10 pm

Haven't seen "Anzukko" -- but hope to see at least an unsubbed copy one of these days. People who have seen it, liked it. ;~}

My top favorite Naruse films? Lots. ;~}
Besides "Flowing" and "Floating Clouds" -- "Repast", "sound of the Mountain", "Lightning", "Wife! Be Like a Rose", "Every Night Dreams", "Lonely Lane", "Late Chrysanthemums", "Yearning" ....

Brian Oblivious · #68 Post by **Brian Oblivious** » Sun Feb 05, 2006 10:07 pm

leech wrote:I forgot to add in my last post that in the program notes for the retrospective, Berkeley thanks The Criterion Collection/Janus Films for the usage of FLOATING CLOUDS and SCATTERED CLOUDS. So then can we add those to films in the distinct possiblity thread?

Also crediting Janus/Criterion in the program:
Nightly Dreams
Flunky, Work Hard!
Street Without End
Not Blood Relations
Repast
Mother
When a Woman Ascends the Stairs.

I was at Flowing and Floating Clouds last night (both were sold out by 6:20 PM for a double bill starting at 7PM, the first sellouts of the series I've been to). Floating Clouds struck me as very different from all the other (16) Naruse films I've seen. It's not so much the melodrama that stood out, as other films, mainly the silents, have plenty of that. It's two things, really. One, that the film, due to its overtly post-war themes and its dark look, seems to fit with the liberal-humanist tradition of Japanese film exemplified by certain Ichikawa and Kurosawa films. No other Naruse I've seen has that apparant affinity. Two, that the obsessive romance at the center of the film so overwhelms all other characters in the narrative; this doesn't happen in other Naruse films that deal in matters of love, because (in the films I've seen) it's always explored within the context of professional relationships (Tsuruhachi and Tsurujio), the family structure Sound of the Mountain) or both (Apart From You). Here we get glimpses of family viewed from the perspective of Kengo and Fukiko's relationship, but (and this relates to the first point) war has absolutely shattered the family's ability to function normally.

Of the films I've seen so far, the only other "odd one out" is Hideko the Bus Conductress, and even that connects with Traveling Actors in brightness of tone and theme of professionalism. I suspect that sixteen films is still far too small a sample of Naruse's work to make generalizations from though. Unfortunately I've already missed ten others and will miss more before the series finishes up here.

Michael Kerpan · #69 Post by **Michael Kerpan** » Sun Feb 05, 2006 10:40 pm

"Hideko the Bus Conductress" wins the prize for having the most jaw-dropping conclusion of any film I've seen.

I would agree that "Floating Clouds" is pretty unique in Naruse's output -- in that it is so sharply and narrowly focused on its central pair -- over such an extended period of time. Interestingly, along the way though, it really captures changes in Japan's economy and culture in the post-war years. What this film reminds me of more than Kurosawa or Ichikawa, however, is Imamura's films like "Insect Woman".

For all that Naruse has been previously neatly categorized -- you are right -- even 16 films is not enough to allow one to fully comprehend his work. (Even at 40 films, I don't feel fully confident).

SHOCKMASTER · #70 Post by **SHOCKMASTER** » Sun Feb 05, 2006 11:13 pm

Just curious Brian Oblivious.. did use to post on the other cc forum by any chance - years ago...?

Anyway, all day today my brain has been all messed up. Because I am not quite sure if I like/love/dislike FLOATING CLOUDS or not. I keep thinking about it. I know I was greatly affected - it was one of saddest films I've seen. I'm just still not quite sure what I think of the melodrama - mainly the ending. But some of the moments in the film were just perfect (ie in the beginning. the transition between the flash back of Kengo looking at Yukiko, to them in post-war Japan holding/kissing each other). Anyway.. ..blah blah I got to sill think about it.

Brian Oblivious · #71 Post by **Brian Oblivious** » Mon Feb 06, 2006 12:10 am

leech, I think that must have been somebody else. I don't remember ever posting on some "other cc forum" at least not to my knowledge. I've only had a DVD player for about 2 years anyway.

It is interesting how the film's perfect pacing makes the final reel or so feel really stretched out and perhaps overdone. By a certain point we sense the film is going to end in tragedy, and for quite some time we pretty much even know how. I suspect the device helps us relate even more to the position of the doomed-and-they-know-it characters, who had to live with such a sense of forboding not for minutes but for months or years. Which could be why it makes us uncomfortable.

Michael Kerpan wrote:"Hideko the Bus Conductress" wins the prize for having the most jaw-dropping conclusion of any film I've seen.

I must have missed something. The ending felt somewhat abrupt but my jaw never came close to drop position at any point during this rather slight film. It, along with Ginza Cosmetics, was the only film the series program notes said was shown in 16mm, and I wonder if perhaps there was literally a missing scene?

Insect Woman is the only Imamura film I've seen other than the Eel, but it's been many years. My vague recollection of it is that its far more indicting than the likes of Conflagration or High and Low. But then, perhaps Floating Clouds is, too. I hope to be able to see it again several times.

SHOCKMASTER · #72 Post by **SHOCKMASTER** » Mon Feb 06, 2006 6:33 am

So.. wait... can I infer that you think FLOATING CLOUDS is one of Naruse's weaker films? And by the way, there used to be a member on the other cc forum whose handle was "o'blivion" and I believe he lives in Berkeley. So, just thought I'd ask...

Also, you said:

the film, due to its overtly post-war themes and its dark look, seems to fit with the liberal-humanist tradition of Japanese film exemplified by certain Ichikawa and Kurosawa films. No other Naruse I've seen has that apparant affinity.

I am also curious as why Naruse had such a sudden shift in style from his other films. I was shocked to see that FLOATING CLOUDS was made before FLOWING! The dynamics of composition and the acting of FLOATING CLOUDS seemed like a shift in a new direction, but after seeing FLOWING it seems Naruse retired back to his familiar style. Its very interesting, anybody know the details behind this? Or am I wrong to infer this, and does Naruse's style vary over time? Maybe Hayashi's novel called for the change in style?

I'm still thinking about FLOATING CLOUDS. I saw Terrance Malick's THE NEW WORLD today and all I can could think about was FLOATING CLOUDS. Ugh. Do I like this film?

Michael Kerpan · #73 Post by **Michael Kerpan** » Mon Feb 06, 2006 8:54 am

I think that the style in "Floating Clouds" is indeed dependent on the style of Hayashi's novel (which would seem to be somewhat atypical for HER as well). The ending of this film is far more complex than "mere melodrama" -- thought this IS what is easiest to see on first viewing.

I don't think "Flowing" is a "retreat" to a familiar style at all -- it is simply moving back to a less heated emotional tone. ;~}

javelin · #74 Post by **javelin** » Mon Feb 06, 2006 1:27 pm

Just so you all know: get tickets for next Saturday's showing of When A Woman Ascends the Stairs at the PFA in Berkeley RIGHT NOW. Floating Clouds sold out on Friday, and WAWAtS will sell out by Thursday. Same thing happened with Late Chrysanthemums.

Brian Oblivious · #75 Post by **Brian Oblivious** » Mon Feb 06, 2006 4:47 pm

leech wrote:So.. wait... can I infer that you think FLOATING CLOUDS is one of Naruse's weaker films?

Not at all! I thought it was a beautiful, heartbreaking film and after this first pass I'd rate it among my favorites seen in this series, including Sound of the Mountain, Traveling Actors, Wife! Be Like a Rose! and Nightly Dreams.

I agree with Michael about Flowing, which feels like perhaps the richest, most complex of the films so far (and therefore a smidgen less appealing on a first visit, though very intriguing and perhaps the one I'd most like to be able to see on DVD).

Michael, have you read many of the source novels for Naruse's films?

javelin, thanks for the heads-up on When a Woman Ascends the Stairs. I have other commitments that evening and therefore will miss the film regardless, but I have friends who might want to know the information.