Hideko Takamine is a hostess at a Ginza bar. It's her job to greet the customers, keep them drinking, flirt with them, and later, collect the tab. She has enormous expenses because she must dress and live with an air of sophistication. Many of the girls supplement their earnings by sleeping with the customers. Best of all is to have a wealthy 'patron'.
Everyone likes and respects Miss Takamine. They call her 'mama' and make no overt attempt to seduce her, though it is clear all the men want to. She will have none of it. She was married briefly to a man who died. The rumor is that she put a love letter in his funeral urn, writing she would never love another.
Miss Takamine is unhappy. Her expenses are enormous. She feels her youth fading. She sends much of her earnings to her mother, who complains about her work. Her deadbeat brother faces prison and has a polio-crippled son. She would like to open her own bar, but feels nothing about her clients. Opportunities and sorrows, glimpses of happiness and illness open and close upon her.
It's another fine examples of Mikio Naruse's movies about being a single woman in a society devised for men's happiness. If the visuals are those of many a movie of its moment, it is a revolutionary, feminist movie in traditional garb, powered by the finest performance I have seen Miss Takamine give. She struggles but cannot change her situation. In this stasis, she changes.
I find one flaw in this otherwise impeccable Naruse masterpiece: a certain lack of rhythm. Perhaps what seems to me to be slightly clumsy editing by Eiji Ooi, Naruse's editor for his final two dozen movies, may be intended to show the disruption in Miss Takamine's life, her inner turmoil.
Everyone likes and respects Miss Takamine. They call her 'mama' and make no overt attempt to seduce her, though it is clear all the men want to. She will have none of it. She was married briefly to a man who died. The rumor is that she put a love letter in his funeral urn, writing she would never love another.
Miss Takamine is unhappy. Her expenses are enormous. She feels her youth fading. She sends much of her earnings to her mother, who complains about her work. Her deadbeat brother faces prison and has a polio-crippled son. She would like to open her own bar, but feels nothing about her clients. Opportunities and sorrows, glimpses of happiness and illness open and close upon her.
It's another fine examples of Mikio Naruse's movies about being a single woman in a society devised for men's happiness. If the visuals are those of many a movie of its moment, it is a revolutionary, feminist movie in traditional garb, powered by the finest performance I have seen Miss Takamine give. She struggles but cannot change her situation. In this stasis, she changes.
I find one flaw in this otherwise impeccable Naruse masterpiece: a certain lack of rhythm. Perhaps what seems to me to be slightly clumsy editing by Eiji Ooi, Naruse's editor for his final two dozen movies, may be intended to show the disruption in Miss Takamine's life, her inner turmoil.