In his review of Feminine Melancholy in Kinema Junpo, critic Mizumachi Seiji praises Irie's performance as the best of her talkie career. However, he is very critical of the film itself, which he sees as a typical story of a woman in an unhappy marriage. He is not sympathetic toward the heroine's patient suffering and describes the nagging mother-in-law as a "hackneyed theme." ...
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In his review of Feminine Melancholy in Kinema Junpo, critic Mizumachi Seiji praises Irie's performance as the best of her talkie career. However, he is very critical of the film itself, which he sees as a typical story of a woman in an unhappy marriage. He is not sympathetic toward the heroine's patient suffering and describes the nagging mother-in-law as a "hackneyed theme." Naruse's detailed "documentation" of Hiroko's role in the household is dismissed as a "manneristic obsession," and Mizumachi suggests that the director is hiding behind "the shadow of the materials." Most severely, he criticizes Naruse for "abandoning his authority as an auteur" by resorting to "shinpa-tragedy," which is seen as a capitulation to a form that has "wielded a powerful hold over the imagination of the masses." Although Mizumachi notes that Naruse has probed into "the deepest recess of the female psyche," he doesn't recognize this as the film's achievement, perhaps because he is looking for something else from the director. His review reveals the difficulties Naruse faced in maintaining his "auteur status" while moving with the tides of popular culture. For Mizumachi, the character of Yoko is the most typical Naruse heroine, perhaps because she is dragged down by her delinquent lover; however, in retrospect, it is evident that Hiroko's tenacious survival of adverse circumstances looks forward to Naruse's postwar heroines.
女人的哀愁的短评 · · · · · · ( 全部 21 条 )
0 有用 鬼腳七 看过 2014-11-08 19:18:34
更成熟的观念，成濑在这个题材上真是越来越深入，几场戏例如一家人甚至包括中学女生对于她肆意谈论，以及最后维护那对痴缠恋人，尤其见力道。节奏有点迟缓，最后乏力。
0 有用 喬 看过 2013-04-20 10:34:56
钱。
0 有用 奥兰少 看过 2022-03-03 18:49:24
依然是摩登与传统的对照，嵌套进一个玩偶之家式的故事里，身着和服的女主，处境甚至不如娜拉，她不止是玩偶，还要做家里的女佣，忍受丈夫和小姑的苛待。女主敏感于自己是否摩登，但相对于穿洋装、爱跳舞的小姑，离开囚笼一样的家庭才是“现代”真义。也无须追问娜拉走后怎样，成濑作品拍的更多的，其实就是出走后的娜拉。成濑在本片中大量利用日式家庭的内部空间完成调度和构图，相比于小津桌前围坐的和谐图景，成濑的家庭空间更加... 依然是摩登与传统的对照，嵌套进一个玩偶之家式的故事里，身着和服的女主，处境甚至不如娜拉，她不止是玩偶，还要做家里的女佣，忍受丈夫和小姑的苛待。女主敏感于自己是否摩登，但相对于穿洋装、爱跳舞的小姑，离开囚笼一样的家庭才是“现代”真义。也无须追问娜拉走后怎样，成濑作品拍的更多的，其实就是出走后的娜拉。成濑在本片中大量利用日式家庭的内部空间完成调度和构图，相比于小津桌前围坐的和谐图景，成濑的家庭空间更加拥挤、有压迫性，人物也更多站立或处于运动中。 (展开)
0 有用 Alvin Hubert 看过 2019-12-30 23:04:16
3.5星
0 有用 T2 看过 2022-03-20 00:53:03
走入婚姻中的女性与女佣划上了等号，女主像陀螺一样不停地旋转，最精彩的部分是丈夫的弟弟每一次向女主请教作业问题时都被琐事打断，最后也未成行。影片最后女主决定“忍无可忍，无需再忍”，决绝地离去是如此地酣畅淋漓，但似乎这样的处理只是顺了观众的气。