The Kinema Junpo critics were, of course, mistaken to think that Naruse had abandoned his emphasis on women. His next film, Sincerity, features two strong female characters, played by Irie Takako and Murase Sachiko, each of whom have a daughter. The girls are schoolmates, but one (Nobuko) is from a middle-class home and the other (Tomiko) is from a poor family. Tomiko's mother ...
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The Kinema Junpo critics were, of course, mistaken to think that Naruse had abandoned his emphasis on women. His next film, Sincerity, features two strong female characters, played by Irie Takako and Murase Sachiko, each of whom have a daughter. The girls are schoolmates, but one (Nobuko) is from a middle-class home and the other (Tomiko) is from a poor family. Tomiko's mother Tsutako (Irie) is a single mother who works from home as a seamstress, while Nobuko's mother lives in an elegant home with her husband, Kei. Eventually, it is revealed that Kei had a romantic relationship with Tsutako, and may be Tomiko's father as well, but he is conscripted shortly after this revelation and goes off to war.
This is very much a home front film, in which the women are involved in supporting activities, and the whole town cheers on the new recruits. As Kei is a banker, he is conscripted as an officer. He is introduced brandishing a magnificent sword, indicating his readiness for his call-up, for which everyone congratulates him when it comes. The wartime context is little more than a backdrop to the story of paternity and former love. The complex emotions among the women are conveyed through cutting on eye movements and eye lines, and through the use of the pastoral location.
真心的短评 · · · · · · ( 全部 23 条 )
1 有用 鬼腳七 看过 2014-12-21 01:25:37
讲真这部拍的真狗血，比同年的《工作家庭》还枯燥，说是受国策电影号召的影响，但是其实也是成濑电影自身的一些问题暴露了出来。两个小姑娘来串婚姻和家庭关系，其实是换汤不换药。入江隆子和高田稔几乎就是再演了一遍《祸福》，表演都还到位，不过剧情实在太教条标准了，反而呆滞。
0 有用 Sabrina 看过 2017-08-29 20:30:54
好喜欢这个，除了开头和结尾，不知道成濑巳喜男的政治倾向是怎样的。开头妈妈是妇女爱国联合会的活跃分子，也是个有钱人家的比较自私，自以为是，处处要挣个尖的千金大小姐。结尾爸爸去参展了，孩子们及两位妈妈那么快乐的去火车站欢送。其他一个小时都特别好，所有人都那么善解人意，尤其孩子。
2 有用 欢乐分裂 看过 2011-12-26 20:46:32
when we feel bad,we cast a shadow over children.成濑探讨家庭教育也细致入微，孩子意欲偷窥父母过去的愿望也是成长的标志；男主在其妻为自己自私道歉后，并未圆满顺水推舟光明结尾，而说“事实上我早就放弃你了，只是担心孩子”成濑到底是个情感悲观主义者。
0 有用 奥兰少 看过 2022-03-09 23:07:52
成人的故事有点类似于《祸福》，又必须合于战时宣传的要求，毫无生气。透过少女心绪窥视父母爱情，从而为故事带来一点细腻灵动，这或许是成濑对国策电影的一种有限反抗。亦如电影里最重要的道具洋娃娃，格格不入，又意味深长。
1 有用 荒也 看过 2013-06-26 20:00:45
杰作！两个小女孩的纤细感受表达得实在太赞。