Becoming a mistress to a rich man could be the quickest resolution to her financial concerns, but her contempt to this solution leaves her with two options: to marry a rich man, or to open her own bar. If you are an Australian resident, any donations over $2 are tax deductible. Details: 1960, Japan, Rest of the world, Cert PG, 111 mins. Reportedly an animated project based on the long-running When a Woman Ascends the Stairs … It takes for granted that life is unhappy; therefore, we can relax in the possession of sadness, acquiesce from the start to a fated disenchantment, the only suspense being how he will bring it about this time’. T he new retrospective of Mikio Naruse at … Perhaps Naruse’s refusal to employ cheap, feel-good shortcuts (or, for that matter, facile apocalyptic bleakness) comes as such a relief in contrast to the usual box office fare. Keiko sees marriage as means of economic survival. The dilemma is that she is approaching an age when her looks might be expected to fade, and so she is encouraged either to start her own bar or to get married. Her struggle to elevate her financial position and find a sense of security is an upward climb; the steps symbolise the series of disappointments, disillusionments, and bad decisions she endures. As he famously said about his characters: “If they move even a little they quickly hit the wall.” That this rather grim vision should prove delightful in the viewing remains an enigma. [Country: Japan. Lopate, When a Woman Ascends the Stairs. Yet she does not submit to any kind of downfall. Keiko explains that if hostesses did not wear expensive clothing and perfume, take taxies, and live in apartments, male customers would lose interest in them. As Naruse said of his characters, ‘If they move even a little, they quickly hit the wall’. This recalls Laura Mulvey’s argument that in patriarchal society,“pleasure in looking has been split between active/male and passive/female” (3). At age 30, Keiko faces three life choices: to remarry before her society regards her as too old to do so, to become a kept woman of a wealthy business owner, or to open her own bar, for which she will need financial assistance from men. The final image of Ginza is associated with strength and perseverance but not with hope. After he died, retrospectives of his work began to tour Europe and America; they excited the enthusiasm of knowledgeable cinephiles and were repeated in periodic cycles; a body of criticism grew around him, and now his films are issued worldwide on DVD.
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