Die Mädchen der Ginza

Widowed Tokyo bar hostess Keiko is in her thirties and thinking about her limited choices. She could open her own bar but this would require financial help from clients and perhaps favors she is unwilling to give, or she could get married, but that would mean breaking a vow to her late husband that she would never love another man. Mikio Naruse's When a Woman Ascends the Stairs is an exquisite character study about a woman caught in a trap of financial obligations who is forced to perform a job she dislikes in order to stay afloat. It is both a depiction of one woman's courage and perseverance and a commentary on the limited opportunities for women in Japan with little education or family connections. Hideko Takamine is unforgettable as Keiko, the beleaguered hostess who is affectionately called "mama" by the younger barmaids.

Keiko is a graceful and charming woman who wears a traditional kimono but is under pressure by her devoted manager Kenichi Komatsu (Tatsuya Nakadai) to modernize her wardrobe and upgrade her living arrangements to keep up with growing Western influences. Of the many men in her life, three monopolize her attention: Mr. Fujisaki (Masayuki Mori), Mr. Sekine (Daisuke Kato), and Mr. Minobe (Ganjiro Nakamura). Each relationship starts out with promise but each leads to severe disappointment. She receives a marriage proposal from Mr. Sekine that turns out to be bogus. She tells Mr. Fujisaki that she loves him but promised her husband she would not remarry. Nonetheless, she is crushed when she learns that he has been transferred to Osaka.

The film complements the dramatic action with Keiko's inner dialogue. Backed by a cool jazz score that evokes the mood of Tokyo streets in the early evening, she contemplates how most women in Tokyo are going to their home when her work is first starting. In another sequence she muses, "Around midnight Tokyo's 16,000 bar women go home. The best go home by car. Second-rate ones by streetcar. The worst go home with their customers." As Keiko struggles financially to help her aging mother, her brother who must pay a lawyer to stay out of prison, and her nephew who needs an operation, she knows that she would be better off if she would relax her standards, but she will not compromise her integrity. The stairs she must climb each night to her bar become a symbol both of her triumphant determination and her personal tragedy.

This is my first Naruse film and, boy, what a treat it is! Hideko Takamine is simply brilliant in her evocation of a madame in the ginza bar district, where businessmen go in the after-hours for drinks, flattery, and anything else they can get their hands on.

Takamine's Keiko is a woman bound by social constraints: an aging mother who needs allowance from her daughter to get by, a brother who must be saved from prison because he forged legal documents, a nephew who needs money for operation, rich businessmen and corporate owners who want her body in exchange for petty patronage...

Despite all these attempts to stifle her, to drain her body, labor, and emotions for all their worth and resource, Keiko emerges from life's disappointements and heartbreaks the strong individual she tries to be. Her refusal to be defeated by family, men, the institution of the ginza bar and survival itself is reflected in many elements. The playful music, for example, discourages us from reducing the film to yet another tearjerking festival. Keiko herself is an intelligent and sophisticated commentator on her life as a particular kind of "fallen woman". Throughout the film, there are moments of narration and commentary on the ginza bar-mystique. Here we witness a resilence and self-respect so tremendous that the notion of "feminism" of Mizoguchi's women have to be reconsidered.

"Coming back was as bleak as a cold day in Winter. But certain trees bloom...no matter how cold the wind." WHEN A WOMAN ASCENDS THE STAIRS is a great testament to Takamine's acting wizardry and Naruse's sensitive treatment of the social construction of women - a particular way of brutalizing the individual.

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.

Keiko, also known as mama, is one of those truly unforgettable characters who you swear must exist somewhere out there in the real world. She is both strong, graceful and intelligent. This film has an outstanding lead and supporting cast, and ofcourse a great story centering on the day by day account of the life of a bar woman who struggles to maintain her pride. Don't worry, this movie's initially slow pace blossoms with enough twists and surprises to captivate and reward modern viewers.

Other characters to compare Keiko to is Junko, a much younger bar girl, who manages to work the system to her financial advantage. Komatsu, Keiko's manager, a young man smitten by Keiko's enchanting beauty and is reduced to just imagining a future alongside his beloved. Both Junko and Komatsu's youth prove to be of great contrast to Keiko and her wisdom of thiry years. Unlike Keiko, Junko can imagine and realize her simple but dead end dream of opening a bar in exchange for her dignity. Komatsu's wishes are as empty as his hands as he plays bartender in a run down club. He, alongside other people who are part of Keiko's life will slowly switch roles from friends, patrons and protector, Komatsu, into those who will contribute to the torture in Keiko's life. Just as rice was the center of Seven Samurai, money is the heart of this film. Ultimately, the heroine can rise above everything, everyone and ascend the stairs to Bar Carton again.

Just as Akira Kurosawa, Kenji Mizoguchi and Yasujiro Ozu seemed destined to be recognized as the troika of classic Japanese cinematic masters, here comes the work of a filmmaker who has been under the radar to Westerners all these years, Mikio Naruse. The Criterion Collection is giving Naruse his due with the release of his provocatively titled 1960 melodrama, a fine piece of work that strikes me as a cross between Ozu's elliptical narrative style and deliberate pacing and Douglas Sirk's sense of Baroque-level dramatic sensibilities.

Sharply written by Ryuzo Kikushima, the net result is a clear-eyed yet humanistic glimpse into the after-hours bar scene in post-WWII Tokyo's Ginza district with the primary focus on Keiko, a hostess to whom colleagues refer affectionately as "Mama". Her existence is a daily struggle as she depends on her companion-seeking businessman clients to finance the bar in which she works, and concurrently, confronts the fear of aging in a highly competitive field, all the while standing on her high moral ground to avoid the unsavory pitfalls of others in her profession. Although she is barely in her thirties, she feels pressured to make an imminent choice between opening her own bar and getting married for security. Even more than Ozu, arguably the most sensitive of Japan's film-making elite, Naruse shows with uncompromising clarity how women are consigned to their subservient roles in a male-dominated society.

As she keeps up appearances as part of not only her job but also as her emotional suit of armor, Keiko faces the temptations of four men in particular, all far from ideal, but each promises some aspect of hope for her to get out of her desultory existence. Meanwhile, she faces the machinations of younger hostesses out to get their share of the money and fulfill their dreams of security. Naruse takes his time in setting up the various character situations in the first half, which makes the film feel a little more plodding than it should be, but the pace and dramatic tension pick up in the second half when Keiko's desperation becomes more palpable. It's fortunate that Naruse cast his longtime leading lady Hideko Takamine in the highly complex role of Keiko, as her multi-layered performance is a model of emotional precision. A beautiful actress with a look of often haunting passivity, she subtly provides the emotional tether among all the vividly rendered characters in her orbit.

The four men are skillfully portrayed by actors familiar to anyone with a passing knowledge of classic Japanese cinema - Ganjiro Nakamura ("Floating Weeds") as the aged executive in need of a mistress; Daisuke Katô ("Yojimbo") as the cherubic bachelor who is not what he appears; Tatsuya Nakadai ("Harakiri", "Ran") as the younger bartender/manager who worships Keiko from a distance; and Masayuki Mori ("Rashomon", "Ugetsu") as the married lover unable to leave his family. As intriguing counterpoints to Keiko, Reiko Dan plays the flirtatious Junko with Western-style abandon, and Keiko Awaji makes the ambitious Yuri a tragic, pitiable figure. The film is complemented by a cool, jazz-piano score by Toshirô Mayuzumi, absolutely the right touch for the slightly tawdry urban setting. As with several Criterion releases of classic Japanese cinema (like Ozu's "Tokyo Story" and Nakahira's "Crazed Fruit"), film scholar Donald Richie provides rich commentary on an alternate track in the 2007 DVD. There is also an illuminating 2005 interview with Nakadai on Naruse and the film-making process, as well as the original theatrical trailer. Four insightful essays, including a glowing tribute to Naruse by Takamine, are included in a 38-page booklet accompanying the DVD package.