Hôrô-ki

Sometimes films turn out better than the books on which they are based, and sometimes they are even more literary or more adventurous. Then again, in many cases they aren't. Naruse had a good streak of successful adaptations of Hayashi Fumiko works, but this one falls short of the others. Naruse's previous Hayashi adaptations somehow find a poetics within the boredom, frustration, and regrets of marriage, but it doesn't happen here. This is odd considering that Hayashi's "Horoki" is already quite poetic. Takamine's offscreen readings somehow come off wrong and she is constantly overacting. This is strangely out of character for her and Naruse, who were known for their restraint and control. The film ends up as a grab-bag of documentary episodes from Hayashi's life, but the book is much more. Meh.

When not making goofy giant monster movies Toho were known for their bleak period pieces, this is the latter.

It tells the story of one girls struggle as she fights to make her way through a difficult life, poverty, hunger and poor companion choices. As you can imagine this critically acclaimed piece doesn't make for the easiest viewing.

At just over two hours in length it manages to spread out the girls plight and it makes for a very sad watch. Many Toho movies are and it's very difficult to find a balance of sadness and entertainment, there is only so dark you can go before the latter becomes absent.

I'm not sure the balance was right here, though it has its moments it's a very bleak little story and might not have quite the payoff you feel necessary.

Watchable stuff, great performances but I struggled to find enjoyment.

The Good:

Fantastic performances

The Bad:

Unmercifully bleak

Things I Learnt From This Movie:

Children should thank their fathers for skipping their first 8yrs

Can you imagine how miserable the movie would be if Toho merged the bleak with the monsters!?

It's the story of the early life of Fumiko Hayashi: her penniless upbringing, her desperate poverty in her young adulthood, her awful choice in men, and ultimately the beginning of her success as a writer.

Mikio Naruse's sixth and final movie based on Miss Hayashi's works -- including the revered MESHED and my personal favorite, INAZUMA -- is a story of tragedy from the beginning to the end. The choice to play the writer, Hideko Takamine, seems an odd choice, but she makes herself unattractive and utterly believable. Likewise, Kinuyo Tanaka seems older and more futile than in anything I've ever seen her in.

It's clearly an important movie, released to celebrate Toho's thirtieth anniversary as a production company. He directs it as one of those endless tales of Tokyo poverty that he and other socially conscious directors supervised in the 1930s, combined with the story of a woman mistreated by Japan's misogynistic society that Naruse so often offered.

I found it a tough watch; not only is it difficult to see a movie about a poet in another language -- although the rhythms of the translation in the version I watched were excellent -- but the unending misery, accurate to Miss Hayashi's life and written story though it may be, was hard to watch befalling my favorite Japanese actress. Don't mistake me: it's a great movie. But it's not one I'm likely to visit again soon.

How is it possible that Hideko Takamine can transform herself into this character so easily? My answer is that she was, 100%, an actress of heart. (Unlike so many Japanese actors and actresses these days who can only make faces.) And she does great things with her heart. She was by far one of the most talented actresses in the 20th century not only in Japan but anywhere. After playing several of Fumiko Hayashi's characters, Deko-Chan plays Fumiko Hayashi herself in Hourou-ki. And it is amazing to watch. From the beginning of the movie there is a deep sadness on Fumiko's face; and even when she is expressing other emotions in the movie, that sadness is still there in her face — it never goes away. Wow. I think that unlike most actors and actresses Hidoko Takamine can completely transform herself into her character; erase herself completely

I saw this film in a horrendous video dub with difficult-to-read subs so I can only recount what I could glean from it. Many of Naruse Mikio's best films were adaptations of books by his favorite author, Hayashi Fumiko ("Lightning" "Late Chrysanthemums" etc.). "A Wanderer's Notebook" (also known as "Lonely Lane" or "Her Lonely Lane") was the final Hayashi film and one of his last before his death in the mid-sixties. Taken from Hayashi's autobiography, it's the story of a cynical, hard as nails female writer living in poverty who falls in love with a real b****rd (the typical unfeeling Japanese man littered throughout Naruse's films), who she knows is a real b****rd but who she somehow cannot pull away from. Hayashi is portrayed superbly by the always amazing Takamine Hideko, who has played the role for Naruse in previous films and who has aged like fine wine. In a way "Her Lonely Lane" feels like it's as much of a swan song for Takamine as it is for Naruse. Never has she played with such restrained bitterness; it's a flawless performance. Unlike "Floating Clouds" she remains alive at the end, a successful author with a large house and a kind husband. Her meeting with a man who loved her in her youth in the garden behind her home is a truly eloquent scene: as she is speaking to him we become aware that old memories still haunt her decades after the fact, though she never says so. It is moments like these in which Naruse's pessimism becomes sublime - Hayashi is aware that her hard-won victories can't stack up against the costs, but the moment is so beautifully melancholic that it seems to transcend the past, if only for an instant.