Japanese Girls at the Harbor

This story involves two girls, Dora and Sunako, who are best friends in Yokohama. They vow never to separate, but along enters a man (with the Western name Henry). Sunako goes for him, but he's a bad guy, a gangster and a philanderer. She eventually catches him with another woman, and does something rash. In her shame, Sunako runs away only to become a geisha. Later she meets up with Dora and Henry again, now married to each other and feeling guilty for what became of Sunako. Japanese Girls at the Harbor is often a very pretty film, but I sometimes found it to be poorly made. The first half is especially confusing with Shimizu's gimmicky editing. And the transition between the big event of the first half and the second half of the film is never quite clear. I had initially thought I was confused because I watched it tired, but I watched most of the first half over again and still found it hard to put together. Plus, whenever characters who aren't one of the main three enter the film, it's always hard to understand who they are. The second half of the film is much stronger than the first, but I would still complain that Henry and Dora are never especially interesting characters. My attention was focused entirely on Sunako, and I found it hard to concentrate when she wasn't around. This is the earliest film in the Eclipse Travels with Hiroshi Shimizu box set (and the only silent film), and I've read at least one review of the set that claims that it's the weakest. Looking at the better aspects of the film, it's clear that Shimizu is a talented director. I'm confident that the other films will be better. I definitely do not recommend starting with this film if you're just renting them. Skip it all together, or at least come back to it later.

...this time from director Hiroshi Shimizu. Sunako (Michiko Oikawa) is a teenage girl in the port city of Yokohama. When she discovers that her older boyfriend is seeing another woman, Sunako commits a terrible act and leaves the city. After years of drifting about, she returns to Yokohama as a bar hostess and reconnects with her old boyfriend, who has married Sunako's former best friend in the interim. Heartbreak naturally ensues.

Director Shimizu indulges in a number of camera tricks, like rapid tracking shots, fast-edit zoom ins, and having characters dissolve likes ghosts when leaving a scene. While many of these gimmicks are eye-catching, they don't do anything to add to the meager, routine plot. A distinct lack of characterization in the script makes discerning who's who a chore for the film's first half hour, which is bad in a one hour movie. The coastal scenery and some decent performances from Shochiku regulars save this from being a loss, though. (

Although the movie was made in 1933, the visuals are shockingly contemporary. In some ways the streets are cleaner and in better order than the streets of present day Yokohama. Aren't we supposed to be evolving ? I don't see any sign of that in terms of beauty of the city and the behavior of the people in this movie.

I don't know much about the film's director, but I understand that he's supposed to be one of the greats of early Japanese cinema. I can see that. There's sharpness, and vivid quality to every scene. It's almost breath taking.

Some things changes while others remain timeless. I got to reevaluate my life's value after watching this movie. So many things that I thought were important now looks silly. The people in this movie have already lived it.

Great movie to put your life into perspective, and behold at how advanced it was in 1933. With a little change in clothing and furniture, it's exactly like the life we live today.

The director of this movie had an impeccable taste.

The Japanese film industry during the 1930s was quite different from Hollywood. While the American movie producers had switched over to sound by about 1929 (afer the first talking picture in 1927), Japan and much of the world continued making silents for some time. In fact, up until almost 1940, Japanese films were still silents. In addition, some old film techniques (such as the stationary camera used by Ozu up until the 1960s) lingered. I mention all this because I understand the context for 1930s Japanese films and have watched about a dozen or two. However, even compared to these other films, "Minato No Nihon Musume" is a very, very old fashioned film...and I don't see the genius that some other reviewers have mentioned. Technically speaking, the film was very badly dated when it debuted. The biggest problem is the incredibly detached style of storytelling (and yes, I know that this was not all that unusual for Japanese films)--because of this it loses so much of its emotional impact and is dull when the film had a story that NEVER should have been dull. Instead of telling the story in a traditional narrative, the story is laid out in vignettes that are framed with intertitle cards that describe what is about to occur...which was great for 1910....but certainly not the best or most interesting ways to tell any story.

As for the story, it's all about a woman who is used by a jerk named 'Henry' and the consequences (both immediate and long-term). I cannot complain too much that the 'foreigner' Henry clearly is NOT a westerner but a Japanese man. This is because at the same time, Hollywood was featuring the Swede, Warner Oland, as Charlie Chan! In fact, having westerners play Asians was the norm for decades...so Henry's poor casting can be understood in its context. Plus, perhaps no western actors were even readily available for the part. Regardless, the story idea isn't bad...but is just not executed in a way that makes for interesting viewing.

Hiroshi Shimizu is not a name that springs instantly to mind when one thinks of Japanese film directors. Although Shimizu was a contemporary of Yasujiro Ozu, both having worked at Shochiku Studios, it is Ozu whose body of work is the better known. While not for one moment does this take away from Ozu's reputation as a great film director, it does not mean that Shimizu was not also a director of equal stature. Ozu said: "I can't shoot films like Shimizu." And the great Kenji Mizoguchi once said: "People like me and Ozu get films made by hard work, but Shimizu is a genius" Shimizu made some sublime films in a career that spanned the years 1924 to 1959. A four-disc box set of Shimizu's films is now available. Films included are "Mr. Thank You", "Ornamental Hairpin", "The Masseurs and a Woman" and "Japanese Girls at The Harbour", all with English subtitles. A few days ago I watched Shimizu's 1933 silent film, "Japanese Girls at The Harbour." Set in the port city of Yokohama, two girls, Sunako and Dora who attend a Christian school, pledge to be friends. But when a youth named Henry appears on his motorcycle and offers to take Sunako for a ride, we know that this friendship won't last and that the lives of both girls will change in ways they are barely able to comprehend, and can do little to change. "Japanese Girls at The Harbour." is a microcosm, a snapshot if you will, of Japanese society of the early 1930s, at a time when the old way of life in Japan was about to crumble before the more tempting, faster-paced life of the West. It is clear from this collection that Hiroshi Shimizu was the equal of, if not as good as, Japanese directors like Ozu and Mizoguchi in holding up a bright shining mirror to the minutiae of Japanese life.