Quand une femme monte l'escalier

Finding Naruse Mikio films has been very, very tough, and after seeing this I'd say it's a tragedy. This is among the most gorgeous dramas I've seen - a brooding and dark melodrama, shot in velvety black and white, with stunning widescreen photography.

Based upon my viewing of this and one other Naruse film (to date), I'd say that Naruse's worldview is considerably more cynical than Ozu or Mizoguchi (both of whom he seems to often draw unfavorable comparisons with, from the relatively few critics to have dug into his work) - the strength of women will be taken for granted, or abused by a hostile world regardless of shrewdness, intellect or beauty, and there is a shy jaded quality to this film that gives it an engaging intensity, that while not nearly as subtle, objective or cerebral as Ozu, IS definitely more passionate. Here, and also in the earlier LATE CHRYSANTHEMUMS, Naruse's women are idealized, heroic - symbolic in a larger sense of outsiders or rebels (of any variety) in a social milieu that values discretion and certain forms of conformity above all else.

If you can find this film, I highly recommend it - more of Naruse's work should be made available outside of Japan.

Onna ga kaidan wo agaru toki (1960), directed by Mikio Naruse, was shown in the United States under the title "When a Woman Ascends the Stairs." The film stars Hideko Takamine, Naruse's muse, as Keiko, the Mama-San of a Tokyo bar.

Although the IMDb plot summary says that Keiko is a geisha, that isn't accurate. Geishas do appear briefly in the movie, but Keiko is actually a bar hostess. As portrayed in the movie, bar hostesses are neither geishas nor prostitutes. Geishas still wear the traditional costume, whereas the bar hostesses are dressed in western fashion. The role of the bar hostess is to flatter the male customers and provide company, but not sex. In fact, Keiko has been celibate since the death of her husband.

These women have a fairly good income, but they usually don't have much cash, because they are expected to live and dress fashionably, and most of their money goes for rent or clothes.

The title "When a Woman Ascends the Stairs" refers to Keiko's thoughts as she climbs the stairs that lead to the bar at which she works. Although Keiko doesn't hate her work, she doesn't enjoy it either. It's a job, and her options as a woman are limited in the Japanese male-dominated society. (Even though Keiko, as Mama-San, has some authority over the other women, the real power resides in the male owner of the bar and his manager.)

The plot of the film resolves around the choices the protagonist must make as she attempts to achieve some measure of happiness and financial stability. As would be expected, these goals are difficult to accomplish for a woman in her situation.

Director Naruse returns in this film to his favorite theme--working-class women who must choose among options that aren't very palatable. What makes this film his masterpiece--in my opinion--are the courage and depth of character that Keiko demonstrates.

This film reminded me most of Italian neo-realist films like "Umberto D" and particularly, "Nights of Cabiria," because it focuses on the struggles of average people who are perhaps on the fringes, the subject being a bar hostess. While Keiko's not exactly a prostitute, she is paid to entertain men, a lucrative but soulless career.

As she comes to grips with aging, Keiko struggles to decide between striking out on her own or giving up the business completely. While Fate naturally deals her some ups and downs, I found it to be ultimately quite a cynical story, lacking the hope of "Cabiria." Perhaps that makes it truer to life.

Regardless, there are some outstanding performances by Hideko Takamine and Tatsuya Nakadai. This is the first Naruse film I've seen, and look forward to watching more of his films. Unfortunately, they are quite difficult to get your hands on.

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.

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.