Sono yo no tsuma

Ozu makes the best of what appears to be an uncharacteristic potboiler assignment involving a man (Tokihiko Okada) driven to crime to help his wife and ailing daughter, chased down by a cop (Fuyuki Yamamoto who looks like a Japanese Charles Bronson) who suddenly faces a moral dilemma. The characters are clearly played for genre type, but great performances make it special -- especially by Emiko Yagumo as the fiercely protective wife -- and Ozu achieves a feeling of moral resolve and atonement through personal sacrifice similar to what he did in WALK CHEERFULLY.

It's one of Ozu's gangster movies from the early 1930s... only it's really about a father whose daughter is so sick he commits a robbery to pay the bills, then gets easily tracked down at the child's bedside.

A brief survey of online discussion refers to this as one of Ozu's "early, non-typical silents." It's the same attitude I complained about in my review of DRAGNET GIRL as if John Ford got off the train from Maine in 1915 and announced "I'm ready to direct How Green Was My Valley. What do you mean this is Azusa?"

It's slow and contemplative and allows the audience to get inside the characters' heads and is a fine little movie. What it doesn't do is use the same, low perspective and simple shots that Ozu would cultivate after the Second World War.... almost certainly because it would not occur to him for fifteen or twenty years that they would work. It's too bad he didn't talk about it with the geniuses on the Internet. They know everything.

I believe a more accurate translation of the title would be My Wife on That Night, and hearing it this way underscores who the film's hero is. On a night when her child is deathly ill, her husband has gone out and committed armed robbery to pay for medicine (a touching but stupid move), and is now on the run from police. One of them cleverly tracks him to his apartment, where a standoff begins, because even when either side has the upper hand, they all wait through the night to see if the child survives.

The opening of the film feels very action oriented and Western, something different for Ozu, but the second half, in the apartment, shifts to themes of family and honor. Despite the American movie posters on the wall, the feeling is certainly Japanese. The husband has already said he will return the money in the morning, something which seemed surprising to me, and then later faces his ultimate responsibility. The detective has been kind, and patiently allowed the melodrama with the child to play out. Lastly, the wife has done her very best to defend her family and keep it together, on a night when the lives of both her child and her husband are in danger. The way she held the two guns was a highlight, and I loved the strength in her character.

The trouble is, when the action shifts to the apartment, the film slows to a real crawl. Pacing was a major problem for a story this simple. Just as the character of the wife started to catch herself nodding off to sleep and trying to stay awake, this viewer struggled. Between the pace, the melodramatic subplot of the child, and the squeaky clean behavior of everyone, I ended up not enjoying this very much.

"That Night's Wife" (the English title) is actually a poor translation of the Japanese "Sono yo no tsuma". A better one might be "My Wife on That Night". Briefly, the film revolves around a desperate man who commits a crime in order to support his family, and the moral dilemma the policeman who tracks him down finds himself in. The film abounds with cultural inconsistencies like Japanese wearing their shoes in the house, etc. It seems Ozu was trying to do a Japanese film in the style of the German realist films he must have been seeing at the time. There is very little of what one associates with the later style of Ozu. Still, it is taut and entertaining.

While the characters themselves are stock figures (the good man pushed to criminal activity, the faithful wife, the dutiful but understanding cop, etc.), the execution of this one-room thriller is superb stuff. It has a noirish vibe that feels nothing like Ozu's more famous postwar work. While not a must-see, it is taut, entertaining, and enough of an anomaly in the career of one of cinema's masters to warrant a single viewing from cinephiles.