Quand une femme monte l'escalier

While "When a Woman Ascends the Stairs" may lack the excitement of many Japanese films, I really enjoyed it and felt it rather profound...as well as profoundly sad. It's the story of a woman, Mama, who has worked as a hostess in a Ginza bar for some time and she longs to leave the life. After all, her job is to be nice to men who come to the bar and get them to drink as well as get them to buy her drinks. It isn't much of a life and the long hours and drinking take their toll. However, despite hating the life, she also tries to uphold her standards and, unlike some hostesses, she doesn't sleep with her clients. But there are many pressures to do so--especially since the job really doesn't pay well. Plus, sleeping with one of these men might enable her to have enough money to buy a place of her own and have a bit of security. But, for every step forward she takes, there is yet another setback. Can she somehow forge a better life for herself before it is too late? While a film about quiet desperation is probably NOT everyone's cup of tea, the film was written, acted and directed exceptionally well. It de-glamorizes these women and helps create a sense of empathy for them--particularly Mama, who the audience can't help but like. Well done.

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.

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.

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.

The stairs in question are those of a bar in the red-light district of Tokyo and the woman who ascends them is Mama-San, the bar's chief hostess, but the stairs may just as well be those of a brothel for the girls who work these bars are basically prostitutes, (even in Japan in 1960 you could never be that explicit). Of all Japanese directors Mikio Naruse was the one most concerned with the plight of women in contemporary society and he brought to his tales of women fallen on hard times an almost Sirkian sensibility though even Sirk's melodramas stayed clear of the brothel. This may also be the most 'westernized' of all Naruse's films. We could be in the New Orleans of "Walk on the wild side" and even the credits of this film have a touch of the Saul Bass about them. (If only Dmytryk's film could have been this good). There is a naturalism to Naruse's film that American melodramas lack and it's this naturalism that lifts it out of being mere melodrama and into the realms of tragedy. Fundamentally, Mama-San is a woman who hates the life she has chosen but feels powerless to move on and Hideko Takamine, (from "Floating Clouds"), is superb in the role. Yet here is an actress and a director whose work never really traveled beyond Japan and even today Naruse trails in popular opinion well behind the likes of Ozu and Mizoguchi. Hopefully the release of this film in a DVD box set together with "Floating Clouds" and "Late Chrysanthemums" will rectify