7/10
Aging, But Still Lovely
25 May 2019
It's a movie about retired geishas. Some, like Haruko Sugimura, have saved their money, have no children, and are enjoying -- if that's the word -- a second career as a moneylender and real estate speculator. Some, like Yûko Mochizuki have not. None of them seem particularly happy.

Mikio Naruse has avoided his usual tale of women falling victim to changes in Japan. Instead, he and his frequent director of photography, Masao Tamai, have adopted a scheme of blocking for this movie that is far flashier, less standard for its era, than their usual collaborations. Miss Sugimura's house is all shoji and framing panels. Where she controls the geometry, she controls the situation. Even in her other scenes, she is still in similar geometry, and still in charge. It's only in the final scene,in open space that she stumbles. The other women manage all right. There seems to be a clear message that they can choose to hide where it is safe, or face up to the world.

It's an unusually optimistic viewpoint for Naruse, but not, of course, without its pitfalls. The world is still out there. Predatory men are still out there. Sometimes, however, you need to laugh at it anyway. It won't make a difference, but it will make you feel better.
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