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The
Comings and Goings of Mikio Naruse |
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There
is a cinema of walking – just as surely as there is a cinema of driving, or
flying. Whether framed statically – in order to emphasise the distances and
weight of the surrounding world – or shot with the camera travelling behind, in
front of or alongside the human figure, such walking literally ‘paces out’ the
mood, rhythm, meaning and method of certain films.
Directors
as different as Chantal Akerman, Béla Tarr and Quentin Tarantino construct their
material from the step-by-step motion of their characters – the action turning
(for example) the metropolitan city into a space of personalised reverie or
dread-filled anticipation. Idyllic stroll or manic stomp: narratives can either
find or lose their way in the paths and detours traced out by walking.
Mikio
Naruse built up, second by second, across all of his films, the cinema’s finest
monument to walking. The French filmmaker-critic Bertrand Tavernier, in paying
homage to Sound of the Mountain (1954),
said of Naruse that he ‘minutely describes each journey’ that arises in the
narrated lives of his characters, and that ‘such comings and goings represent
uncertain yet reassuring transitions: they are a way of taking stock, of
defining a feeling.’
Comings
and goings are indeed rendered with an almost fanatical or obsessive attention
to detail in these films: the setting out, the route that is taken, the
approach to a dwelling or workplace ... With, very often, an element of
repetition figured in, across scenes and across the imaginary months or years
that the story conjures: the same camera angle, the same frame, the same
gesture – but with a difference in the bodies as they age, as the wear and tear
of bittersweet experience sets into them. That is what we see, for example, in
the tracks of Yukiko (Hideko Takamine) in Floating
Clouds (1955).
But
it is most often the viewer alone who is permitted to take stock of these
movements and their inexorable repetition; walking for the figures in these
films, as an embodiment of resilience, registers far more truly as a way of
surviving, hanging on to a thin thread. The thousand and one small transitions
they make, from one little zone of social-emotional space to the next, are
indeed ‘uncertain yet reassuring’.
Naruse
as a filmmaker was fascinated with the narrative and cinematic forms offered by
the device of a journey – a short story he wrote in the mid ‘30s already
sketched what would become a typical plot for him, a young girl setting out to
visit her faraway mother – and yet we remain very far, at every point of his
career, from the type of strenuous, action-packed Heroic Journey preached by
contemporary Hollywood blockbusters. Journeying in Naruse is intermittent,
paths are broken off and picked up again, sidetracks occur … And, most
importantly, these journeys do not need to occur on the scale of thousands of
miles, from country to country (although they sometimes do, especially due to
the displacements wrought by war); a journey can be a walk down a street, as in Floating Clouds; through the doors,
rooms and zones of an apartment, as in Late
Chrysanthemums (1954); or up and down a staircase, as in When a Woman Ascends the Stairs (1960).
Journeys of the everyday, where time is measured out in footfalls, ticking
clocks, spoonfuls … and where even the most melodramatic blow or the most
ecstatic moment of pleasure (and his cinema is not devoid of these intense
dramatic highpoints) cannot truly take the characters out of the unromantic,
unsentimental forward progression of the times and places that constitute their
existences.
The
walking-journey motif also works on another level in Naruse’s films. The French
critic Jean Douchet put it well: we advance, as spectators, alongside his
characters, neither knowing more or less than they do ahead of the actions and
interactions we see unfolding. The very antithesis, therefore, of the cinema of
Hitchcock, Fritz Lang or Brian De Palma. We must read the gestures, the
glances, the living situations of others as we encounter them, as if we (with a
character) had just stepped through the front door: again, Yukiko’s path,
initiating the story of Floating Clouds as she enters the household of the obviously married Kengo (Masayuki Mori), is
exemplary.
Western
arthouse audiences with a mainly canonical, heavily pre-filtered acquaintance
with Japanese cinema tend to locate the great auteurs – Ozu, Mizoguchi,
Kurosawa and more recently Naruse – in a vacuum outside of time and history,
invoking various fuzzy Ancient Hallowed Traditions of storytelling and
pictorial style. This kind of casual operation of abstraction robs Naruse’s
work of much of its interest and depth.
Let
us consider, for example, Naruse’s films of the 1950s within the pre-New Wave
stirrings of that decade – not just the European New Wave(s), but the Asian
ones as well. Douchet is right to propose the comparison between Naruse in this
period and contemporaries such as Roberto Rossellini and Ingmar Bergman: here,
in the post World War II era, we witness the flowering of a mode of filmmaking
devoted to the ‘eternal present moment’, something that both liberates the
cinema and ignites a struggle with historic memory – precisely the social
traumas that must be obliterated from consciousness (always unsuccessfully, of course)
in order for ‘the present’ to prosper, unfettered. Such history is never far
away, lurking in the off-spaces of Naruse’s films – and the occasional
devastating flashback is there, like near the start of Floating Clouds, to poke a hole in the eternal present of his
fool-for-love characters’ consciousness, and take stock of the distance and
difference between the then and the now.
When a Woman Ascends the Stairs offers the most visible
marker of Naruse’s negotiation of social modernity. The modern world – and
modern cinema – enter everywhere here, in the meticulous set design of the
nightclubs as in the cool jazz score. The relations of bodies to architectural
forms and shapes evokes Antonioni, as does a new atmosphere of urban alienation
and ennui. But on that central staircase – so artfully constructed and shot to
Naruse’s scenographic specifications – we meet again the daily, material weight
of this cinema of humble, unspectacular, and yet still somehow momentous walking movements: those
comings and goings which are (as Tavernier attests) the ‘gestures repeated a
thousand times’ that create the filmmaker’s ‘chronicles of flux and doubt’.
MORE Naruse: The Naruse Blues
© Adrian Martin August 2007 |