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ARCHIVE

16th(2014)



Anzukko

NARUSE Mikio

  • Japan
  • 1958
  • 110min
  • 35mm
  • black and white
  • µå¶ó¸¶

SYNOPSIS

Synopsis
Kyoko is the daughter of a successful writer, Hirayama Heishiro. She turns down each one of her suitors, until she marries a beginning writer named Ryokichi. Their unhappy marrige made Kyoko\'s life painful and Heishiro worried.


 

Program Note
NARUSE Mikio¡¯s 1958 film Anzukko depicts a bizarre coexistence of two different worlds. This film brings to light the director¡¯s cold
 side to the fullest by portraying dramatic events as simple as possible and eradicating overflowing emotions.

 Indeed, it is entirely possible to be moved by the way Kyoko, the wife who is agitated by her husband, is comforted by her benign
 father. However, the film¡¯s essence lies in the unnerving sense of irritation that results from merging two irreconcilable – the
 depressing world ruled over by her husband and the warm-hearted (or seemingly so) world looked after by her father.

 In the end, Kyoko¡¯s everyday life is placed in a dubious space between the insults thrown at her by her husband and her father¡¯s
 lecture on the wisdom of life. She could find neither peace nor chaos there. Vacillating back and forth between these two worlds,
 Kyoko gradually becomes exhausted. This film is even devoid of the catharsis of tears permitted to NARUSE Mikio¡¯s heroines
 sometimes. What expression then do we observe on Kyoko¡¯s face in the final scene of the film? [KIM Bo-nyun]

PROGRAM NOTE

Synopsis
Kyoko is the daughter of a successful writer, Hirayama Heishiro. She turns down each one of her suitors, until she marries a beginning writer named Ryokichi. Their unhappy marrige made Kyoko\'s life painful and Heishiro worried.


 

Program Note
NARUSE Mikio¡¯s 1958 film Anzukko depicts a bizarre coexistence of two different worlds. This film brings to light the director¡¯s cold
 side to the fullest by portraying dramatic events as simple as possible and eradicating overflowing emotions.

 Indeed, it is entirely possible to be moved by the way Kyoko, the wife who is agitated by her husband, is comforted by her benign
 father. However, the film¡¯s essence lies in the unnerving sense of irritation that results from merging two irreconcilable – the
 depressing world ruled over by her husband and the warm-hearted (or seemingly so) world looked after by her father.

 In the end, Kyoko¡¯s everyday life is placed in a dubious space between the insults thrown at her by her husband and her father¡¯s
 lecture on the wisdom of life. She could find neither peace nor chaos there. Vacillating back and forth between these two worlds,
 Kyoko gradually becomes exhausted. This film is even devoid of the catharsis of tears permitted to NARUSE Mikio¡¯s heroines
 sometimes. What expression then do we observe on Kyoko¡¯s face in the final scene of the film? [KIM Bo-nyun]

Director

  • NARUSE MikioNARUSE Mikio

    ¼³¸í ÁغñÁßÀÔ´Ï´Ù.

Credit