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Mikio Naruse’s earliest available film, Flunky, Work Hard is the rare work by the director not to center around female characters. It is a charming, breezy short concerning an impoverished insurance salesman and his scrappy son, whose fisticuffs with the other boys of their village put his father’s livelihood in jeopardy.
Mikio Naruse (1905-1969) is often overlooked by Western audiences in the pantheon of great Japanese filmmakers in favor of contemporaries such as Ozu, Kenji Mizoguchi and Akira Kurosawa. He produced over eighty films during his lifetime, and primarily focuses on domestic dramas, films that would be dismissively classified as "women's pictures."
Feb 11, 2007 · Mikio Naruse – A Modern Classic. published. 11 February 2007. Eija Niskanen. Although Mikio Naruse is counted amongst the great Japanese classical masters of cinema, alongside Kurosawa, Mizoguchi and Ozu, his reputation has only recently reached the West. This is largely due to the lack of availability of his films, a situation lately improving.
MIKIO NARUSE WON HIS ACCOLADES in a film world that allowed him to avoid directorial bravura while celebrating the challenges of everyday life.A prolific filmmaker in both the silent and sound eras, he received Japan’s “Best One” award in 1935 for Wife!
1930-1967. Mikio Naruse (成瀬 巳喜男 , Naruse Mikio, 20 Agustus 1905 – 2 Juli 1969) adalah seorang produser, penulis latar, dan pembuat film Jepang yang menyutradarai sekitar 89 film dari 1930 (menjelang akhir zaman film bisu di Jepang) sampai 1967. Ia biasanya membuat film-film shomin-geki ( drama kelas pekerja) dengan protagonis ...
The Western world’s understanding of the work of Mikio Naruse has evolved as trends in cinephilia and in technology have exposed new layers of his long and varied career. During Naruse’s life (1905-1969), very few of his films – WIFE! BE LIKE A ROSE in the 30s, MOTHER in the 50s – were distributed in the West.
“The Cinema of Naruse Mikio presents not only a deft and subtle run-through of the world of an important auteur, but also a virtual encapsulation of the intellectual history of Japanese cinema during its most important period, the 1930s–60s. Catherine Russell contextualizes Naruse in the commercial situation in which he worked and in the historic
