the bright red teapot
by Douglas Messerli
Kōgo Noda and Yasujirō Ozu
(screenplay, based on a novel by Ton Satomi, Yasujirō Ozu (director) 彼岸花 (Higanbana) Equinox Flower / 1958
In Ozu’s 1958 film, 20 years later, at least there are a few other
colors, sprigs of yellow flowers, a bright pink sweater worn by the young
heroine, and bright orange bottles of soda, that suggest that we are in, at the
very least, a more diverse world.
Ozu reiterates both his patriarchal demeanor and disdain for Hirayama’s
wife when he does return, tossing his clothes, one by one, to the floor as she
literally scoops them up, presumably to clean them for their next wearing. And,
although he is a gentle man in the office, where we observe him mostly signing
contracts, he is far more hide-bound and unforgiving at home. In one of the
film’s final scenes, we see this obedient wife sitting patiently alone at her
table with a beautiful smile on her face, while the director cuts to a window
view of a clothesline with hanging garments. Kiyoko, it is clear, has spent her
entire life caring for her husband.
In the outside world, others come to him for advice. An old friend,
Shukichi Mikama (Chishū Ryū) is worried about his daughter, Fumiko (Yoshiko
Kuga), who intends to marry a musician of whom he does not approve, and who has
left her home to work in a Ginza bar, asks if Hirayama will check in on her. A
woman friend, Mrs. Sasaki (Chieko Naniwa) visiting Tokyo from her home in
Kyoto, where she owns an inn, complains of her daughter Yukiko’s refusal to
meet any of the men she has chosen for her.
We never quite know what the relationship is between Hirayama and
Sasaki, who is presented by Ozu as a kind of comic chatterbox, from whom both
Hirayama and later his wife must escape, before she begins her endless
conversations, to the bathroom.
But we might suspect that, despite the familial friendliness between the
Hirayamas and the Sasakis—Hirayama’s daughter, Setsuko (Ineko Arima) is also a
good friend of Yukiko (Fujiko Yamamoto)—it may have something to do with the
past “business” trips to that city that Hirayama has made.
In any event, Hirayama gives sage advice, and is willing to help bring
those family members together.
When suddenly confronted in his own house, however, with a young man,
Masahiko Taniguchi (Keiji Sada), asking for his daughter Setsuko’s hand in
marriage, Hirayama is horrified. He knows nothing about this man, a junior
businessman soon to be transferred to Hiroshima. Neither Hirayama nor his wife
has even been told by their daughter about their relationship.
When upbraided for her behavior, Setsuko runs to her lover, who gently
sees her back home, which, at least, gains her mother’s approval. But Hirayama,
obviously perceiving that his control of the home is being weakened, turns
suddenly into a kind of tyrant, demanding that his daughter be locked in until
she perceives the error of her ways. “Bad things happen when young girls go
out. Stay home for a few days and think it over.”
But this new “modern” world is one
controlled by the women. Setsuko’s younger, completely modernized sister,
agrees with her decision, while Yukiko and Setsuko go even further in making a
pact to help in each other with their autocratic parents. Although always
obedient to her husband, even Hirayama’s wife subtly joins forces against the
old ways.
So too, does he bless Yukiko’s decision to marry someone other than her meddling mother’s choices. Love is more important, he insists, than what her mother wants. When Yukiko announces that she has really been speaking for and about his own daughter, she declares that Hirayama has, in fact, given Setsuko the permission to marry she has sought.
Flustered by his obvious hypocritical behavior, Hirayama storms home,
where even his gentle wife observes that he is a man of “inconsistencies.”
Hirayama’s answer is as profound as Ozu’s film: “as a scholar said: ‘the sum
total of inconsistencies is life.’”
Ultimately, Hirayama has no choice but to attend his daughter’s wedding,
and even do penance by visiting the married couple in their new home in
Hiroshima. Let us hope, however, that his visit will be more joyous one than
the parental visit in Tokyo Story.
But this is now a brighter world than that one. The Japanese culture had
already seen the enormous changes that would lead to its dominance of the Asian
market and its deep relationships with the US and other western markets. That
bright red tea kettle might soon be available in all of our homes. Ours is
bright green.
Los Angeles, September 13, 2017
Reprinted from World Cinema Review (September 2017).
No comments:
Post a Comment