The name of the family. Japan, at the time of the invasion of China, the occupation of Manchuria and the internal terror that engulfed the country, was on the verge of entering World War II. The ruling nobility gained capital due to the ruin of the villagers, the ruling elite demanded the expansion of the ultra-right, the slightest discontent with the imperial power threatened a life sentence. And most prison camps were crowded with pacifists and leftists of all sorts, imprisoned for the sake of the militarists. In one of these places because of his anti-state beliefs gets respected scientist and writer Shigeru. On the shoulders of his wife Kayo (Kabei) fall all the domestic difficulties, care for their daughters, Teruyo and Hatsuko, and constant confrontation with the government, his inner circle and even his own father in the fight for his own family. Her life becomes a model of female resilience, imperceptible daily heroism, which boils down to obtaining food for children, sending programs for her husband and attending public meetings.
Yoji Yamada’s film is characterized by its intimacy, smoothness of narrative and is mainly contemplative in nature. From the conciseness of the scenery and well-thought-out surroundings, an incredible atmosphere of that time is born, the effect of the presence and involvement of the situation is created. At the same time, the director avoids violent scenes of violence and leaves the war behind the scenes, showing only its consequences, and focusing on the characters. An awkward and vulnerable student, Yamazaki, eager to support a family that has suddenly lost its breadwinner. Talented sister-in-law Isaka, an aspiring artist, always ready to clap around the house. A stupid and good-natured uncle from Nara, with short-sighted views, but always a positive mood. Stubborn and playful Teruyo, responsive and sensitive Hatsuko. And, of course, on Kabeya herself in the form of a mother, wife, sister and woman, submissive, patient, illuminating with her warmth and love the path of each person who was nearby.
The color scheme of the picture, striving for monochrome, is periodically diluted with white and scarlet canvases of the national flag, then with the slowly falling gold of autumn foliage, then with the delicate pink flowering of cherry blossoms. Traditionally present in Japanese cinema, nature plays an important role here, although it often serves only as an episodic background, giving the entire foreground to various household sketches. Whether it’s reading letters, singing with the family, a modest Christmas dinner, hanging out freshly laundry, or the tedious removal of handwritten notes from the pages of books given to Shiger. The action mainly develops within the interiors of the master’s house and prison cell, only occasionally moving to one of the neighboring streets, a local train station or a semi-desert beach. To show a protest against luxury, to lead loved ones on a long road or unexpectedly visit a rescuer.
The living classic of the country of the rising sun, familiar to the domestic viewer mainly due to its large-scale triptych (“The Shadow Samurai”, “Hidden Blade”, “Love and Honor”), again shot a smart historical film, this time plot far from feudal themes. Associatively referring to the chamber laconic productions of Yasujiro Ozu, the film at the same time professes the principles of modern Japanese cinema, seeking to critically review past military campaigns. By focusing on the personal tragedy of a particular family, he seems to challenge the ideology of a time when the role of the individual was negligible and the power and emperor were elevated to heaven. But thanks to the desire for accuracy and truthfulness in the depiction of details, the director came out a very reliable cast of the era, equally convincing from the artistic and documentary sides.
Despite the fact that criticism of the state system in Kabei is even more active than in the samurai trilogy, its author is not able to escape from the Japanese worldview. And once again creates a film about devotion, valor and honor, although these qualities are not shown by fearless schizek with katanas at the forefront, but ordinary citizens - a music teacher, her aunt who died in Hiroshima and a modest undergraduate. But the self-sacrifice of the mother, on the verge of a social catastrophe, who managed to save her family and provide her daughters with a future, gives the picture a polynational, if not global, sound. Showing that only following one’s vocation and duty (in this case, parental duty) gives an opportunity to spend life with honor. And it is this idea that is key both for the characters of the film and for understanding the entire work of the director.