IMDb RATING
7.5/10
551
YOUR RATING
When she reaches adulthood, a precocious young woman sets out to find her biological father, who, as her mother tells her, abandoned them for another woman.When she reaches adulthood, a precocious young woman sets out to find her biological father, who, as her mother tells her, abandoned them for another woman.When she reaches adulthood, a precocious young woman sets out to find her biological father, who, as her mother tells her, abandoned them for another woman.
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Did you know
- TriviaThis was possibly the first fictional feature film from Japan to be distributed in the United States, under the name "Kimiko."
- ConnectionsRemade as Koi ni mezameru koro (1969)
Featured review
I admit I find this to be a little uneven, and it's possible that my opinion stems in part from an inability to fully appreciate the film-making and storytelling sensibilities that figure into it. (By the same token, though relatively rare, I believe it is unfavorable when the lasting value of a picture is in some measure dependent on cultural context.) One way or another, there are points where the dialogue and scene writing come across as rather rigid and unnatural - and for that matter, Naruse Mikio's direction as well - and slivers of tonal discrepancy also curiously raise their head, even in Ito Noboru's complementary score. In fairness, these issues diminish, if not resolve entirely, as the plot develops beyond the exposition in the first third that establishes characters, their relationships, and the scenario. It's still unfortunate, though, that with a shorter runtime of only seventy-four minutes, those issues consequently feel more pronounced. However worthy 'Wife! Be like a rose!' may or may not otherwise be, to some small extent it doesn't necessarily meet its full potential.
Yet thankfully such matters represent but a fragment of the movie, and regardless of how much we might scrutinize it this is, overall, quite strong, enjoyable, and satisfying. Though without specific examples coming to mind I'm reminded somewhat of some contemporary fare out of Hollywood or England in how the story initially seems ready to focus on Kimiko's relationship with boyfriend Seiji, but instead shifts to the more dramatic focus of her family's structure, with father Shunsaku having left her and mother Etsuko years ago. This is probably the more interesting story, anyway, for through it we see the complexities of relationships between men and women, not to mention the complexities of individual people; the false assumptions that we make about people based on limited information, and the difficulties of reconciling our hopes for the future with the realities of the past and present; and more. This carries itself with a soft tone, declining to heavily emphasize any beat or idea, but that works perfectly in the film's favor as the tale and its themes are allowed to speak for themselves. And so they do. It's worth further observing that in 'Wife! Be like a rose!' we see a quite modern vision of Japan, with Kimiko moreover being an intelligent, independent-minded young woman, and writing that denotes Shunsaku's culpability - unlike a lot of contemporary works in which Men Never Do Any Wrong unless they were outright villains - while also recognizing the complicated situation in which the characters find themselves. I don't think the title is impeccable, yet Naruse's writing is generally superb as he adapts Nakano Minoru's play.
In all other ways this is splendidly well made, with Suzuki Hiroshi's cinematography striking me as especially smart and dynamic. As the feature maintains a soft, reserved tenor, I think the cast are given more of an opportunity to meaningfully demonstrate their nuanced range and emotional depth, and from one to the next the performances are excellent. By all means, some roles are larger than others, yet I'm equally pleased with all the actors, from Chiba Sachiko (Komiko), Ito Tomoko (Etsuko), and Fujiwara Kamatari (uncle Shingo), to Hanabusa Yuriko (Oyuki), Maruyama Sadao (Shunsaku), and Horikoshi Setsuko (Shizuko). The filming locations are lovely, and the sets no less so; the costume design is sharp and fetching. Truthfully, while I'm of the mind that there are some shortcomings, when all is said and done I think the strengths this boasts well outshine any weaker spots, and the impression I'm left with is of a quietly rich, rewarding drama. One would be remiss not to observe this to have seemingly been one of Naruse's first sound pictures, and one of the first Japanese pictures to have made its way to the United States, and from the outside one might wonder if it has any further value to offer ninety years later. I'm happy to say that as far as I'm concerned it very much does, and I'm glad to give a warm, hearty recommendation for 'Wife! Be like a rose!'
Yet thankfully such matters represent but a fragment of the movie, and regardless of how much we might scrutinize it this is, overall, quite strong, enjoyable, and satisfying. Though without specific examples coming to mind I'm reminded somewhat of some contemporary fare out of Hollywood or England in how the story initially seems ready to focus on Kimiko's relationship with boyfriend Seiji, but instead shifts to the more dramatic focus of her family's structure, with father Shunsaku having left her and mother Etsuko years ago. This is probably the more interesting story, anyway, for through it we see the complexities of relationships between men and women, not to mention the complexities of individual people; the false assumptions that we make about people based on limited information, and the difficulties of reconciling our hopes for the future with the realities of the past and present; and more. This carries itself with a soft tone, declining to heavily emphasize any beat or idea, but that works perfectly in the film's favor as the tale and its themes are allowed to speak for themselves. And so they do. It's worth further observing that in 'Wife! Be like a rose!' we see a quite modern vision of Japan, with Kimiko moreover being an intelligent, independent-minded young woman, and writing that denotes Shunsaku's culpability - unlike a lot of contemporary works in which Men Never Do Any Wrong unless they were outright villains - while also recognizing the complicated situation in which the characters find themselves. I don't think the title is impeccable, yet Naruse's writing is generally superb as he adapts Nakano Minoru's play.
In all other ways this is splendidly well made, with Suzuki Hiroshi's cinematography striking me as especially smart and dynamic. As the feature maintains a soft, reserved tenor, I think the cast are given more of an opportunity to meaningfully demonstrate their nuanced range and emotional depth, and from one to the next the performances are excellent. By all means, some roles are larger than others, yet I'm equally pleased with all the actors, from Chiba Sachiko (Komiko), Ito Tomoko (Etsuko), and Fujiwara Kamatari (uncle Shingo), to Hanabusa Yuriko (Oyuki), Maruyama Sadao (Shunsaku), and Horikoshi Setsuko (Shizuko). The filming locations are lovely, and the sets no less so; the costume design is sharp and fetching. Truthfully, while I'm of the mind that there are some shortcomings, when all is said and done I think the strengths this boasts well outshine any weaker spots, and the impression I'm left with is of a quietly rich, rewarding drama. One would be remiss not to observe this to have seemingly been one of Naruse's first sound pictures, and one of the first Japanese pictures to have made its way to the United States, and from the outside one might wonder if it has any further value to offer ninety years later. I'm happy to say that as far as I'm concerned it very much does, and I'm glad to give a warm, hearty recommendation for 'Wife! Be like a rose!'
- I_Ailurophile
- Jun 18, 2024
- Permalink
Details
- Runtime1 hour 14 minutes
- Color
- Sound mix
- Aspect ratio
- 1.37 : 1
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Top Gap
By what name was Wife! Be Like a Rose! (1935) officially released in Canada in English?
Answer