OKASAN is one of the rare instances when Naruse was able to create a film with a little more humor than usual; for this reason, this study of an adolescent girl and her mother has moments of great charm, even though the general sadness which pervades so many of Naruse's films cannot help but add dimension to the story. The ending of the film is more upbeat than is usual for Naruse, and so the effect is bittersweet and rueful, rather than despairing and sad. It's a film full of delicate touches of great tenderness; it's a film that really does celebrate motherhood, though in a very unsentimental way. Though Naruse does emphasize the problems of the family, he allows the affection that the family feels for each other to texture the film with a feeling of genuine warmth. This remains a very special film for Naruse for this reason.

It is easy to make a good movie - just remember what genre it belongs to and follow the rules. If you make a comedy, make it funny, if you make a drama, make it moving, honest, look at your characters closely, find what motivates them, what makes them happy, sad, look at their faces, their eyes because the eyes are the soul's mirror. Don't make them talk a lot but make every word, every gesture, every look meaningful. Remember that even the most moving drama can and should have humor because without smiles and laughs the humans simply can't survive. Watching Naruse's "Okaasan" (1952) aka "Mother" makes all these rules seem so easy to follow and that's what a great movie should be like. I cried and smiled and thought about my mother, and wished her to be happy and live forever and then I took the movie to her - I wanted her to see it, too. One thing I'd like to add - what a fascinating use of music score, the original and the famous Italian song, "O Sole Mio". I've never heard such a charming version of it.

Excellent! 10/10

When the eldest son dies, and then the father, Kinuyo Tanaka is left to carry on the laundry. She not only has to learn how to handle the iron -- for Daisuke Katô cannot remain to help out forever, but there are still three children in the house: elder daughter Kyôko Kagawa, who is resentful of the changes, a younger daughter who will be going to live with her late husband's brother, and a nephew -- his widowed mother, Chieko Nakakita, is studying hairdressing.

It's a family portrait by Naruse, and while there is hardship, it's not a story of misery and oppression, but one of love. The actors all give heartfelt performances, but it is Miss Tanaka, at the heart of the movie, who truly shines. She feels her loss deeply, her responsibilities more deeply, and her love most of all; her reaction when Miss Nakakita has dressed up Miss Nakakito as a bride for a competition is an expression of love, pride and sadness that is indescribably beautiful and true.

It's not one of Naruse's greatest pictures, but this might be the most telling scene he ever directed.