Viewed on DVD. Film historic relevance = nine (9) stars; restoration = seven (7) stars. This is one co-writer's/director's conception of the dreary life faced by the lowest tiers of salary men and women (i.e., corporate clerks and clerk/typists) at the start of (mid 1950's) Japan's stunning post-war recovery. The parallels between life in the military and life in post-war corporate Japan seem pretty obvious from several carefully staged shots at the start of the film. Nevertheless, the director insists on hammering away at this similarity throughout the movie (in case there are some really slow-to-comprehend viewers?). The cast is lead by a group of excellent actresses who occupy all the staring roles. They uniformly deliver excellent line readings, and create the strongest impressions. All male actors play DE FACTO supporting roles. Exteriors (real, not studio simulations) are numerous, and document many contemporary, ever-day activities in suburban and urban Japan. By far these are the most fascinating scenes in the film. This includes scary shots of scores of commuters jammed together waiting for trains and standing at the VERY EDGE of station platforms without protective barriers of any kind. These are priceless views of continuing societal trust in the midst of momentous and far-from-popular cultural changes. The film (as usual for this director) is much too long. This time out the director surpasses himself with shots of clothes lines! There are at least a dozen of them. The usual shots of ugly overhead power lines are also present. There are clever in-camera exterior shots using miniature high-rise building with each window showing the same inside activity. You have seen most/all of the real building facades (photographed from the same angles) before. Likewise for seaside location scenes. Film "score" is chaotic, tedious, and usually inappropriate for (or disconnected from) what appears on screen. The music basically distracts from rather than adds to the impact of the movie. Happy music endlessly looped during a solemn wake is not particularly amusing! And it is the exact same ripped-off Italian cinema music used in other films by this director. Also if you are a huge fan of xylophones, then this film's music is for you! Restoration including subtitles is not quit there. Frame jitters occurs especially during the opening credits. Subtitles (even ones with a few words) appear before the dialog is delivered (a frequent echo-like irritation). None of the prominently photographed signs (on doors, buildings, etc.) are subtitled. If you are a Japanese culture buff, then this is a must movie. Otherwise, more on. WILLIAM FLANIGAN, PhD.
Review of Early Summer
