The Whole Family Works, Mikio Naruse’s adaptation of a Sunao Tokunga novel, feels more of a piece with the writer/director’s quietly observant and psychologically charged later work. For the Naruse-familiar, it is an anomaly only in its placement within his filmography—indeed, this could be a film made by the elder, stasis-minded Naruse momentarily inhabiting, through a metaphysical twist of fate, his stylistically exuberant younger self. Set in depression-era Japan around the time of the Sino-Japanese War (which the director evokes, during a brief dream sequence, by dissolving between children’s war games and actual adult warfare), The Whole Family Works gently observes a family coming apart at the seams. Ishimura (Musei Tokugawa) is the jobless father of nine children. Unable to find work he tasks his sons and daughters with the monetary support of the clan, an order no one questions openly until eldest son Kiichi (Akira Ubukata) comes home with a discontented headful of ideas imparted by his platitudinous teacher Mr. Washio. (Similar filial discontentedness behind the scenes: Naruse scholar Audie Bock suggests that the film’s focus on “the working poor” quite deliberately skirted the requirements of the national policy propaganda films then encouraged by the patriarchal Japanese government.) The tension between father and son builds over the course of the film until they fight it out during a torrential downpour, a sequence featuring one of Naruse’s most striking juxtapositions: a dissolve between Ishimura and Kiichi’s heated debate and the increasingly violent rainstorm pattering rhythmically against the outer walls of their home. Though The Whole Family Works finally feels like something of a warm-up for the director’s stylistic and thematic obsessions post-Ginza Cosmetics, it is moments such as this (along with an equally striking last image, breeding revolution, of the younger sons heedlessly somersaulting on the floor above their parents) that show Naruse’s raw, burgeoning talent shaping itself into something expressive and masterful.
- Toho Company
- 65 min
- Mikio Naruse
- Mikio Naruse
- Musei Tokugawa, Noriko Honma, Akira Ubukata, Kaoru Ito, Seikichi Minami, Takeshi Hirata, Seiichiro Bando, Kiyoko Wakaba, Den Obinata, Sumie Tsubaki, Kinji Fujiwa, Jun Maki
- Slant is reaching more readers than ever before, but advertising revenue across the Internet is falling fast, hitting independently owned and operated publications like ours the hardest. We’ve watched many of our fellow media sites fall by the way side in recent years, but we’re determined to stick around.
We’ve never asked our readers for financial support before, and we’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees. If you like what we do, however, please consider making a contribution.
You can also make a monthly donation via Patreon.