A melodrama of exquisite sadness and a worthy successor to Hungry Soul. The action seems to take place in a cloud of of jazz and melancholy. Will Mayumi (Yukiko Todorki) marry Mr. Shimotsuma (Shiri Osaka) in spite of her children´s disapproval? Will Reiko (Yoko Minamida)  leave her crude and cruel husband for Tachibana (Tatsuya Mihashi), the dreamy man who loves her? If they do, what effect will this have on their children? It´s 1950s Japan, we see in the credit sequence it´s a Japan of industry, TV, neon. But have social mores modernised along with industry?

These women are given impossible choices, romantic love vs social respectability and the well-being of their children. Society will punish whichever choice they make…and so we must cry. Hungry Soul leads us, gently, understandingly, to the tears that follow in the gap of that which is vs that which should be.

I´m beginning to be more attentive to Kawashima´s skillful mise-en-scène. The lovely shot of Reiko after her dance, when the camera shifts from her with Tachibana´s flowers onto the mirror – is another life, one of soul, spirit, feeling really possible for her? The shot in the mirror shows us hope, a contrast between her current oppressive conditions of existence and …a possibility of something else.

I also noticed a lovely tracking shot as Mayumi goes to return money to her sister and the camera tracks horizontally through every room in that happy house, the type of house and home Mayumi longs for, even as her pragmatism leads her to managing a type of love motel.

The film accents the melo in melodrama. After characters are done speaking, often of melodramatic stock pharses, beautifully expressed, the music takes over and the situations soar into the real of feeling.

Note too the shadows throughout, some of it like in a noir, This is a wold where such feelings can oly be contemplated in the shadows, behind screens, in secret.

The mise-en-scène is clever in so many ways. Note how at the end , when Reiko and her husband are in the plane and he´s reading the paper, we know he´ll eventually get to the article announcing the death of Tachibana. Then the camara cuts to the newspaper article and we think he´s seen it. But no, the article is facing us. He´s reading the other page and she remains completely oblivious to the fact that all her hopes are dashed. And there´s an omniscient narrator, a gentle and kind one, who will allow a lingering of this moment of happiness which will soon come to an end.

Hungry Soul is a quick moving film that is not afraid to linger over people´s feelings, make them worthy of scrutiy, spin out every development and ramification of sadness. It´s gorgeous.

José Arroyo

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*Many thanks to Edmund Yeo for helping me match the names of the characters to the names of the actors. Much appreciated.