Late Chrysanthemums (1954) 1080p

Movie Poster
Late Chrysanthemums (1954) 1080p - Movie Poster
Frame Rate:
23.976 fps
Japanese 2.0  
Run Time:
101 min
IMDB Rating:
7.4 / 10 
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Directors: Mikio Naruse [Director] ,

Movie Description:
What is the life of a Geisha like once her beauty has faded and she has retired? Kin has saved her money, and has become a wealthy money-lender, spending her days cold-heartedly collecting debts. Even her best friends, Tomi, Nobu, and Tamae, who were her fellow Geisha, are now indebted to her. For all of them, the glamor of their young lives has passed; Tomi and Tamae have children, but their children have disappointed them. Kin has two former lovers who still pursue her; one she wants to see, and the other she doesn't. But even the one she remembers fondly, when he shows up, proves to be a disappointment.


  • Late Chrysanthemums (1954) 1080p - Movie Scene 1
  • Late Chrysanthemums (1954) 1080p - Movie Scene 2
  • Late Chrysanthemums (1954) 1080p - Movie Scene 1

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Aging, But Still Lovely

It's a movie about retired geishas. Some, like Haruko Sugimura, have saved their money, have no children, and are enjoying -- if that's the word -- a second career as a moneylender and real estate speculator. Some, like Y?ko Mochizuki have not. None of them seem particularly happy.

Mikio Naruse has avoided his usual tale of women falling victim to changes in Japan. Instead, he and his frequent director of photography, Masao Tamai, have adopted a scheme of blocking for this movie that is far flashier, less standard for its era, than their usual collaborations. Miss Sugimura's house is all shoji and framing panels. Where she controls the geometry, she controls the situation. Even in her other scenes, she is still in similar geometry, and still in charge. It's only in the final scene,in open space that she stumbles. The other women manage all right. There seems to be a clear message that they can choose to hide where it is safe, or face up to the world.

It's an unusually optimistic viewpoint for Naruse, but not, of course, without its pitfalls. The world is still out there. Predatory men are still out there. Sometimes, however, you need to laugh at it anyway. It won't make a difference, but it will make you feel better.

Engaging dialogue-based drama

An engaging little movie that explores the life of a middle-aged Japanese woman, a former Geisha who now works as a moneylender for a living. The film explores both her position in society and the lives of other former Geishas now struggling to make ends meet in a then-modern world and a society which is dominated by men.

LATE CHRYSANTHEMUMS is a talky, dialogue-based movie but I found myself caught up in the lives of the characters involved. Despite the lack of action and incident it's never boring, and director Mikio Naruse elicits some fine acting from his principal cast members. Certainly not a film for all tastes then, but one for those who like their drama carefully cultivated and mature.

A 'lost' masterpiece

Unlike those of his contemporaries, Mizoguchi, Ozu and Kurosawa, the films of Mikio Naruse are mostly unknown in the West and yet they are just as relevant and just as powerful. The "Late Chrysantehmums" of this extraordinary film are four ageing former geisha's with money problems and this is one of the most insightful of films dealing with the role of women in post-war Japanese society and not just the women at the centre who once sold their bodies but who now have nothing to barter but also the daughter of one of them who is prepared to marry an older man for financial security. Money is at the basis of everything that happens in the film and it taints the lives of all the characters. It is superbly played, particularly by those great Japanese actresses Haruko Sugimura as the moneylender Okin and Chikako Hosokawa as the drunken Otamae. Like Naruse, these two actresses never really 'crossed over' to the West and yet their work in Japanese cinema is as fine as any to have graced international cinema while this is a film on a subject that, in hindsight, would never have been tackled in Western cinema at this time. Of course that, in itself, does not make it a masterpiece but a masterpiece it is, nevertheless. It is one of the greatest of all films on the disappointments that life throws at us.
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