Street Without End

Judith Rosenberg on Piano

(Kagirinaki hodo). Fascinating in its observations of class distinctions and rich in melodramatic content-including a look at the machinations of a big movie studio and not one but two car accidents, a recurring Naruse motif-Street Without End centers on the loves of a beautiful tea-salon waitress. Sugiko wants only to wed her working-class boyfriend although she is eyed by movie talent scouts and adored by an upper-class gentleman, Yamanouchi. She marries Yamanouchi, but the mutual contempt between her and his snobbish family eventually drives Sugiko back to the loyalty and security of her working-class cronies. John Gillett noted the film's “sustained stream of visual invention . . . freedom of editing, superb camera flow, and realistic use of locations. . . . The great tracking (shot) in the climactic hospital scene perfectly encapsulates the story's feminist concerns.”

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