When discussing great Japanese filmmakers, names like Akira Kurosawa, Kenji Mizoguchi, and Yasujiro Ozu are often mentioned. While Kurosawa remains the most prominent among them, it is undeniable that this represents only a fraction of the vast history of Japanese cinema. It has often been argued that the accessibility of his films to Western audiences, and the resulting international acclaim, contributed to his household name status. But to truly understand Japanese sensibilities, attention must be given to other masters of the craft. Though figures like Ozu and Mizoguchi have gradually received international recognition, the name of Mikio Naruse has often been lost over time.
His first sound film, ‘Three Sisters with Maiden Hearts’ serves as a prime example of how important his artistry is—and why it deserves greater appreciation.
Sincerity is screening at Japan Society as part of the Mikio Naruse: The World Betrays Us program
The story follows three sisters—O-Ren, O-Some, and Chieko—and their emotional journeys within the unforgiving structure of Japanese society. They are daughters of a hardened, middle-aged woman who runs a shamisen performance business in Asakusa. While O-Some remains involved in her mother’s trade, Chieko, the youngest, has become a nightclub dancer. O-Ren, the eldest, attempts to leave the half-world behind by settling into a domestic life with her boyfriend, Kosugi. Each sister tries to create her own version of happiness, building fragile illusions. Yet the real world inevitably intrudes and shatters their delicate dreams.
Based on the short story ‘Sisters of Asakusa’ by Yasunari Kawabata, ‘Three Sisters with Maiden Hearts’ presents a deeply pessimistic narrative. Naruse portrays both the kindness and the cruelty of his characters with a delicate balance, resulting in a poignant human drama. For example, O-Ren is shown as a kind and loving wife who supports her husband—yet she also lures a young man into a fatal trap for her own gain.
These events are presented without moral commentary. For Naruse, reality is inherently unforgiving. In his words, “The world we live in betrays us.” And it remains up to each individual—whether to succumb to that betrayal or hold on to innocence, regardless of the cost.
The film’s visual grammar remains eloquent, clearly influenced by the aesthetics of silent cinema. While some technical roughness is present, the film stands out in its use of pans, close-ups, and montages that capture emotional depth.
The three actresses—Chikako Hosokawa, Masako Tsutsumi, and Ryuko Umezono—convey the emotional texture of their characters with theatricality reminiscent of the silent era. Although the style may seem outdated to modern viewers, the emotions remain potent. Another notable role, that of the mother, is played by Chitose Hayashi. While the character appears one-dimensional and has limited involvement, there are subtleties in her performance that make the portrayal memorable. At the same time, it feels that the role required more space to fully evolve and resonate.
‘Three Sisters with Maiden Hearts’ is a haunting film filled with both tenderness and the sting of reality. Its characters are thoughtfully crafted, and Naruse’s storytelling offers a poetic rhythm that makes a lasting impression. Though not without flaws, the film remains a powerful portrayal of human vulnerability.
