A 1955 classic by Mikio Naruse, "Floating Clouds" stars Masayuki Mori as Yukiko Koda, a young woman who drifts, seemingly aimlessly, across post-war Japan. As the US occupation begins, Yukiko reminisces about her past, and her relationship with a man called Kengo, now happily married and unavailable to her.A journey into disappointment and disillusionment, "Floating Clouds" watches as Yukiko's life slowly disintegrates. So too does Kengo's; his wife and career are dying, as is the Japan he once knew.Recalling early-Resnais, Naruse's narrative bleeds from past to present. A mood of uncertainty hangs heavy in the air, fragmented time, lives and Japanese infrastructure commingling. 8/10 – See Kobayashi's "The Human Condition" and Antonioni's "Beyond The Clouds".

If you're looking for a movie that deals with clingy relationships, then Floating Clouds is without a doubt a movie that fits the bill to a T. Directed by Naruse Mikio and based upon the novel by Fumiko Hayashi, the female character in the movie will bring back memories of those who have had to deal with such stifling clinging, and well, for those who do act as such, a stark and accurate portrayal that would be akin to holding up a mirror and looking at oneself.Hideko Takamine put up a commendable, if not personally what I deem as a remarkably irritating performance as Yukiko Koda, a woman perhaps with little self-esteem and respect, who decided to sacrifice an entire forest for one singular tree. Being sent to Indochina during WWII, she chances upon Kengo Tomioka (Masayuki Mori), and while he seemed to be prim and proper, and not giving her a second glance, soon they fall in love with each other, one despite having a wife back home, and the other, knowingly being the other woman.But when the war ends and they get repatriated back to Japan, she looks him up, only to discover that he will not leave his wife, nor to rekindle their passion started in a foreign land. To make things worse, she discovers he's quite the cad, and to compound the problem, her insecurities and her paranoia makes you wonder why she can't afford to sever ties. It's one thing being made to suffer from unrequited love, but it's another if you are made to suffer deliberately, and bear witness to the insincerity of the other party. Running slightly over 2 hours, it does take its time to showcase the sorry state that Yukiko undergoes.You can't really find fault with Naruse Mikio's direction of the movie - the handling of the narrative structure in the first act was deft, with the transition of time seamless, and the actors do their job to allow you to connect with their characters. However, like I mentioned, perhaps Yukiko Koda did such a fine job, that for me I found her to be a tad too irritating, even for my liking.

Ukigumo (1955), directed by Mikio Naruse, was shown as "Floating Clouds" at the Dryden Theatre in Rochester as part of a Naruse retrospective. This is Naruse's best-known film, and it stars his muse, the outstanding actor Hideko Takamine. The film is adapted from a novel by Fumiko Hayashi. Seven or eight of Naruse's films were based on novels by this author. Finally, many of the Toho studio supporting players appear in this movie, as they do in all of Naruse's films. In summary, "Floating Clouds" is classic Naruse. As in many Naruse films, the theme is grim. Japan is still struggling in the aftermath of World War II. The economy is slow, and the pall of defeat still hangs over the country.Although we think of the war as totally tragic for everyone involved--especially everyone Japanese--this isn't accurate. Hideko Takamine's character (Yukiko) had a passionate and sincere wartime romance with an engineer when they were both stationed in an area away from the combat zone. It becomes clear--ten years later--that this love affair was the high point of both their lives. Masuki Mori plays Kengo, the engineer who loves Yukiko, but who will never marry her.The tragedy of the film is that both Yukiko and Kengo have known happiness, but realize they will never know it again. Such happiness as they can grasp is undone by the harsh realities of financial and physical problems.This movie is not exactly a masterpiece, but it is the perfect film if you can only see one work by Naruse. It defines his themes, demonstrates his unique skills and extraordinary expertise, and showcases the best actors in his company. It's a movie worth seeking out and watching.

This melodrama of postwar Japan seemed to resonate with the people I watched it with; many seem to have seen it when it came out and it really spoke to them; but alas it is really a turgid melodrama that can't sustain your interest. Well directed and acted; it none the less becomes a series of redundant bad break scenes for it's heroine. Worth seeing, but not one of the greats of Japanese film.