مقاله مفصلی درباره سه بازیگر زن ژاپنی (کینویو تاناکا، ستسوکو هارا و هیدکو تاکامینه) برای برنامه «تابستان در ژاپن» سینماتک جشنواره فیلم تورنتو (تیف) نوشته بودم که در سه بخش در وبسایت تیف چاپ شده است. آنها را میتوانید در لینکهای زیر بخوانید:
"Fragility is the other side of Tanaka’s beauty. As per the title of Ozu’s A Hen in the Wind (1948), the actress is frequently depicted as a delicate figure threatened by and struggling to resists the winds of destiny. Tanaka’s tiny body is consistently held, embraced, constrained, or carried by men in many of her films, whether affectionately or forcefully."
"... so Hara’s “Caucasian” (as some Japanese critics charged) face made her perfect for Ozu, who fixed his frequently still frame on faces and their small, telling changes in expression. Much of Hara’s power as a performer lay in her enormously expressive eyes; see, for example, the concert scene in Late Spring, in which Hara’s Noriko spots the woman who is supposedly set to marry her beloved widower father (Chishu Ryu), and conveys her barely suppressed resentment through a series of simple gazes: at her father, at the woman, and at the ground."
"A tough-minded director who told bleak tales of failed romances, social injustice, and the challenges and miseries of everyday life for the lower and working classes, Naruse favoured dramatic intensity and sometimes radically contrasting tones in his work. In Takamine, he found the perfect embodiment of his preferred mode: an actress who could be ordinary yet radiant, aloof but tender, clingy but also independent."