As I delve further into the world of the Eclipse (a subset of the Criterion Collection), my eyes are opened to the film possibilities not offered by America's rich history, or at least the opportunity to see cinema from another world view. As I appreciate (at times) what the US of A has to offer, it is what I have missed in generations past that continues to expand the film horizon. Last film outing involved a woman from Brussels reading letters from her mother along the backdrop of 1970s New York City. Despite how it sounds, this film was a brilliant painting of the unknown, coupled with an over-bearing parent. The resonating voice still speaks today, and now, after that unfamiliar story, I continued into the world of Japanese director Mikio Naruse. Unfamiliar with any of his work as well as the entire universe of silent Japanese cinema, I pushed forward. My first introduction to both man and project was a film entitled, No Blood Relation, a captivating story about a birth mother wanting to connect with her daughter and a step-mother not willing to just forget. With no sound at all (lacking music of any variety), No Blood Relation will entertain, bring emotion forward, and demonstrate what a director with lacking technology can do in the 1930s.
No Blood Relation begins with a robbery. A man running down the street, the words "Purse Snatcher", chasing directly after him, is caught by another man and forced by the community to strip to prove his innocence. Using deft comedy and unfamiliar censorship, he is proven not-guilty as he walks away, only to discover the man who caught him was in on the scheme as well. The duo, walking the docks, talks about how they have a bigger con ready to release onto the world, all they need is the film actress Tamae Kiyuka. As we learn about her immense wealth due to the movies, we are also privy to another story building, the story of a man ready to declare bankruptcy and put his family to shame. In this mix, is a mother who does not want to be poor and a young girl caught in the middle. This young girl is Taemae's child, who she gave up to pursue her acting career, now seven years later, she is back, and wants her daughter to be with her. It is a classic story, one that we can still see today with our modern cinema, but what makes Naruse's tale a bit more powerful is a combination of both detailed acting, lacking sound (which surprisingly works to its advantage here), and limited words. All parts that would randomly not work if placed in another film, but here Naruse is simple, he allows the emotions of his character and the universality of his plot to keep us focused for nearly an hour and a half.
Being a first timer with this, the elements that pulled me further in (and what captured me to watch more) were our actors. Tamae Kiyooka (played by Yoshiko Okada) takes a bit of time to warm up towards, playing the antagonist of the film, we as viewers find ourselves least excited for her. Naruse builds all the blocks against her by leaving all the sympathy on the shoulders of the step-mother, Masako (played brilliantly by Yukiko Tsukuba). The powerful dynamic between these two women couldn't be more polar. One is poor, down on her luck, being driven mad by a mother-in-law whose only concern is personal wealth, and a husband about to go to debtor's prison. The other is a wealthy actress, able to get whatever she wants at the snap of a finger, she is financially happy - but personally miserable as she uses whatever schemes necessary to bring her daughter back to her. As dad remains in prison, we watch as these two fight it out between themselves. The daughter, impressively done by a child star of the 30s, only wants her step-mother, and does everything possible to be back in her arms. Naruse, despite making us feel angry towards the "real" mother's push, continues to build empathy for her plight. As the climax between these two women develops, it is not as easy as you may think to pick the side you want to be on. Does one mother have more rights than the other? Will her past decisions accumulate against her? Does a non-biological mother's love even matter? Naruse throws everything our current social world is debating against/for in a 1930s silent film. The ultimate question becomes - who would you choose at the end of his story?
Needless to say, if I were wearing socks, No Blood Relation as well as the directorial power of Mikio Naruse would blow them off my feet. While he created this simple story, two mothers fighting for the love of their daughter, the emotions that he is able to capture in each frame of the film, is unparalleled to what we see today. I found myself rooting for one, but secretly wondering what was going to happen to the next. While one seemed colder in my eyes, I didn't give up hope for an even resolve. With no sound and maybe 200 translated words, Naruse crafted a powerful film. It impressed me more than I was ready for. No Blood Relation is my first introduction into this genre, and I cannot wait to return. This, in my opinion, would be a phenomenal film studies thesis paper. Who else was crafting this quality of cinema around the world?
It is simple. No Blood Relation is getting a green highlight with blue stars. I will watch this movie again, I will watch more Naruse, and I cannot wait to give this set of films to friends and family for the holidays. Naruse's work easily stands up to today's standards and continues to have legs to walk on. I highly, nay - HIGHLY suggest watching this. Even if silent films are not your evening supper, this will impress you immensely. What a powerful slice of cinema and a bold introduction into the world of Mikio Naruse.
Excellent job Eclipse, Bravo!
