A Mother Should Be Loved (Yasujiro Ozu, 1934)

Mitsuko Yoshikawa in A Mother Should Be Loved

Cast: Mitsuko Yoshikawa, Den Ohinata, Koji Mitsui, Seiichi Kato, Shusei Nomura, Shinyo Nara, Chishu Ryu, Yumeko Aizome, Shinobu Aoki, Choko Iida. Screenplay: Kogo Noda, Tadao Ikeda, Masao Arata, Yasujiro Ozu. Cinematography: Isamu Aoki. 

Ordinarily, I would regard watching a silent movie about mother love as a chore, not a pleasure. Especially if the movie is missing its first and last reels and doesn't have a music soundtrack to sweeten it. But A Mother Should Be Loved is an exception, mostly because it's directed by Yasujiro Ozu, who can be trusted not to slip into mawkishness and also to provide visuals that compensate for what's lacking in audibles. The story is emotionally complex: After the death of their father -- a role, played by Yukichi Iwata, that was lost with the movie's first reel -- Sadao (Seiichi Kato) and Kosaku (Shusei Nomura) are raised by Chieko (Mitsuko Yoshikawa). But when Sadao comes of age (now played by Den Ohinata) and applies to the university, he sees his birth certificate and realizes that Chieko is not really his mother -- he's the son of his father's first wife. He's upset at the deception but is quickly assured by Chieko that she loves him equally with Kosaku (now played by Koji Mitsui) and has tried to raise him as her own son. Eventually, however, Sadao suspects Chieko of overcompensating: treating him more generously than Kosaku. They argue, and when Kosaku learns that Sadao has upset their mother, he strikes him. Unwilling to fight back, Sadao leaves home and takes up residence in a brothel. When Chieko comes to plead with him to return home, Sadao refuses at first, but a maid in the brothel overhears their conversation and tells him her own story, which moves him so much that he relents. The reconciliation scene has been lost with the last reel, but is narratively inessential -- if the loss of any of Ozu's work can be deemed inessential. The delicacy of the performances and the lovely framing of each scene in the film overcome sentimentality. Ozu also slips in one of his allusions to other movies by decorating the brothel with a poster of Joan Crawford as Sadie Thompson in Rain (Lewis Milestone, 1932).