Song of the Flower Basket

Plot

In the working-class Shitamachi district of Tokyo, a young woman named Oshige works at a tonkatsu restaurant and becomes the object of affection for three very different men: a struggling writer, a wealthy businessman, and a humble mechanic. The film follows Oshige's journey as she navigates these romantic entanglements while trying to maintain her independence and dignity in a society that often limits women's choices. As each suitor pursues her with different intentions and methods, Oshige must determine what she truly values in life and love. The story culminates in a series of emotional confrontations that reveal the true character of each man and force Oshige to make a life-altering decision. Through her experiences, the film paints a vivid portrait of urban life in pre-war Japan and the complex social dynamics of the time.

Historical Background

1937 was a pivotal year in Japanese history, marking the beginning of Japan's full-scale military expansion with the outbreak of the Second Sino-Japanese War in July. The film was released in November, just as wartime propaganda was beginning to dominate Japanese media. Despite this, Gosho managed to create a work that focused on ordinary people's lives rather than military themes. The Shitamachi district depicted in the film was one of Tokyo's most vibrant working-class areas, known for its traditional culture and resistance to modernization. The film captures this district at a crucial moment, as much of it would be destroyed by firebombing during World War II. The cinema industry in 1937 was also undergoing significant changes, with the government beginning to exert more control over film content. This film represents one of the last examples of relatively free artistic expression in Japanese cinema before wartime censorship became pervasive.

Making Of

Heinosuke Gosho was meticulous about authenticity in his films, and for 'Song of the Flower Basket', he insisted on extensive research into the daily lives of Shitamachi residents. The cast spent weeks observing real restaurant workers in the district to perfect their roles. Kinuyo Tanaka underwent special training to learn the proper techniques of working in a tonkatsu restaurant, including the specific movements and timing required for the job. The film was shot during a transitional period when Japanese cinema was moving from silent to sound, and Gosho skillfully incorporated both techniques. The production team faced challenges filming on location in the busy Shitamachi district, as local residents were often curious about the film crew and would gather to watch the shooting. Gosho used this curiosity to his advantage, sometimes incorporating real passersby into background shots to enhance the film's authenticity. The three male leads developed a genuine competitive dynamic during filming, which Gosho encouraged to bring more realism to their on-screen rivalry.

Visual Style

The cinematography by Jōji Ohara is notable for its naturalistic style and innovative use of location shooting. Unlike most Japanese films of the period, which were heavily reliant on studio sets, Gosho and Ohara filmed extensively in the actual streets of Shitamachi, capturing the authentic atmosphere of the working-class district. The camera work is characterized by its mobility and observational quality, often following characters through the narrow streets and alleys of Tokyo. Ohara employed natural lighting techniques that were ahead of their time, particularly in the restaurant scenes where the warm glow of lanterns and cooking fires creates an intimate, lived-in feeling. The film's visual style balances documentary-like realism with carefully composed shots that emphasize the emotional states of the characters. The cinematography also effectively contrasts the cramped, bustling energy of the Shitamachi district with moments of quiet intimacy, creating a visual rhythm that mirrors the film's narrative structure.

Innovations

The film was technically innovative for its time, particularly in its use of location shooting in an era when most Japanese films were studio-bound. Director Gosho and his crew developed portable lighting equipment that allowed them to film in the narrow streets of Shitamachi, a significant technical achievement for 1937. The film also demonstrated advanced sound recording techniques for the period, capturing clear dialogue and ambient sounds in challenging acoustic environments. The production team created a functioning tonkatsu restaurant set that allowed for realistic cooking scenes, requiring careful coordination of sound, lighting, and action. The film's editing, by Tsuruko Nishikubo, employed techniques that were relatively sophisticated for the time, including smooth transitions between location and studio shots. The movie also showcases an early example of what would become known as the 'Japanese long take' style, with several scenes filmed in extended continuous shots that emphasize the natural flow of action and dialogue.

Music

The film's music was composed by Shirō Fukai, who was one of Shochiku Studios' most reliable composers during the 1930s. The score combines traditional Japanese musical elements with Western-influenced melodies, reflecting the cultural fusion depicted in the film's story. The title theme, which gives the film its name, is a melancholic melody that recurs throughout the film to underscore Oshige's emotional journey. The soundtrack also incorporates diegetic music from the restaurant setting, including popular songs of the period that would have been playing on the radio. As this was an early sound film, the audio quality reflects the technical limitations of the time, but Fukai's compositions are clear and effective. The sound design emphasizes the ambient noises of the Shitamachi district - the sizzle of cooking tonkatsu, the chatter of customers, the sounds of the street - creating an immersive auditory experience that complements the visual realism.

Memorable Scenes

• The opening sequence where Oshige skillfully prepares tonkatsu while managing multiple customers, showcasing her competence and grace under pressure.
• The moonlit scene where Oshige walks through the empty streets of Shitamachi after closing time, reflecting on her choices and future.
• The climactic confrontation in the restaurant where all three suitors arrive simultaneously, leading to an emotional showdown.
• The tender moment when Oshige teaches a young orphan how to properly eat tonkatsu, revealing her nurturing character.
• The final scene where Oshige makes her decision, standing confidently in the restaurant doorway as the morning light floods the street.

What Critics Said

Contemporary critics praised the film for its realistic portrayal of working-class life and Kinuyo Tanaka's nuanced performance. The Kinema Junpo film magazine, Japan's most respected film publication, named it one of the best films of 1937. Critics particularly noted Gosho's skill in balancing humor with serious social commentary. Modern film historians consider the work a masterpiece of Japanese cinema, praising its naturalistic acting style and innovative use of location shooting. The film is often cited as an important influence on the development of Japanese neorealism in the post-war period. International critics who have discovered the film through retrospectives have praised its universal themes and emotional depth, noting how it transcends its specific cultural context to speak to broader human experiences.

What Audiences Thought

The film was well-received by Japanese audiences upon its release, particularly in Tokyo where viewers recognized the authentic depiction of Shitamachi life. The relatable characters and situations resonated with working-class moviegoers who rarely saw their lives represented on screen. Kinuyo Tanaka's performance was especially popular, and she became one of Japan's biggest stars following this film. The film's box office performance was solid, though not spectacular, which was typical for serious dramas of the period. Audiences appreciated the film's blend of romance, comedy, and social commentary. In the decades since its release, the film has developed a cult following among classic cinema enthusiasts and is frequently shown at film festivals and retrospectives dedicated to Japanese cinema history.

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