The Masseurs and a Woman

Plot

The Masseurs and a Woman follows two blind masseurs, Toku and Fuku, who travel to a mountain resort during the summer off-season. There they encounter a mysterious woman from Tokyo who appears to be escaping from her past, and become entangled in the lives of other guests including a lonely businessman and his mischievous nephew. Through a series of gentle, intersecting vignettes, the film explores the characters' attempts at connection and their struggles with loneliness. The masseurs, despite their blindness, demonstrate remarkable insight into human nature as they observe and interact with the resort's visitors. The narrative culminates in moments of quiet revelation and subtle emotional breakthroughs, as each character confronts their isolation and seeks meaningful human contact.

Historical Background

The Masseurs and a Woman was released during a critical period in Japanese history, just one year before the outbreak of World War II in Asia. The late 1930s saw increasing government control over the film industry, with the 1939 Film Law tightening censorship and requiring films to serve national interests. Despite this political climate, Shimizu managed to create a work focused on universal human themes rather than propaganda. The film emerged from Japan's golden age of cinema, when directors like Ozu, Naruse, and Mizoguchi were developing their distinctive styles. The mountain resort setting itself reflected a Japanese cultural tradition of seeking spiritual and physical renewal in nature, even as the country moved toward militarism. The film's emphasis on individual human connections and its avoidance of nationalist themes made it somewhat subversive for its time.

Making Of

Hiroshi Shimizu was known for his unconventional directing methods and deep empathy for his characters. During filming, he would often spend days observing real masseurs at work to ensure authenticity. The production faced challenges due to the remote mountain location, requiring the crew to transport heavy equipment to difficult terrain. Shimizu's signature style involved long takes and a moving camera that followed characters through spaces, creating a fluid, documentary-like quality. The director worked closely with his actors, particularly encouraging natural performances over theatrical acting. Mieko Takamine, in her first major role, received extensive guidance from Shimizu, who recognized her potential and cast her against studio preferences. The film's subtle humor and gentle pacing reflected Shimizu's personal philosophy of cinema as a window into ordinary human experiences.

Visual Style

The cinematography, credited to Kozo Okazaki, exemplifies the innovative visual style that characterized Shimizu's work. The film features extensive use of location shooting in natural mountain settings, creating a sense of authenticity and connection to the environment. Shimizu employed a distinctive mobile camera technique, following characters through spaces in long, uninterrupted takes that create a fluid, almost dance-like movement. The compositions often emphasize spatial relationships between characters, using doorways, corridors, and natural landscapes to frame emotional connections. The visual style avoids dramatic close-ups in favor of medium shots that allow viewers to observe characters within their environment. The mountain setting is not merely backdrop but an active participant in the narrative, with changing weather and light reflecting the emotional states of the characters. The cinematography achieves a remarkable balance between documentary realism and poetic expressionism.

Innovations

The Masseurs and a Woman pioneered several technical innovations that would influence Japanese cinema. Shimizu's extensive use of location shooting was unusual for the period, when most Japanese films were studio-bound. The film's mobile camera work, achieved through lightweight equipment and innovative dollies, created a fluid visual style that prefigured later developments in cinematic technique. The long takes and minimal editing approach required precise choreography and timing from both actors and crew. The production overcame significant technical challenges filming in remote mountain locations, transporting equipment and managing lighting in natural settings. The film's sound recording techniques, particularly in capturing natural ambient sounds, demonstrated sophisticated audio engineering for the period. These technical achievements served Shimizu's artistic vision rather than calling attention to themselves, creating a seamless integration of form and content.

Music

The film's music was composed by Shirō Fukai, who was one of Shochiku's regular composers during this period. The score reflects the restrained, minimalist approach characteristic of Shimizu's films, using music sparingly to enhance emotional moments rather than dominate scenes. Traditional Japanese instruments are subtly incorporated to maintain cultural authenticity while supporting the universal themes. The sound design emphasizes natural ambient sounds of the mountain resort - wind, water, footsteps - creating an immersive environment that complements the visual storytelling. The film uses diegetic music sources, such as characters singing or playing instruments, to integrate musical elements naturally into the narrative. The overall soundscape supports the film's contemplative mood and observational style, never overwhelming the subtle performances and visual compositions.

Memorable Scenes

• The opening sequence where the two blind masseurs walk through the mountain path, their synchronized movements and conversation establishing their deep bond and professional skill
• The scene where the mysterious woman arrives at the resort, her entrance disrupting the quiet routine and creating immediate intrigue
• The nighttime scene by the waterfall where characters share their innermost thoughts, illuminated only by moonlight
• The final departure sequence where the various characters say goodbye, each having undergone subtle emotional transformations
• The massage scenes where the blind masseurs demonstrate their extraordinary sensitivity to human emotion through touch

What Critics Said

Contemporary Japanese critics praised the film for its subtle humor and humanistic approach, with Kinema Junpo naming it one of the year's best films. Critics noted Shimizu's masterful use of location shooting and his ability to find poetry in everyday situations. The film's gentle pacing and observational style were seen as refreshing alternatives to more melodramatic works of the period. In later decades, international film scholars rediscovered the work as a masterpiece of Japanese cinema. Critics like Donald Richie and Tadao Sato highlighted the film's innovative camera work and its profound understanding of human loneliness. Modern critics often cite it as one of Shimizu's greatest achievements, praising its visual poetry and emotional depth. The Criterion Collection's release brought the film to new audiences, with contemporary reviewers noting its timeless themes and remarkable technical sophistication.

What Audiences Thought

Initial audience reception in 1938 was modest, as the film's subtle approach and lack of dramatic spectacle differed from popular expectations. However, it developed a following among more sophisticated urban viewers who appreciated its artistic qualities. Over time, particularly after its international rediscovery, the film has garnered appreciation from cinephiles and art house audiences. Modern audiences often respond to its universal themes of loneliness and connection, finding resonance in its portrayal of human vulnerability. The film's gentle humor and observational style have proven particularly appealing to viewers seeking alternatives to more confrontational cinema. In Japan, the film is now regarded as a classic of the golden age, regularly featured in retrospectives and film studies courses.

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