Never one to tread the beaten path, Yasuzo Masumura studied film abroad in Italy before, perhaps counter intuitively, entering the Japanese studio system apprenticing at Daiei where he’d remain until its bankruptcy in the early ‘70s forced him into freelancing. His 1957 debut Kisses was a response to the taiyozoku or sun tribe craze of nihilistic youth movies though it was in its own way quietly hopeful and even sweet, at least in contrast to some the more cynical views of romance which colour some of the director’s later work, but again despite being positioned as precursor to the New Wave is also very much in the classical tradition if owing something to contemporary European art house. Masumura’s second film Blue Sky Maiden continued in the same vein, an ostensibly cheerful take on Sirkian melodrama in which the plucky heroine finds self-actualisation while dealing with her difficult family history. Warm Current (暖流, Danryu), meanwhile, builds on the same Sirkian foundations, remaking a popular weepy which had proved a big hit for Kozaburo Yoshimura 20 years earlier, but further undercutting it with a sense of ironic inconsequentiality as the heroes engage in a background battle for the post-war future.
The film opens with a suicide, a nurse discovered dead on a bench after apparently having poisoned herself. She is, however, not the focus of the story and all too quickly forgotten in favour of the return of Keiko (Hitomi Nozoe), the daughter of the hospital’s director who has until recently been studying abroad. She’s come to the hospital because she has a piece of a sewing needle somehow embedded in her finger which needs rather more treatment than one might expect. Anyway, while there she attracts the attentions of handsome doctor Sasajima (Ryuji Shinagawa) and meets up with old schoolfriend Gin (Sachiko Hidari) who has since become a nurse. The problem is that the hospital is in big financial trouble and Keiko’s father Shima (Toranosuke Ogawa) is secretly terminally ill with cancer. He brings in Hibiki (Jun Negami), a pharmaceuticals executive he’s been supporting as a favour to his late father, as a consultant to streamline the business, while sidelining his rather feckless son Yasuhiko (Eiji Funakoshi), an orthopaedics doctor who might be assumed to take over were he not so entirely useless.
Introduced rather late, Hibiki is positioned almost as a villain, a destabilising force within this very bourgeois world of the hospital determined to strip it of the corrupt entitlement of the surgical class. To that extent, he comes in like a new broom to apply modern business thinking to the ancient art of medicine but does so with rather old-fashioned ideas of gratitude and loyalty to Shima, always acting in the best interests of the family while positioning himself as a servant retainer. This the minor conflict that defines his complicated relationship with the equally confused Keiko who too has returned from abroad with taste for Western individualism but is uncertain how to live her life as a woman in still conservative Japan. All her friends ask her about blue-eyed boyfriends, and though it seems that she is immediately smitten with Hibiki she quite rudely dismisses him for his slightly condescending manner later remarking that she was turned off by a sense of his overconfidence.
Keiko tells her father she’s no plans to marry and has come back to Japan intending to continue her studies. For his part, Shima is all for a woman working but not as he puts it if it causes her to become a “brainy spinster”. Eventually courted by Sasajima she finds herself torn, even as he tells her that, unexpectedly, he has no issue with her desire to work or study were she to become his wife, uncertain in her attraction to Hibiki while drawn back towards conservatism in knowing that her father favours marriage and that Sasajima is her class-appropriate match. Despite his own attraction to her, Hibiki says nothing even on hearing of her engagement precisely because of this increasingly outdated sense of social inferiority. Meanwhile, he remains seemingly oblivious to the fact that Gin, who like him is a war orphan, has fallen in love with him which is why she continues to help him as a “spy” within the hospital.
In response to her war trauma, Gin has developed the habit of laughing loudly, an especially unusual trait in a generally reserved culture, and often remarks on her own “stupidity”, the childlike excitability which so clearly positions her as a mirror to the elegant Keiko. Yet the push and pull between the two women has little rancour in it, save that Gin is already aware that Sasajima was responsible for the suicide of the nurse on the rooftop but has chosen not to say anything hoping they’ll marry and Hibiki will be hers. As Keiko later discovers, Sasajima is fairly brazen in his “modernity”, having lived with an aspiring model who declines to marry him because it would adversely affect her career but has no problem with him marrying someone else confident that their physical relationship will continue. Sasajima turns up while Keiko is visiting her, but calmly sits down on the bed and explains that he essentially plans to have two wives, the model for the bedroom and Keiko to be his companion of the mind. He brands her vulgar and small-minded in her conservatism when she proves unconvinced, laying bare an essential misogyny when he echoes that brainy women are “boring”, which is why he “needs” the model to satisfy himself sexually. Nevertheless, Keiko is not that kind of “modern” and in any case not so in love with Sasajima nor deluded enough to think she needs him to agree to his arrangement.
Gin meanwhile echoes something of the model’s passive resignation when she too declares that she doesn’t care if Keiko marries Hibiki because she’s certain he’s supposed to be with her in the end because they are “alike”. There is no class conflict between them, and as they are both war orphans they share a sense of displacement in the post-war society. Unlike Keiko Gin is open in her feelings, declaring her love for Hibiki even chasing after him at the station and calling out across the ticket barriers that she’ll wait forever even if she only becomes his mistress. Earlier on, Keiko had been reading a foreign romance about a woman courted by two men she was unable to choose between only making up her mind when one of the men’s accent slipped, but in essence it’s Hibiki who finds himself torn if earnestly, thinking himself in love with Keiko but prevented from pursuing her because of his class anxiety rather than attracted to her precisely because of her class standing and everything it represents which is in a sense the target of his “revolutionary” reforms at the hospital. Tempted, he is eventually pulled back towards the side of “passion”, won over by Gin’s slightly scary if unwavering love for him.
Yet this is no grand weepy, just the romantic confusion of three young(ish) friends who eventually find direction in their lives as mediated through “love”. Keiko reassumes her stance as a thoroughly modern woman, explaining to her rather naive mother that Yasuhiko, who has wrested control of the estate away from Hibiki, is not capable of looking after them even if he had the desire and so she intends to work, apologising to her father for her intention to become a “brainy spinster” after all. Hibiki loses out in the hospital too which is quickly retaken by the same corrupt forces Shima brought him in to combat. “I understand a woman’s feelings” Hibiki somewhat patronisingly claims as a result of his experiences, immediately proving that he doesn’t in misreading Keiko’s intentions while she, ironically, claims that she is no longer afraid of being overwhelmed by male authority. Unable to change their respective futures, the only option that remains is to abandon them for new ones of their own making but this is far from a tragedy, merely the ironic fate of the post-war generation remaking itself in real time, letting the door close behind them as they walk away from the irredeemably corrupt.
Original trailer (no subtitles)
Windows on Worlds 