In the mid-1950s, a minor moral panic took hold over the so-called “Sun Tribe” movies which, inspired by the novels of Shintaro Ishihara, depicted a world of crazed abandon in which a collection of bored rich kids lost themselves in the hedonistic pursuits of sex and drugs rejecting the stability the wartime generation had striven so hard to create for their children. Shochiku, at that time the home of polite melodrama, nevertheless attempted to get in on the youth movie boom mostly through commissioning a series of young directors such as Kiju Yoshida and Nagisa Oshima in the hope that they could speak directly to their generation. Meanwhile, the by that point well-established Keisuke Kinoshita also made his own, perhaps surprising, take on the genre with The Rose on His Arm (太陽とバラ, Taiyo to Bara), a youth movie melodrama which nevertheless anticipated the questions others were beginning to ask about the Sun Tribe movies in their very particular view of contemporary class dynamics.
Our hero, Kiyoshi (Katsuo Nakamura), is like the (anti-)heroes of the post-Sun Tribe youth movies, a poor boy turned delinquent out of a sense of frustrated hopelessness. Quitting one job after another solely because the work is boring, he spends most of his days hanging out at the beach with other no good kids robbing unsuspecting bathers. Kiyoshi’s sense of inferiority is compounded by the fact that his mother (Sadako Sawamura) works as a maid for a wealthy family while making ends meet by crafting paper flowers by night. The young master of the house where his mother works, Masahiro (Akira Ishihama), never misses a chance to lord his wealth over him but later co-opts Kiyoshi into his group of wealthy friends as a source of entertainment (and because his delinquent friend, Yamanaka (Tamotsu Tamura), begins supplying them with drugs).
“I screwed up my life because I was poor, what’s your excuse?” Kiyoshi eventually asks an indifferent Masahiro after beginning to see him for what he is. Like the hero of Punishment Room, Kiyoshi’s internalised resentment is partly down to a paternal failure in that he is deeply ashamed of his late father who died, his mother claimed, saving him but also in the course of his activities as a black marketeer in which he’d forced his son to be complicit. The family had apparently tried to make a life for themselves in the new colonies, in this case Palau, but of course had to return to Japan and were then penniless. People did what they had to do, but no one trusts a black marketeer and it seems to be a stain Kiyoshi (whose name means “pure”) cannot wash off. As a poor boy with no education or prospects, he knows all that awaits him is drudgery, so why not make a fast buck stealing purses at the beach rather than slave away at the factory for a week making less than Masahiro gets in pocket money from his factory owner father?
Convincing himself he’s no good, Kiyoshi consistently sabotages opportunities but resents himself for doing so. He begins to buckle down at the factory but quickly becomes “bored” and starts taking advantage of his supportive floor manager while sucked into Masahiro’s hedonistic lifestyle even after it becomes obvious that he’s keeping him around to be some kind of hired goon, good for punching other pasty rich boys and hooking him up with underworld thrills. Masahiro is a delinquent because his life is too easy, he has no economic imperative to be responsible and will most likely go to college and then either take over the factory or walk into a lucrative salaryman job. Kiyoshi is a delinquent because he’s desperate and has no other means of living.
Meanwhile he resents his mother’s love, shamed, in more than one sense, by her continuing industry. She often tells him the story of how he fell ill on Palau only to make a miraculous recovery after which she collapsed into a rose a garden. To spite her, Kiyoshi gets the titular rose tattooed on his arm, something which forever marks him out as a ne’er do well in conservative Japanese society, all but guaranteeing he’ll never get an honest job (he even has to cover the tattoo with bandages in public places to avoid causing offence). Eventually he takes drastic action to end his sense of hopelessness, pursuing what is strangely a darker yet more romantic destiny than that of his post-Sun Tribe compatriots in taking a poetic stand, paper rose in hand, defying his despair only through embracing it.
The Rose on His Arm is currently available to stream in the US via Criterion Channel.
Windows on Worlds 