Yearning

 *Spolier Alert

A dedicated daughter-in-law spends her life managing her new family's business, her intricate savvy and reflexive know-how having saved it from ruin during World War II.

Her husband passed in the war though and she sadly never married again, although she honourably cherishes his memory with devout respect and wholesome dignity. 

A new supermarket opens in town and starts undercutting their trusted prices, leaving her in-laws in a difficult spot which they need to manage with nimble moxy. 

It's decided to expand the business and boldly open a much larger store, but the loyal intuitive multifaceted manager is initially denied a leading role. 

It's thought that she should remarry and a suitable candidate is wisely chosen, 17.5 years having gone by since her husband passed, the idea perhaps not that socially awkward.

But she refuses out of heartfelt devotion and eventually decides to return to her home.

But not before she distressingly discovers.

That her deceased husband's younger brother is madly in love with her.

The ending's a brilliant illustration of the conflicting post-war attitudes in volatile Japan, the younger less rigid experimental viewpoints and the older more orthodox sociocultural rules. 

Reiko has to admit that she has feelings for Koji and that she's felt amazing since she learned of his passion, yet still feels determinably duty bound to her old husband's stately ultimate sacrifice. 

She's also much older than Koji and it's a bit weird marrying two brothers from the same family, but that doesn't mean she isn't tempted to continue living in the world she's created.

Unfortunately, while travelling home Koji follows her upon the train, and in their confusion they depart somewhat early and get a hotel just to think for the night.

Koji goes for a walk after another heated argument morosely breaks down, and gets too close to a haunting cliff's edge and earth-shatteringly falls to his unrequited end.

But is the film condemning Koji for having tried to break with the old conservative ways?

Or modest Reiko for not having embraced the newfound less severe liberal ideology?

It's classic obscured ambiguity which likely still generates debate amongst film fans.

A genuine tragedy embroiled in conflict.

Much too serious or excessively light.