Welcome, dear readers, to another edition of the Sunday Morning Movie. Today, we delve into a poignant Russian-Japanese collaboration that explores themes of love and loss: Moscow, My Love.
Reviews:
Movie Critic observes:
During the oppressive Soviet regime, few Russian films achieved greatness due to limited creative freedom, often making them feel meticulously sanitized. Nevertheless, there were noteworthy exceptions, including the joint Japanese-Russian production of the romantic drama Moscow, My Love. This film presents a refreshingly understated, slice-of-life narrative centered on a Japanese girl pursuing ballet in the titular city. While it exhibits some outdated elements, such as lack of subtitles for Japanese dialogue (in favor of a poorly executed dubbing by a single male voice), the film stands out for its honest and touching emotions. The direction of Yoshida surpasses that of his Russian counterpart Mitta, although the love triangle veers into melodrama with a terminal illness subplot that ultimately feels excessive. Despite this, the film showcases impressive shot compositions, particularly a nearly three-minute single take where characters Wolodja and Yuriko enter a café during the rain. Oleg Vidov may be a miscast lead, but Komaki Kurihara shines as Yuriko, displaying a genuine and charismatic charm that makes her one of the most underrated actresses of her time.
Letterboxd comments:
The film is enjoyable, boasting a fantastic score and striking cinematography. However, the ballet sequences are overly lengthy, sometimes making it feel like a ballet performance instead of a cinematic experience. This affects the pacing, preventing a higher rating.
My thoughts:
This bittersweet love story carries a pacifistic core. Although it wanders into melodrama, it’s imbued with innocence and genuine emotions, conveying the tragedy experienced by both the characters and war’s victims. The film features interesting uses of light, perspective, and imagery, enriching the narrative.
Some critics dismissed the film as Soviet propaganda, particularly due to its inclusion of Hiroshima bomb footage and scenes depicting children treated for radiation burns. I see it differently; I interpret the film as an anti-war, anti-nuclear statement that employs a love story to convey these sentiments. What one person deems propaganda, another may view as a heartfelt plea.
I appreciated the film for challenging the simplistic portrayal of the Soviet Union often presented by American Cold War narratives. Growing up during that period, I remember stories of bread lines and midnight knocks on doors. While Soviet Communism had significant issues and was indeed repressive, people still celebrated weddings, visited beaches, dined out, and created art.
Directed by: Aleksandr Mitta, Kenji Yoshida
Written by: Tasiuki Kasikura, Aleksandr Mitta, Edvard Radzinsky
Notable Actors: Komaki Kurihara, Oleg Vidov
Plot Summary (Spoilers!):
Younger Yuriko (Kurihara) is a Japanese ballet dancer with aspirations that seem to materialize when she is invited to join the prestigious Bolshoi Theater in Moscow, leaving behind her close friend Tetsuya, who harbors unspoken feelings for her.
On arrival, Moscow appears to her like a dream, brimming with life and excitement. Although she faces challenges adapting to the demanding environment of the Bolshoi, her talent shines, allowing her to land a lead role in a significant production. Just when it seems her dreams are coming true, her life takes an unexpected turn.
Yuriko meets Volodya (Vidov), a sculptor who quickly falls for her. Their innocent love blossoms as they stroll through Moscow together, savoring the joy of youth. Tetsuya later visits, intending to confess his love, only to realize his role in Yuriko’s life will remain that of a friend. Heartbroken, Yuriko bids him farewell as her heart is now firmly with Volodya.
However, tragedy strikes when Yuriko begins to feel unwell, eventually collapsing in public. After being rushed to the hospital, doctors diagnose her with leukemia, a condition inherited from her mother, who suffered from the same illness due to radiation exposure in Hiroshima. This diagnosis forces Yuriko to relinquish her dreams at the Bolshoi, devastating her.
Volodya, working outside the city, struggles to understand her plight when she visits him. He refuses to accept the notion that she won’t recover, but upon her return to Moscow, her health deteriorates further. Confined to a hospital bed, she receives a visit from an anguished Volodya, and they cherish the fleeting moments they have left together. The film closes with Tetsuya narrating Yuriko’s heart-wrenching passing in the spring.
