When a Woman Ascends the Stairs (1960) 1080p YIFY Movie

When a Woman Ascends the Stairs (1960) 1080p

Onna ga kaidan wo agaru toki is a movie starring Hideko Takamine, Tatsuya Nakadai, and Masayuki Mori. A middle-aged bar hostess, constantly in debt, is faced with numerous social constraints and challenges posed to her by her...

IMDB: 8.21 Likes

  • Genre: Drama |
  • Quality: 1080p
  • Size: 1.75G
  • Resolution: 1920*1080 / 23.976 fpsfps
  • Language: English
  • Run Time: 111
  • IMDB Rating: 8.2/10 
  • MPR: Normal
  • Peers/Seeds: 0 / 0

The Synopsis for When a Woman Ascends the Stairs (1960) 1080p

This is the story of Mama, a.k.a. Keiko, a middle-aged bar hostess who must choose to either get married or buy a bar of her own. Her family hounds her for money, her customers for her attention, and she is continually in debt. The life of a bar hostess is examined as well as the way in which the system traps and sometimes kills those in it.


The Director and Players for When a Woman Ascends the Stairs (1960) 1080p

[Director]Mikio Naruse
[Role:]Masayuki Mori
[Role:]Tatsuya Nakadai
[Role:]Reiko Dan
[Role:]Hideko Takamine


The Reviews for When a Woman Ascends the Stairs (1960) 1080p


Naruse's masterpieceReviewed byRed-125Vote: 9/10

Onna ga kaidan wo agaru toki (1960), directed by Mikio Naruse, was shown in the United States under the title "When a Woman Ascends the Stairs." The film stars Hideko Takamine, Naruse's muse, as Keiko, the Mama-San of a Tokyo bar.

Although the IMDb plot summary says that Keiko is a geisha, that isn't accurate. Geishas do appear briefly in the movie, but Keiko is actually a bar hostess. As portrayed in the movie, bar hostesses are neither geishas nor prostitutes. Geishas still wear the traditional costume, whereas the bar hostesses are dressed in western fashion. The role of the bar hostess is to flatter the male customers and provide company, but not sex. In fact, Keiko has been celibate since the death of her husband.

These women have a fairly good income, but they usually don't have much cash, because they are expected to live and dress fashionably, and most of their money goes for rent or clothes.

The title "When a Woman Ascends the Stairs" refers to Keiko's thoughts as she climbs the stairs that lead to the bar at which she works. Although Keiko doesn't hate her work, she doesn't enjoy it either. It's a job, and her options as a woman are limited in the Japanese male-dominated society. (Even though Keiko, as Mama-San, has some authority over the other women, the real power resides in the male owner of the bar and his manager.)

The plot of the film resolves around the choices the protagonist must make as she attempts to achieve some measure of happiness and financial stability. As would be expected, these goals are difficult to accomplish for a woman in her situation.

Director Naruse returns in this film to his favorite theme--working-class women who must choose among options that aren't very palatable. What makes this film his masterpiece--in my opinion--are the courage and depth of character that Keiko demonstrates.

A Masterpiece from NaruseReviewed bydavidalsVote: 10/10

Finding Naruse Mikio films has been very, very tough, and after seeing this I'd say it's a tragedy. This is among the most gorgeous dramas I've seen - a brooding and dark melodrama, shot in velvety black and white, with stunning widescreen photography.

Based upon my viewing of this and one other Naruse film (to date), I'd say that Naruse's worldview is considerably more cynical than Ozu or Mizoguchi (both of whom he seems to often draw unfavorable comparisons with, from the relatively few critics to have dug into his work) - the strength of women will be taken for granted, or abused by a hostile world regardless of shrewdness, intellect or beauty, and there is a shy jaded quality to this film that gives it an engaging intensity, that while not nearly as subtle, objective or cerebral as Ozu, IS definitely more passionate. Here, and also in the earlier LATE CHRYSANTHEMUMS, Naruse's women are idealized, heroic - symbolic in a larger sense of outsiders or rebels (of any variety) in a social milieu that values discretion and certain forms of conformity above all else.

If you can find this film, I highly recommend it - more of Naruse's work should be made available outside of Japan.

Surely it is time Naruse was discovered in the WestReviewed byMOscarbradleyVote: 9/10

The stairs in question are those of a bar in the red-light district of Tokyo and the woman who ascends them is Mama-San, the bar's chief hostess, but the stairs may just as well be those of a brothel for the girls who work these bars are basically prostitutes, (even in Japan in 1960 you could never be that explicit). Of all Japanese directors Mikio Naruse was the one most concerned with the plight of women in contemporary society and he brought to his tales of women fallen on hard times an almost Sirkian sensibility though even Sirk's melodramas stayed clear of the brothel. This may also be the most 'westernized' of all Naruse's films. We could be in the New Orleans of "Walk on the wild side" and even the credits of this film have a touch of the Saul Bass about them. (If only Dmytryk's film could have been this good). There is a naturalism to Naruse's film that American melodramas lack and it's this naturalism that lifts it out of being mere melodrama and into the realms of tragedy. Fundamentally, Mama-San is a woman who hates the life she has chosen but feels powerless to move on and Hideko Takamine, (from "Floating Clouds"), is superb in the role. Yet here is an actress and a director whose work never really traveled beyond Japan and even today Naruse trails in popular opinion well behind the likes of Ozu and Mizoguchi. Hopefully the release of this film in a DVD box set together with "Floating Clouds" and "Late Chrysanthemums" will rectify

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