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Close Analysis – Opening scene of ‘Love & Honour’

One of the key values expressed in ‘Love & Honour’ is the role of the wife. The film suggests that

 women are truly content when able to tend for their husbands. Japanese cinema (particularly

earlier cinema) has established the home as the women’s ‘domain’. Here in the opening of ‘Love &

Honour’ we see Kayo and Mimura in the socially accepted roles of husband and wife – both

conforming to the expectations of their respective roles.

Director/screenwriter Yamada and cinematographer Naganuma have framed and lit this opening

sequence in a way which supports this message of happiness in being

able to care for husband and home. A mid-shot is used to introduce

Kayo and Mimura. Mimura dominates the screen, establishing the

husband as the central figure. Kayo can be seen behind him busy with

an activity – a smaller figure. A straight cut reverses the shot so that the viewer can see that

Kayo is folding clothes and she is smiling as she does so – truly content in her wifely duties. The

mise-en-scene has Kayo surrounded by household objects and the colour

of her kimono matches the beams and panelling of the house – this

implies that she is a part of the house/home. In addition to this, the

screen she is sat next to is closed over whilst the screen near her

husband is open – this could be representative of their different roles in

society (e.g. his is to be part of the outside world/society and hers is to be part of the home).

Mimura asks Kayo for more hot water and she puts down the clothes to

attend his needs. The mid-shot clearly shows that he is closer to the hot

 water than she is – another suggestion that the couple are conforming to

the expectations of their marital roles. As the two sit side by side andKayo serves Mimura, the shot moves from inside the house to outside

(looking through the open screen doors). This mid-shot frames the couple inside the house.

Kayo’s face is on the top left intersection point and she framed between the beam and screen

door – she is the centre of the home but she is placed behind her husband in the scene

(reminding us of her status).

 This image of husband and wife which is established by Yamada and

Naganuma is idealised. This is supported by the decision to include a

deep focussed, long shot of the home – Kayo is seen removing Mimura’sslippers and brushing them off in the background whilst we see the

plants of the garden in the foreground. Coupling these natural elements

 with the wife performing her duties, the audience may infer that the director sees these duties as

part of the natural order. This is developed further as a mid-shot shows Mimura leaving the

house for work – his wife lowers her head and he dominates the screen. As he walks out of shot,

Kayo is left on the doorstop and her face is lit with sunlight – she looks proud and content. The

subsequent shot show Kayo cleaning the house. Again, there is a mid-shot from outside the

house looking in with Kayo completely framed by the beams of the house. She is brightly lit and

the viewer can clearly see an expression of happiness on her face.

 Another indication of Yamada’s views on marriage is the inclusion of a pair of caged finches kept

 by the couple. After Mimura leaves for work, the scene cuts to a close up of the finches close

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together in their cage and Kayo smiling at them. The pair of finches obviously represent Kayo

and Mimura – they belong together. The cage may represent the society that they live in and are

confined by. This may seem to be a negative but in Japan great importance is placed on

 belonging and fitting in to society.