The Story of Watanabe

She tells him how her work makes her feel: "I feel as if I were friends with all the children in japan now" (172). She asks why Mr. Watanabe does not do something like she has done.

later this, Mr. Watanabe does indeed throw himself into effecting a change for which he coffin nail be remembered--he pushes through a children's park. The fact that he returns to work surprises his colleagues and shows his determination, something they fail to understand at the time. The success of Mr. Watanabe's life do-nothing be seen after his death when the people he worked with store up together and hold a wake. The Deputy Mayor tries to relieve oneself credit for the children's park, exclusively Watanabe's colleagues know this is not so. They excessively go about to understand the homosexual they worked beside and ignored for so long and also discover that he was dying and never told them. These same colleagues at first belittle the park and Watanabe's life, but their tone changes as they think about the man and what he has done in his final days.

Yet, Kurosawa is not presenting a simple tale of how a group of people learn a lesson. Indeed, it is Watanabe who is successful in a personal bearing because he has achieved the life continuously denied to him through the act of accomplishing something for others. His colleagues state that they have learned from him and that they testament live their lives as he only did at the end, but they do not. Almost immediately, they backslide to their old ways, ways which may lock them into a meaningless j

Marriages ar arranged in this union, and they are conducted in a business-like fashion. This is especially true of hymenealss with the Semba, and when Hiroko is sent home, her trousseau goes with her, all carefully particular and inventoried. The seemingly cavalier way Hiroko is treated should not skin the fact that women in this society have a self-contradictory power. The route of inheritance is through the female line, and the business of the family is indeed technically in the hands of the women.

However, it is Kihei who controls the finances and runs those businesses:

While that bespoken strictly controls marriage and sexual relations within marriage to the point where Sei and her mother can interfere as immediately as they dare in their son's life, it also creates a society that places a different value on women who serve for pleasure. O-Fuku is a geisha whose role is to serve the males without making undue demands on them and without sullying their reputations. Kikuji participates in the system but is jealous of it just the same. These women are shared by a number of men, and there is a hierarchy of male patrons which emphasizes the degree to which these women are appendages to different sorts of males:

Yamasaki, Toyoko. Bonchi. capital of Hawaii: University of Hawaii, 1982.

The system also determines who pays and how much. Kikuji wants O-Fuku to become exclusively his mistress, and he impart pay exclusively for that privilege.

The power of women is clearly seen in the way Sei treats her son and controls his life. Hiroko has said to him that he is not a man but a boy, and his mother treats him this way as long as she can, controlling his choices, deciding his fate, and directing him to do what she wants him to do. Her reply to her daughter-in-law is cruel, though she never sees it in this way. She challenges the marriage broker when criminate of being cold-hearted. She sees herself as the protector of a tradition, and that tradition has to a greater extent reality for
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