The film opens with some of the best use of color in film. Raindrops on cherry blossoms drip. Women in beautiful kimonos eat. "Money," is the first spoken word. Wedding negotiations in pre-war Japan make Victorian prides and prejudices seem positively quaint in comparison. The elder married sisters have control, though the eldest exercises a more negative absentee role. (The problem os letters and legal notices is one of adaptation's challenges.) The sister with the most agency is Taeko the youngest who takes lovers, makes money making dolls, and attempts to elope.
The Japanese title Sasami-yuki (snowflakes) suggests shy Yukiko may be the main character, one based on Junichiro's wife. Both the elders representing tradition and the younger more modern and western Taeko hurt Yukiko's chances to wed, the elders by refusing many wedding offers out of pride, the younger by sullying the Makioka name with her scandalous affairs. Symbolic interpretations might be found for the succession of suiters as well as the sisters; to everything there is a season. With so much color it is hard to conclude that all is vanity.
The Japanese title Sasami-yuki (snowflakes) suggests shy Yukiko may be the main character, one based on Junichiro's wife. Both the elders representing tradition and the younger more modern and western Taeko hurt Yukiko's chances to wed, the elders by refusing many wedding offers out of pride, the younger by sullying the Makioka name with her scandalous affairs. Symbolic interpretations might be found for the succession of suiters as well as the sisters; to everything there is a season. With so much color it is hard to conclude that all is vanity.
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