大姐鹤子从各方面说都是一个传统的完美女人，作为长女一心维护莳冈家名誉，首当其冲，无怨无悔；作为长姐守护妹妹们的成长，有长姐的威严和慈爱，甚至古板；作为妻子围着丈夫转，为他生儿育女，温柔小意。最后迁就丈夫的调职，即使一辈子没出过京都也妥协去了东京，祖宅也交给别人打理了。她一直在付出，奉献，或者说是她太善于奉献。鹤子夫妇吵架那段颇有趣，雷声大雨点小，原来贵族吵架也像寻常百姓家。
二姐幸子看似强势，实则心软的不得了。她心疼姐姐，操心雪子，体谅妙子，平时看似吝啬
Kon Ichikawa’s 1983 Venice main competition entry THE MAKIOKA SISTERS is a chromatically finessed melodrama set in the late 1930s, where vagaries materialize around four sisters from the once prosperous Makioka family in Osaka, Tsuruko (Kishi), Sachiko (Sakuma), Yukiko (Yoshinaga) and Taeko (Kotegawa).
"展现了当时资产阶级糜烂而颓废的人生"? What moron added that plot summary, Commissar?!
I watched this film about 5 years ago, and moments of its sublime beauty still stay with me. Faithfulness to the original plot aside, this is one of the greatest adaptation of literature on screen, in terms of the affinity of spirit. 谷崎润一郎's adoration of shadow (阴翳) as the primary symbol of Japanese asthetics finds an eloquent expression in the caressing canerawork of Kon Ichikawa.
If one must search for a sound-bite for this movie, it will have to be "the sorrow in beauty". This is an inherent and unescapable sorrow, because: (1) beauty is transient and will not last, like 红颜/樱花; (2) beauty, by its perfection, brings out the many imperfections and regrets in our lives; (3) And the ultimate futility of it all.
作为小妹，带着姐姐们赋予的希望，作为大姐，带着家族的嘱托；每一个人只要有身份，都会被寄予相应的设定——不论你接受或是不接受。鹤子是长家就应该维护家族的声誉，在姑母的质询下不敢说出自己的意见，吧责任全推给丈夫；妙子作为千金小姐就应该嫁给门当户对的公子。很多时候有些东西不是我们主观愿意接受的但会有人对我们说我们必须接受，我很明白这种感受，就像小时候被我妈逼着吃又苦又涩的钙片一样。但是，生活是自己的，不可能按照别人的想象排演，也不应该！很佩服最后作出决定的鹤子与妙子，做自己想做的事不是很好吗？
细川俊之作品，细雪，感受不到寒风凛冽，也会让你打个寒颤
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