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I still don't know what to think
Naruse realized Fumiko Hayashi's novels with a consistency and faithfulness akin to Teshigahara's adaptations of Kobo Abe's literary output. His preservation of Hayashi's observational verity make his films indispensible as realistic domestic dramas of their period. They're also great showcases for actresses like Takamine or Setsuko Hara.
I'll concede that Ichikawa and Naruse are now relatively unknown beyond Japan and France, but their work still enjoys enduring domestic popularity. Ichikawa's oeuvre is incredible; (both) adaptations of "The Burmese Harp" and "Fires on the Plain" constitute his most famous flicks, but so many others are just as eximious: "An Actor's Revenge," "Tokyo Olympiad," "I Am a Cat"...
..."Enjo" (Mishima's "The Temple of the Golden Pavilion" enacted anachronically), "Koto," "The Hole," "The Makioka Sisters," etc. Everything Ichikawa's helmed that I've seen deserves recommendation; his work occupies a tonal sweet spot between Mizoguchi's and Kobayashi's tragic sentimentality and the blunt, often comic cynicism pioneered by Imamura and Oshima.