Ichikawa utilized the screen personas of popular stars Fujiko Yamamoto (glamorous, restrained) and Eiji Funakoshi (hapless, self-conscious) to make the child's independence and frequent endangerment believable.[5] The director contrasts Chiyo's well-coiffed, reactive approach to motherhood by shooting Misako Watanabe as her sister-in-law in a sensuous, intimate manner as she bathes her own newborn.[5]