2017 Cannes Marathon: The Crucified Lovers

(Played in Competition for the Palme d’Or at the 1955 Cannes Film Festival)

Based on the musical play by Chikamatsu Monzaemon, The Crucified Lovers is the story of a wealthy man who accuses his wife and an employee of having an affair as the two run away together. Directed by Kenji Mizoguchi and screenplay by Matsutaro Kawaguchi and Yoshikata Yoda, the film is an exploration of jealousy and neglect set in 17th Century Kyoto. Starring Kazuo Hasegawa, Kyoko Kagawa, Yoko Minamida, and Eitaro Shindo. The Crucified Lovers is a compelling and gripping film from Kenji Mizoguchi.

The film revolves around a wealthy but selfish scroll maker who would accuse his wife and his top employee of having an affair when the reality is that the wife needed money to pay her brother’s debts which the husband refuses to do as she turns to his top apprentice for help. It’s a film that is about a man who drives away his wife and his top man into chaos all because he doesn’t want to spend the money he makes and have it wasted on things he thinks are mindless. The film’s screenplay is quite simple as it explores a man’s greed and his unwillingness to help people as he would treat his wife cruelly as well as those who work for him as he would often try to engage into an affair with a young maid who has feelings for the top apprentice. The first half is about the trouble the wife in Osan (Kyoko Kagawa) would unfortunately create while the second half is about her and the apprentice Mohei (Kazuo Hasegawa) running away as they deal with what to do next as they’re being pursued by people working for Osan’s husband Ishun (Eitaro Shindo) who wants to deal with them himself rather than report them to the authorities.

Kenji Mizoguchi’s direction is definitely engaging for the way he captures life in 17th Century feudal-Japan where it’s run by warlords and such as there’s people willing to profit from these conflicts. Much of the film is shot in countryside locations in Japan as it plays into a world that is thriving yet there are rules that are quite cruel. Mizoguchi’s usage of the wide shots would capture this sense of oppression where there is a scene of a couple that is being shamed publicly and later crucified because they committed adultery which adds a sense of dramatic weight into the film. Yet, Mizoguchi would favor more intimate shots such as close-ups and medium shots to play into the drama which include these scenes at these lavish yet traditional Japanese homes as well in the forest where he would create a sense of theatricality into the acting as well as raise the stakes into what Osan and Mohei would endure. Especially in the third act as it play into not just the selfishness of Ishun finally catching up with him but the effects it would play into Osan and Mohei’s lives. Overall, Mizoguchi creates a riveting and haunting film about a wealthy man’s selfishness as he drives his wife and top apprentice into an affair.

Cinematographer Kazuo Miyagawa does brilliant work with the film’s black-and-white photography for its usage of lights for many of the interior/exterior scenes set at night while going for something more natural in the daytime scenes. Editor Kanji Sugawara does excellent work with the editing as it is straightforward to play into the build of the dramatic intensity as well as in some of the moments of dramatic suspense. Production designer Hisakazu Tsuji, with set decorator Yaichi Ebise and art director Hiroshi Mizutani, does fantastic work with the look of the home of Ishun as well as his shop where he runs his scroll making business as well as some of the interior gardens. Costume designer Natsu Ito does wonderful work with the costumes from the design of the robes and clothes that the men and women wore in those times. The sound work of Iwao Otani is terrific for its natural approach to the sound as it help create some tension in the drama. The film’s music by Fumio Hayasaka and Tamezo Mochizuki is amazing for its unsettling yet enchanting score as its usage of percussions and string instruments help add weight to the drama as it is a major highlight of the film.

The film’s superb cast feature a few notable small roles from Haruo Tanaka as Osan’s brother, Yoko Minamida as the maid Otama who is in love with Mohei, and Eitaro Ozawa as the scroll maker manager Sukeemon as a man who would try to defuse the situation only to cause more trouble. Eitaro Shindo is excellent as Ishun as a wealthy owner of a scroll making business who is a man that is very selfish as he neglects his wife and is indifferent about the feeling of his workers as he would plot a way to deal with his wife and Mohei. Kazuo Hasegawa is brilliant as Mohei as a scroll-making apprentice who is good at his job until he is asked to help Osan into giving her money where everything goes wrong as he deals with his growing disdain towards Ishun and his feelings for Osan. Finally, there’s Kyoko Kagawa in an amazing performance as Osan as Ishun’s wife who is trying to help her family as she puts herself and Mohei into a terrible situation as she becomes angry over her husband’s insensitivity as she would try and make a life of her own only to realize how difficult it is.

The Crucified Lovers is a marvelous film from Kenji Mizoguchi. Featuring a great cast, gorgeous visuals, a captivating script, and an eerie music score. It’s a film that explores Japanese society where everything is unruly during its feudal times as well as a woman dealing with the selfishness of her husband and the help of another man. In the end, The Crucified Lovers is a remarkable film from Kenji Mizoguchi.

Kenji Mizoguchi Films: (Tokyo March) - (The Water Magician) - (Aizo Toge) - (The Downfall of Ozen) - Osaka Elegy - (Sisters of the Gion) - (The Story of the Last Chrysanthemums) - The 47 Ronin (1941 film) - (Utamaro and his Five Women) - (The Love of the Actress Sumako) - (Portrait of Madame Yuki) - (Miss Oyu) - (The Lady of Musashino) - The Life of Oharu - Ugetsu - (A Geisha) - Sansho the Bailiff - (The Woman in the Rumor) - (Princess Yang Kwei-Fei) - (Tales of Taira Clan) - (Street of Shame)

© thevoid99 2017

Gate of Hell

Originally Written and Posted at Epinions.com on 5/18/09 w/ Additional Edits.

Written and directed by Teinosuke Kinugasa and based on the play by Kan Kikuchi, Jigokumon (Gate of Hell) tells the story of a 12th Century samurai trying to marry the woman he had just rescued from an attempted coup only to realize she is already married. In response, he challenges the husband to a duel that would provide tragic consequences. The first Japanese film to be released internationally in color, it was considered to be one of the landmark films of the country winning several international awards. Starring Kazuo Hasegawa, Machiko Kyo, and Isao Yamagata. Jigokumon is a beautiful though haunting film from Teinosuke Kinugasa.

It's 1159 as a rebellion against the royal family is underway as they're about to attack the castle. Needing a decoy to distract the rebellion army, Lady Kesa (Machiko Kyo) plays the role as she is accompanied by many men including a samurai named Moritoh Enda (Kazuo Hasegawa). The distraction against the rebellion was a success though trouble has emerged when the royal family are captured. Knowing that his brother is part of the rebellion after betraying the family, he awaits word as he becomes a courier to General Kiyomori (Koreya Senda). In exposing a traitor who was trying to send word to the enemy, the rebellion is defeated as Moritoh in return wants the hand of Lady Kesa for marriage. Kiyomori grants the request but the problem is that Lady Kesa is married to an Imperial guard named Wataru Watanabe (Isao Yamagata).

Realizing that it's up to Lady Kesa to make the decision, Moritoh tries to get her to decide him but comes no answer despite Kiyomori's presence. Moritoh signs up for a horse race that Wataru is participating as Wataru is aware that he must beat Moritoh to defend the honor of his wife. Instead, the outcome isn't want Wataru got but Moritoh still isn't satisfied as he was rejected by Kesa. Moritoh decides to take manners into his own hands by waiting for Kesa to come out of her house and later, threatening her aunt to death. Kesa comes to check on her aunt as she meets Miritoh who just wants her as she refuses as he makes more threats that would lead to a tragic consequence for all involved.

The film in a lot of ways is about honor and the code of the people involved. For Moritoh, he's a man who has fallen for a woman he had helped save for the good of the royal family. Expected, he's to be rewarded but the fact that Lady Kesa is married means his request can't be granted. A man of his stature, a samurai, must be denied and ask for something else but instead he doesn't. Therefore, his demands to be with the married Lady Kesa not only makes him look bad but also Lady Kesa. For her, the role of a wife means absolute devotion and loyalty to her husband. Plus, her husband is a man who is good-natured, honorable, and knows his place. He also loves Lady Kesa and is willing to do anything for her. Lady Kesa however, because of Miritoh's advances and the presence of Kiyomori, she has become humiliated and filled with shame for putting herself and these men around her in such a position.

Writer/director Teinosuke Kinugasa definitely plays up to the film's themes about honor and the roles people play in 12th Century Japan. The first two acts are told brilliantly as the film's direction is told in a theatrical setting. Since it was based on a play, the film has the feeling of a play with amazing set designs and intimate camera shots. For some of the film's scenes with lots of action and drama, there's tracking shots and camera movements to help intensify the drama. It all goes well in the first two acts but by the third act of the film. The story kind of falls apart as audiences have an idea of what's going to happen. It loses some momentum while the characters become more sentimental over what happens in the end. Though the theme of honor and its code are still intact, there's not much sympathy for the characters involved with the exception of Wataru in some respects. Yet, his answer reveals a true persona that brings more question than answers. Despite the flaws and familiar plot points of the film, Teinosuke Kinugasa does create an interesting study of character and themes in an entrancing yet harrowing drama.

Cinematographer Kohei Sugiyama does spectacular work with the usage Eastmancolor film stock to create a film that looks gorgeous but also eerie in its colorful cinematography. While it has some of the lush look of the early films of color of the 1940s and early 1950s, it's approach to lighting for the nighttime, exterior shading and interior scenes are set up wonderfully while the daytime scenes are awash with beautiful scenery of the beaches, mountains, and such in great detail with some grainy work mixed in. Editor Shigeo Nishida does excellent work with the film's editing with the use of dissolves, straight transition cuts, and fade-outs to flesh the story out structurally. Production designer Kisaku Ito and art director Yoshinobu Nishioka do great work in the set designs for the home of Wataru and Lady Kesa in its traditional Japanese structure along with the home of General Kiyomori.

Costume designer Sanzo Wada, who was also the color consultant, does amazing work with the costume design from the lavish, gorgeous robes Lady Kesa wore including the empress' robes. To the clothing the men wear to display their roles of power and such. The sound work by Shyohe Miyauchi and Yukio Umihara is excellent in the way the action scenes are captured along with the suspenseful sounds of footsteps walking around the home of Wataru. The music by Yasushi Akutagawa is a mixture of soothing orchestral arrangements to display the film's drama along with traditional sounds of Japanese music with loud percussions, drums, and harp-like instruments to play up the film's melancholia.

The cast is excellent with some small performances from Yataro Kurokawa, Kotaro Brando, and Masao Shimizu as samurai warriors and Michiko Araki as one of Lady Kesa's lady-in-waiting. Koreya Senda is great as General Kiyomori, a devious general who helps Moritoh into getting what he wants as he abuses his powers to humiliate Lady Kesa. Isao Yamagata is excellent as Wataru Watanabe, a man who is loyal to his wife and loves her but isn't the strong warrior some perceived to be as he finds himself being confronted by Moritoh. Kazuo Hasegawa is very good as Moritoh, a brave samurai warrior who shows great courage only to be denied of his reward. Hasegawa proves he can powerful but his character becomes somewhat of a pathetic, desperate figure who just doesn't get it. Finally, there's Machiko Kyo in a fantastic performance as Lady Kesa. A woman torn between her devotion to her husband and the pressures from those superior to her. While her character does delve into melodrama at times, what she does with the character in relation to her code of honor is still powerful as it's a great performance from the actress.

Despite some flaws along with some missing subtitles and a very old film print, Jigokumon is still an excellent film from Teinosuke Kinugasa. With some excellent performances from its cast along with some great technical work in its cinematography, set designs, costumes, and music. It's a film that proves a great historical point of view of post-war Japanese cinema as it is introduced to color. While it has a familiar plot and a flawed third act, Jigokumon is still a film worth watching that provides some great insight into the theme of honor in a country as unique as Japan is.

(C) thevoid99 2011