(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
Based on the play by Seika Mayama, The 47 Ronin is a two-part film about a samurai faction who go on a quest for vengeance for their slain master during the 18th Century. Directed by Kenji Mizoguchi and screenplay by Kenichiro Hara and Yoshikata Yoda, the film is an exploration of honor and devotion where 47 men cope with the loss of their leader and the need to avenge his death. Starring Daisuke Kato, Chojuro Kawarasaki, Kanemon Nakamura, Isamu Kosugi, Masao Shimizu, Utaemon Ichikawa, and Kunitaro Kawarasaki. The 47 Ronin is an engaging yet flawed film from Kenji Mizoguchi.
The film revolves a samurai clan who decided to go rogue after their master is forced to kill himself following an assassination attempt against another clan lord. It is based on a real-life incident where a group of men decide to avenge their master against the man he tried to kill as well as those who supported that lord. Told in two parts, the film follows the incident in which Asano Naganori (Yoshizaburo Arashi) tried to assassinate Lord Kira (Mantoyo Mimasu) over a grudge as Asano would receive punishment but Kira would receive no punishment. For the people working for Asano, they see this as unfair as Asano is forced to commit hara-kiri with his land and homes confiscated by other lords. The film’s script is divided in two parts with the first half focusing on the assassination and the planning to avenge Asano led by his retainer Oishi Kuranosuke (Chojuro Kawarasaki) while the second part is about an attempt on Lord Kira and the actual attack on Lord Kira and its aftermath. All of which takes place in a year yet it emphasizes more on drama rather than action.
Kejji Mizoguchi’s direction is entrancing at times as much of the film consists of some long takes where it has this theatrical tone to the drama. Much of the film features scenes with a lot of dialogue as well as scenes that feature no dialogue at all as some of these moments would drag the film immensely. The lack of action with the exception of a lone scene where one of Asano’s men tries to kill someone in a costume for a performance for Lord Kira is the only moment where there is any kind of action. Much of it is all about setting up the revenge but also discussions from all sorts from the men who served under Asano to even the women who were part of the house or wives of some of Asano’s men. Many of these scenes go for on for a long time as there’s moments where the scenes tend to overwhelm itself and be overdrawn including its ending. The sluggish is what hinders the film as Mizoguchi could’ve trimmed things down despite some of the beautiful compositions and camera movements he creates in the film. Overall, Mizoguchi creates a compelling but sluggish film about a group of men trying to avenge their master’s death.
Cinematographer Kohei Sugiyama does brilliant work with the film’s black-and-white photography to the natural look of the exteriors as well as some unique lighting and shades for some of the interior scenes. Editor Takako Kuji does some fine work with the editing as it is straightforward despite some of the film’s very long scenes. Production designer Hiroshi Mizutani, with set decorators Dai Arakama, Atsuo Matsuoka, and Hisako Oozawa, does amazing work with the set design from the interiors of some of the homes of the clan lords as well as some of the exteriors of the castles and homes.
Costume designers Ryuzo Kawada and Yoshisaburo Okumara do excellent work with the design of the robes that the men and women wear including the costumes for the Noh theater scene. Sound mixer Seiichi Harada does terrific work with the sound to play into the quiet and calm atmosphere of some of the drama including the opening sequence where Asano tries to kill Lord Kira. The film’s music by Shiro Fukai is wonderful as it’s mainly a low-key orchestral score that play into the drama.
The film’s marvelous cast include some notable small roles and appearances from Mantoyo Mimasu as Lord Kira, Meiko Takamine as the fiancée of one of the ronin warriors, Mitsuko Miura as Lord Asano’s wife, Yoshizaburo Arashi as Lord Asano, Masao Shimizu as a member of Lord Asano’s clan, Daisuke Kato as a lieutenant of Asano, Kunitaro Kawarazaki as a young ronin warrior, and Kanemon Nakamura as a senior advisor of the Asano clan. Finally, there’s Chojuro Kawarazaki in a brilliant performance as Lord Asano’s retainer Oishi Kuranosuke as the man leading the plan for revenge as he is meticulously trying to see how can make sure nothing can go wrong.
The 47 Ronin is a stellar but immensely flawed film from Kenji Mizoguchi. It’s a film that explores a legendary story of revenge though it is hampered by its sluggish pacing where for a two-part film running at nearly four hours. It is a film that isn’t very easy to watch. In the end, The 47 Ronin is a good but challenging film.
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) - (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) - The Crucified Lovers - (Princess Yang Kwei-Fei) - (Tales of Taira Clan) - (Street of Shame)
© thevoid99 2017
Directed by Kenji Mizoguchi and screenplay by Yoshikata Yoda from a story by Mizoguchi, Osaka Elegy is the story of a switchboard operator who finds herself in a troubling relationship with her boss while struggling to support her father. The film is an exploration into the life of a woman who feels compromised by her life as she seeks to find some form of identity. Starring Isuzu Yamada, Seiichi Takegawa, Chiyoko Okura, and Takashi Shimura. Osaka Elegy is a harrowing drama from Kenji Mizoguchi.
The film is the story about a woman who falls from grace as she works for a pharmaceutical company where she reluctantly becomes her boss’ mistress and later go into prostitution where she would disgrace her family including her debt-ridden father (Seiichi Takegawa). While it’s a plot that is quite simple, it takes its time to play into the fall of Ayako Murai (Isuzu Yamada) who is a switchboard operator trying to do her best as she needed money to help clear her father’s debt but it would come at a terrible price. Notably as she becomes compromised by her boss Mr. Asai (Yoko Umemura) who forces her to become his mistress. The script would showcase Ayako in this state of compromised as she later finds herself dealing with Asai’s wife (Benkei Shiganoya) and later become a prostitute when she realize she needs money. Even as she’s found a good prospect in a former co-worker in Nishimura (Kensaku Hara) but the truth about what she’s doing would add to her fall from grace.
Kenji Mizoguchi’s direction is very straightforward while he does infuse the film with some style such as long takes and some gazing tracking shots to play out the drama. Notably as it would play into the de-evolution of Ayako as this simple switchboard operator who feels slighted by her father and later her older brother Hiroshi (Shinpachiro Asaka) who needed money to pay for his tuition. Mizoguchi creates shots to showcase a world where women don’t feel up to measures with men. Especially as these men are selfish and at times, very foolish with an exception of sorts in Dr. Yoko (Kunio Tamura) who tries to help everyone. Still, Mizoguchi plays into the plight of Ayako where she goes from being an unhappy, compromised mistress into the world of prostitution as she becomes disgraced. Even as what happens to her isn’t entirely her fault where it plays into the cruelty men would do to a woman including the people in her own family. Overall, Mizoguchi creates a very haunting yet exhilarating film of a woman’s fall from grace.
Cinematographer Minoru Miki does excellent work with the black-and-white photography to capture the stark look of Osaka as well as the theaters and places that Ayako goes to in her journey. Editor Tatsuko Sakane does amazing work with the editing by maintaining a straightforward approach to the drama while using fade-outs to flesh out the structure. The sound work of Hisashi Kase and Yasumi Mizuguchi is terrific for capturing the atmosphere of the varied locations in the film including the intimate moments between its characters. The film’s music by Koichi Takagi is fantastic for its orchestral-based score to play up the melodrama that occurs in the film as well as to emphasize Ayako’s plight.
The film’s brilliant cast includes some small yet notable appearances from Takashi Shimura as a police investigator late in the film, Eitaro Shindo as an associate of Mr. Asai who tries to get Ayako to become his mistress, Kinuyo Tamura as the very kind yet comical Dr. Yoko, Benkei Shiganoya as Mr. Asai’s suspicious yet modern wife, and Shinpachiro Asaka as Ayako’s older brother Hiroshi. Kensaku Hara is terrific as Ayako’s co-worker Nishimura who tries to woo her only to get himself in trouble while Seiichii Takekawa is excellent as Ayako’s cruel yet debt-ridden father.
Chiyoko Okura is amazing as Ayako’s younger sister Sachiko who tries to get Ayako to return home and do right only to feel shamed by her. Yoko Umemura is great as the cruel and conniving Mr. Asai who manipulates Ayako into becoming his mistress as he ends up getting into trouble. Finally, there’s Isuzu Yamada in a radiant performance as Ayako as a young woman doing whatever she can to help her family but lose her self-respect as well as her identity in a very entrancing performance.
Osaka Elegy is a wonderful film from Kenji Mizoguchi that features an incredible leading performance from Isuzu Yamada. The film is definitely one of the most poignant yet harrowing tales of a woman being forced to make compromises on herself for others. In the end, Osaka Elegy is a marvelous film from Kenji Mizoguchi.
Kenji Mizoguchi Films: (Tokyo March) - (The Water Magician) - (Aizo Toge) - (The Downfall of Ozen) - (Sisters of the Gion) - (The Story of the Last Chrysanthemums) - The 47 Ronin - (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) - The Crucified Lovers - (Princess Yang Kwei-Fei) - (Tales of Taira Clan) - (Street of Shame)
© thevoid99 2013
Based on the book Ugetsu Monogatari by Ueda Akinari, Ugetsu is a ghost story that follows the follies of men who are interested in ambitious deeds as it would affect the fate of their wives. Directed by Kenji Mizoguchi and screenplay by Matsutaro Kawaguchi and Yoshikata Yoda, the film is an exploration into the world of two simple men who crave for something better only to realize what they lose as it plays into the rise-and-fall scenario. Starring Mayasuki Mori, Machiko Kyo, and Kinuyo Tanaka. Ugetsu is a hypnotic yet harrowing film from Kenji Mizoguchi.
Set in the late 16th Century during a war at the Omi Province in Japan, a farmer and his friend both have ambitions to give their wives a better life as the former hopes to be rich through pottery while the latter wants to become a samurai warrior. Both men would succeed in their ambitions but at great cost as the farmer finds himself entranced by a mysterious beauty while his friend achieves greatness only to realize his foolishness when he discovers what happened to his wife. It’s a film that explores the folly of ambition during a place in time where war is happening and chaos is rampant in small villages where the instincts of many villagers is to survive and evade pirates, bandits, and rag-tag soldiers. Unfortunately, two men become blinded by ambition that they lose sight of what is important.
The film’s screenplay definitely plays to the rise-and-fall scenario where the farmer Genjuro (Masayuki Mori) is eager to give his wife Miyagi (Kinuyo Tanaka) and their son Genichi (Ikio Sawamura) a better life as he sells some things with the help of his friend Tobei (Eitaro Ozawa) where they make some good money. Genjuro’s talent in pottery has him wanting to do more as he thinks there is more money to be made in this time of war. Miyagi isn’t so sure as is Tobei’s wife Ohama (Mitsuko Mito) who reluctantly joins Tobei and Genjuro to go across the lake to a town to sell Genjuro’s pottery. That would play into the fortunes that would happen in the second act where Genjuro is entranced by the mysterious Lady Wakasa (Machiko Kyo) while Tobei’s desire to become a samurai has him taking the money he’s made into buying armor and a spear where he unknowingly kills a top general during the war. Ohama would find herself trying to find Tobei only for her fate to go bad as she becomes dishonored.
The film’s second half would unveil the fallacy of the decision these two men made where Genjuro becomes entranced by Lady Wasaka unaware of what is happening to him. Even as he starts to forget about Miyagi who is back home with their son trying to survive in their ruined village from rag-tag soldiers. While much of the second half would play into Genjuro’s time with Lady Wasaka, the story does reveal what is happening to Miyagi, Ohama, and Tobei. Most notably Tobei as he becomes a top samurai warrior where he finds out what happened to Ohama as he learns the true meaning of what it is to be a samurai warrior. Eventually, tragedy does occur as well as the realization about what is to really be rich as the script would also have this element of fantasy vs. reality in its third act as it relates to Genjuro’s journey.
Kenji Mizoguchi’s direction is very entrancing in the way he presents the story in not just his framing but also in the simplicity that he tells the story. Notably as he uses the frame to capture the beauty of the locations near Lake Biwa where Mizoguchi uses some slow tracking shots to capture the beauty of the location as well as wide shots of the towns and villages that the characters encounter. Stilll, Mizoguchi maintains a sense of drama that occurs such as the scenes of the villagers hiding in the woods where he maintains that air of suspense that is happening. Even in the scene where the two couples and Genichi are in a boat in the lake where it would play into something very ominous about what might be ahead where they do turn back only for Genjuro and Tobei to make another attempt to take that route with Ohama’s help.
Much of the film’s second half would feature some unique compositions to play out the fates of the many characters in the film. Notably as it would delve into melodrama as far as the fates of Ohama and Miyagi are concerned while Tobei’s story is a bit of a black-comedy in how he stumbles his way into greatness only to become a drama when he finds out what happened to Ohama. Then there’s Genjuro’s story where Mizoguchi maintains this air of mystique in the way he presents Genjuro’s life with Lady Wasaka where there’s a beauty to the images that plays out but it adds to something that is quite off. Notably as it would reveal into what is really going on as well as the tragedy that is to happen. Overall, Mizoguchi creates a very visceral yet poignant drama about the folly of ambition.
Cinematographer Kazuo Miyagawa does amazing work with the film‘s black-and-white photography to capture the beauty of the locations while using some entrancing lighting schemes, with help from Kenichi Okamoto, to maintain that sense of brooding atmosphere at the home of Lady Wasaka. Editor Mitsuzo Miyata does excellent work with editing with the use of dissolves and transitional fade-outs to help structure the story while using some steady cuts to play out the film‘s drama. Art director Kisaku Ito does fantastic work with the set pieces from the look of the home of Lady Wasaka as well as the villages and towns the characters encounter.
The costumes by Shima Yoshimi is nice for the silk kimonos that Genjuro wants to get for Miyagi as well as the mysterious look of Lady Wasaka. Hair designer Ritsu Hanai and makeup artist Zenya Fukuyama do terrific work with the look of Lady Wasaka from her exotic makeup and hairstyle to represent the air of mystique about her. The sound work of Iwao Otani is superb for the intimacy that is created in the quieter moments along with the sounds of chaos in the scenes in the city and moments involving the soldiers. The film’s music by Fumio Hayasaka is brilliant for its ominous score with its mixture of heavy percussions and somber orchestral score blended with Japanese folk instruments to play up the melodrama and mystique in the film.
The film’s cast is remarkable as it features some notable small roles from Ryosuke Kagawa as the village chief, Ikio Sawamura as Genjuro and Miyagi’s young son Genichi, Sugisaku Aoyama as an old priest Genjuro meets late in the film, and Kikue Mori as Lady Wasaka’s aide who would play into Genjuro’s mind. Eitaro Ozawa is excellent as Tobei as a foolish man whose desire to become a samurai leads to a lot of trouble as he realizes the fallacies of his desires. Mitsuko Mito is wonderful as Tobei’s wife Ohama as a woman who tries to get Tobei to face reality only for his foolishness would get her into places that is horrific as she becomes dishonored.
Machiko Kyo is fantastic as Lady Wasaka as a woman of great beauty and mystique who definitely represents all the things that Genjuro could have but there is something about her that is off which adds a layer to Kyo’s performance. Kinuyo Tanaka is radiant as Miyagi as a woman who craves simpler things and tries to tell Genjuro that there’s no need for more as she later deals with his disappearance and face the dark reality of war. Finally, there’s Masayuki Mori in a marvelous performance as Genjuro as a man who wants to make a lot of money so his family wouldn’t be poor only to lose sight of what is really valuable when he meets Lady Wasaka as he becomes lost in a dark world.
Ugetsu is a phenomenal film from Kenji Mizoguchi that features top-notch performances from Masayuki Mori, Kinuyo Tanaka, and Machiko Kyo. The film is definitely an engrossing yet touching film about the folly of ambition as well as an exploration into how women become lost by the ambition of men. Especially as it takes a simple ghost fable into something more where it is presented in a troubling period in time when people are desperate to do good and escape poverty. In the end, Ugetsu is a spectacular 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 - (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 - (A Geisha) - Sansho the Bailiff - (The Woman in the Rumor) - The Crucified Lovers - (Princess Yang Kwei-Fei) - (Tales of Taira Clan) - (Street of Shame)
© thevoid99 2013
Based on a short story by Mori Ogai, Sansho the Bailiff is the story about a governor’s family being torn apart after his exile where the wife is sold into prostitution while her children are sold into slavery under the cruelty of a bailiff. Directed by Kenji Mizoguchi and screenplay by Fuji Yahiro and Yoshikata Yoda, the film is an exploration of how a woman and her children endure hardships in the wake of a tumultuous period in Japan’s history. Starring Kinuyo Tanaka, Yoshiaki Hanayagi, Kyoko Kagawa, and Eitaro Shindo. Sansho the Bailiff is a harrowing yet powerful drama from Kenji Mizoguchi.
Set during the Heian period in Japan where lawlessness was running rampant among thieves and bandits while slavery was also happening. The film revolves around two kids, whose father was a kind governor, had to endure the cruelty of slavery under a steward known as Sansho the Bailiff (Eitaro Shindo). With their mother sold to prostitution and their father exiled for not giving in to feudal lords, the children become young adults as the son Zushio (Yoshiaki Hanayagi) tries to repress himself through work while Anju (Kyoko Kagawa) is clinging to her father’s words for mercy. Yet, it would take something that would finally prompt the children to escape where sacrifices are made but also the chance to set things right in a world ravaged by lawlessness.
The screenplay by Fuji Yahiro and Yoshikata Yoda explores a world where children who live in a refined background have to deal with not just harsh realities but a world where things can be bleak. The story begins with how their father is exiled as it moves back-and-forth where the young Zushio (Naoki Fujima) and Anju (Keiko Enami) are walking with their mother Tamaki (Kinuyo Tanaka) and their servant Ubatake (Chieko Naniwa) to find shelter. Notably as the flashbacks reveal the words Zushio’s father instills his son words of mercy and kindness so that humans can find hope in a bleak world. Yet, the words of the governor would be put to the test when the family is tricked by a priestess (Kikue Mori) who has the mother taken to an island to become a courtesan while the children are eventually sold to the very brutal Sansho the Bailiff.
Both the young Zushio and Anju realize a world where they have to be beaten if they don’t do their work as only some slaves and Sansho’s son Taro (Akitake Kono) become sympathetic as the latter later leaves his father’s home after giving the two kids words of what they have to endure before the time is right to escape. Still, the words of their father and Taro’s advice would be suppressed by Zushio after ten years of slavery as he loses hope while becoming accepting of Sansho’s rule where he becomes just as cruel towards the slaves. Anju meanwhile, is still clinging to that idea of kindness where it would be a song sung by a slave that would raise Anju’s awareness that her mother is still alive as it would also restore Zushio’s own faith. The third act would be about Zushio’s journey to appeal to a chief advisor about slavery where Zushio would reclaim some prestige but he realizes that it wouldn’t be enough to repair the damage over what happened to his family.
Kenji Mizoguchi’s direction is very engaging for the way he explores a family being splintered by a world where lawlessness is rampant. Mizoguchi’s direction is filled with gorgeous imagery of some of the Japanese locations but also mix it with an air of bleakness for what is happening in that world where people are pushed into slavery. Mizoguchi infuses a lot of wide shots as well as some medium shots and close-ups to capture a world where things are bleak while there is an element of hope somewhere. There is also some melodrama that is played out in the direction for the way the characters deal with their situation where some slaves attempt to escape only to be branded by hot steel as punishment. It’s a world where it’s run by this steward who has connections to the government and is a man with a lot of power.
The direction also has Mizoguchi making statements about this horrific period as he uses the Zushio character to fulfill the role that his father once played for the people in his land. Yet, he would have to endure things where even though he can make a difference for those who are helpless. It isn’t enough since the world is still bound by some lawlessness as well as the fact that there are those who won’t be able to enjoy the happiness of freedom. Even as Zushio is craving for something that is far more valuable than some title as he is still motivated to find his mother. There is nothing heavy-handed that Mizoguchi is saying as he presents it in a simple yet somber manner to reveal something where humanity was losing its way and how those managed to regain some hope. Overall, Mizoguchi creates very heartbreaking yet exhilarating film about humanity and its plea for mercy.
Cinematographer Kazuo Miyagawa does amazing work with the film‘s black-and-white photography to capture some of the beauty of the Japanese locations including its mountains and beaches along with some chilling interiors in night thanks to some of the lighting by Kenichi Okamoto to play up that mix of hope and despair. Editor Mitsuzo Miyata does excellent work with the editing from the rhythmic cutting in some of the film‘s flashback scenes early in the film to some methodical yet effective cuts for some of the film‘s dramatic moments. Art directors Kisaku Ito and Kozaburo Nakajima, with set decorator Yuichiro Yamamoto, do brilliant work with the set pieces from the house of Sansho the Bailiff to the palaces of the chief advisor and the old house that Zushio and Anju lived as children.
The costumes by Yoshio Ueno and Yoshimi Shima are wonderful for the sense of prestige that the kids had early on in their robes only to then look in tatters as they become slaves. The makeup by Masanori Kobayashi is nice for the way some of the courtesans look in scenes where Tamaki has to look the part to play the role of a prostitute. The sound by Iwao Otani is terrific for the sense of chaos that is displayed in some of scenes where Sansho‘s men try to attack foes as well as a simple sense of intimacy in scenes involving nature. The film’s music by Fumio Hayasaka is just fantastic for its somber yet entrancing score filled with lush orchestral arrangements mixed in with traditional Japanese percussions and string instruments to create a sense of melancholia that is played out for the film.
The film’s cast is marvelous as it features some memorable small roles from Chieko Naniwa as the family servant Ubatake, Kikue Mori as an opportunistic priestess, Akira Shimizu as a slave trader who sells Zushio and Anju to Sansho, Bontaro Miake as Sansho’s lead general Kichiji, Ken Mitsuda as the chief advisor Zushio tries to appeal to, and Masao Shimizu as Anju and Zushio’s father who is a man of great idealism only to be exiled by a world of lawlessness. In the roles of the young Zushio and Anju, Naoki Fujima and Keiko Enami are excellent in their respective roles as siblings dealing with the harsh circumstances they’re put upon. Atikake Kono is superb as Taro, Sansho’s son who is horrified by his father’s cruelty and discovery of who the kids really are as he gives them advice on how to deal with the fate that is put upon them.
Eitaro Shindo is great as the very powerful and terrifying titular role as a man who is always kind to men of power while being very horrific to his slaves where he would make them endure some of the worst punishment known to mankind. Kinuyo Tanaka is wonderful as Zushio and Anju’s mother Tamaki who tries to ensure their father’s words in them as kids only to deal with her own cruelty as a prostitute as she sings a chilling song that would eventually reach them. Finally, there’s the duo of Kyoko Kagawa and Yoshiaki Hanayagi in their respective roles as Anju and Zushio. Kagawa displays a sense of grace to her performance as a young woman clinging to hope as it’s a very intoxicating performance to watch. Hanayagi is remarkable as the older Zushio who has nearly given up hope only when he realizes the opportunity to escape as he tries to come to terms with what he’s lost as well as the desire to make a difference in a terrifying world.
Sansho the Bailiff is an incredible film from Kenji Mizoguchi that explores the horrors of humanity and the desires for a few to instill hope in a world ravaged by evil. Featuring the mesmerizing performances of Eitaro Shindo, Atikake Kono, Kinuyo Tanaka, Yoshiaki Hanayagi, and Kyoko Kagawa. It’s a film that is quite harrowing and at times can be full of despair but it is balanced with the idea that hope will always come as it’s a film that unveils the power of humanity and how it can endure such cruelty. In the end, Sansho the Bailiff is a phenomenal film from Kenji Mizoguchi.
Kenji Mizoguchi Films: (Tokyo March) - (The Water Magician) - (Aizo Toge) - (The Downfall of Osen) - Osaka Elegy - (Sisters of the Gion) - (The Story of the Last Chrysanthemums) - The 47 Ronin - (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) - (The Woman in the Rumor) - The Crucified Lovers - (Princess Yang Kwei-Fei) - (Tales of Taira Clan) - (Street of Shame)
© thevoid99 2013
Based on the stories of Saikaku Ihara, The Life of Oharu is the story of a woman’s struggle to find herself after being a concubine for a territorial lord during the Edo in Japan. Directed by Kenji Mizoguichi and screenplay by Mizoguchi and Yoshikata Yoda. The film explores a woman’s life as she is sold into prostitution by her father as she tries to overcome many obstacles into being defiant against many issues set during a crucial period in Japan’s history. Starring Kinuyo Tanaka, Tsukie Matsuura, Ichiro Sugai, Toshiro Mifune, and Takashi Shimura. The Life of Oharu is an entrancing yet harrowing film from Kenji Mizoguchi.
Told in the span of in the span of many years, the film explores a woman’s tumultuous life as she started off as a woman whose father lived as a samurai working for a respected lord only for her and her parents to be banished. Though things seem to look up as she becomes a lord’s concubine and give birth to his child, the fortunes of Oharu (Kinuyo Tanaka) and her family only go downwards as her father sells her to prostitution to cover his debts. Working at a brothel and then working for a rich couple as a courtesan, Oharu’s life is still troubled despite a few moments in her life that would find her happiness. Yet, she is shamed into a life of cruelty by social classes and the rules of men as she eventually hits bottom. The film is told largely from the perspective of Oharu as it opens with Oharu as an aging prostitute working with a group of aging prostitutes as she’s at a temple reflecting on her life.
The screenplay by Kenji Mizoguchi and Yoshikata Yoda explores the lifestyle of a woman set in 17th Century Japan during its Edo period where women have to play a certain role for men. Yet, it’s a role that is filled with a lot of strict rules and guidelines where falling in love is something a woman who is working under the home of a lord is forbidden to do. It would play to Oharu’s torment as she loses men who want to give her a happy life while she is later banished by a lord’s council for falling for that lord as she and her family receives little compensation.
The cruelty that Oharu would face from her father and other men as well as a rich wife would play to Oharu’s sense of hopelessness. While she would have a few moments of defiance, it would often lead to all sorts of trouble where she endures all these tribulations that lead to her becoming poor and helpless. The third act in the script plays to Oharu finally reaching her bottom as she has endured so much where there would be a glimmer of hope that might actually help her.
Mizoguchi’s direction is very engaging for the way he explores the life of a woman as it is told largely from her perspective as it does sort of begin near the end of the story. Through some interesting compositions filled with some medium shots and a few wide shots, Mizoguchi explores a world where it is dominated by men while women are treated as second-class. While some of the presentation is in the form of a melodrama, there are bits of humor that do play out in the film such as a scene where Oharu exposes a rich wife’s secret after she accused her of having an affair with her husband. Yet, Mizoguchi is more interested in not just exploring the life of this woman and all that she endures but also the system that is preventing her to find happiness. Mizoguchi does play out moments where things seem to go upbeat but always remind the audience that it will only be brief.
By the time the film returns to the temple where Oharu is gazing at statues, it reveals how far this woman has come in all of that cruelty where she gets a chance to find a bit of hope. Yet, there’s compromises that occur for Oharu in the film’s climax where it’s clear that she’s changed a bit in everything she’s been through but the rules haven’t changed. It is in this moment where Mizoguchi employs an act of feminism in the climax though the outcome ends up being far more bleaker than what is expected. Overall, Mizoguchi creates a very fascinating yet haunting film about a woman’s tumultuous life and the cruelty she endures through the unjust system of the times.
Cinematographers Yoshimi Harano and Yoshimi Kono do brilliant work with the film‘s black-and-white photography to capture some of the beauty of the Japanese locations in its exteriors while creating some lighting schemes in the interiors to play out some of the film‘s bleak mood. Editor Toshio Goto does excellent work with the editing by using a few stylish dissolves and fade-outs as transitions along with some rhythmic cuts to play out some of the melodrama. Production designer Hiroshi Mizutani does wonderful work with the set pieces from the look of the home of the lords Oharu serves to the brothel she has to work at in the film‘s second act. The film’s music by Ichiro Saito is fantastic as it is filled with some somber yet intricate music to play out Oharu’s journey of despair as the music largely consists of folk instruments and some intense orchestral cuts to create an air of bombast in the drama.
The film’s cast is incredible as it features an amazing collection of actors for the film. In small roles, there’s Takashi Shimura as an old man who helps out the aging prostitutes, Daisuke Kato as a con man at the brothel, Benkei Shiganoya as a brothel owner, Hiroshi Oizumi as a kind brothel manager, Chieko Higashiyama as an old nun, and Jukichi Uno as the fan maker Yakichi who gives Oharu a sense of hope for a brief period. Other notable small roles include Toshiro Mifune as a retainer who courts Oharu early in the film that led to her banishment, Toshiaki Konoe as Lord Matsudaira who falls for Oharu after giving birth to his son, and Hisako Yamane as the lord’s wife who gets rid of Oharu after the birth. Tsukie Matsuura and Ichiro Sugai are excellent as Oharu’s parents with the former as Oharu’s sympathetic mother and the latter as Oharu’s cruel father.
Finally, there’s Kinuyo Tanaka in a riveting performance as Oharu. Tanaka displays a great sense of humility and anguish to a role of a woman who endures all sorts of horrific treatment in the hands of the system towards women as she tries to live her life. Even as she tries to rebel through small means, she is still ridiculed where Tanaka allows her character to unveil as much pain that she endures in the course of her life as it’s a really unforgettable performance.
The Life of Oharu is a tough yet mesmerizing film from Kenji Mizoguchi that features a brilliant Kinuyo Tanaka. The film is definitely a strong piece of feminism that explores a woman trying to deal with the restrictions of her life during a tense period in Japan. It’s also a film that allows audiences to see how much this woman tries to find happiness in her life while dealing with all of the tribulation she faces. In the end, The Life of Oharu is a captivatingly rich film from Kenji Mizoguchi.
Kenji Mizoguchi Films: (Tokyo March) - (The Water Magician) - (Aizo Toge) - (The Downfall of Osen) - Osaka Elegy - (Sisters of the Gion) - (The Story of the Last Chrysanthemums) - The 47 Ronin - (Utamaro and his Five Women) - (The Love of the Actress Sumako) - (Portrait of Madame Yuki) - (Miss Oyu) - (The Lady of Musashino) - Ugetsu - (A Geisha) - Sansho the Bailiff - (The Woman in the Rumor) - The Crucified Lovers - (Princess Yang Kwei-Fei) - (Tales of Taira Clan) - (Street of Shame)
© thevoid99 2013
