Japan: Film: Mizoguchi Kenji

Born on May 16, 1898 in Tokyo and died on August 24, 1956 in Tokyo (leukemia). Known mostly to cineaste, Mizoguchi is one of the most talented directors who have ever lived. Far more subtle than some of his prominent rivals, very moody, and with superb understanding of technique and music, he is considered by many without equal. The loss of his talent at the height of Mizoguchi's cinematic powers made Kurosawa remark that Japan had lost its true film creator. His works frequently depict the life and sacrifice of women in a society which cruelly subjects them. He has made over 85 films, but most were lost during the Tokyo earthquake and then in the fire bombings. Fortunately, his masterpieces survive. Here's the list of Mizoguchi films in my collection.

The Films

The films are arranged in chronological order, with a brief description and a rating (1-10). Some movies have more extensive reviews, which (WARNING) reveal substantial parts of the plot. I intend these primarily as a reminder for myself, and a basis for discussion with others. If you want to maintain the suspense, don't read the long reviews until after you've seen the film.

The 47 Ronin (1942)

A slow-paced retelling of the famous Chushingura story about the 47 loyal retainers who sacrificed themselves to avenge the injustice inflicted on the head of their clan. Rated: 7/10.

Utamaro and His Five Women (1946)

Using the famous ukiyo-e artist Utamaro's search for inspiration in a world falling apart around him, Mizoguchi delivers a sermon about the pursuit of freedom in a society harshy circumscribed by strict laws. Rated: 7/10.

Life of Oharu (1952)

A beautiful and totally depressing film about the complete ruin and utter despair of a woman who falls victim to social norms, jealousy, bad luck, and misfortune in 17th century Japan. Rated: 8/10.

A Geisha (1953)

Set in the decade after the Pacific War, this is the story of a geisha who sacrifices her own dignity to save a young woman from a life of dissolution. Simultaneously a critique of the geisha world and a meditation on the clash of the emerging post-war culture and tradition. Rated: 8/10.

Ugetsu (1953)

An adaptation of a famous story about two man who fall for the temptations of the world and the flesh only to be redeemed by the suffering of their wives. One of the most beautiful films I have seen. Rated: 9/10.

Sansho the Bailiff (1954)

Kidnapped as a boy, Zushio grows up as a slave in a Fujiwara estate during the 11th century. In this cruel and unforgiving environment, he loses his compassion and dignity until he becomes little more than a beast. When his sister sacrifices herself to allow his escape, he determines to change his life and rescue the other slaves. Rated: 8/10.

Princess Yang Kwei Fei (1955)

In eighth century China, the Emperor grieves over his dead wife. A scheming family arranges for him to meet and fall in love with Yang Kwei Fei, and then uses her patronage to acquire ever more rank and prestige. When their unbearable arrogance triggers a rebellion, the Emperor has to decide between the princess and order. Rated: 8/10.

Tales of the Taira Clan (1955)

Based on the famous Take of the Heike, this rendition focuses on Taira Kiyomori's transformation from a hesitant and petulant youth into a leader of the clan that would challenge the superstition-sanctioned dominance of the monks from Mount Hiei, and would eventually topple the ruling Fujiwara family during the 12th century. Rated: 6/10.

Street of Shame (1956)

A relentlessly bleak depiction of the dreary aftermath of World War II when many Japanese women were forced to take up prostitution to support themselves and their families just when the government is about to ban it. Rated: 7/10.

Reading Materials

Kirihara, Donald. 1992. Patterns of Time: Mizoguchi and the 1930s. University of Wisconsin Press.

Coming soon.

Andrew, Dudley and Carole Cavanaugh. 2000. Sanshô Dayû. London: British Film Institute.

Two essays on the literary sources, interpretation, and cinematic technique of Sansho the Bailiff.