In terms of the greatest Japanese directors, my sense is that films critics tend to mention three: Ozu, Kurosawa, and Mizoguchi. Of the three, I never really understood the reason Mizoguchi made the list. I should say that I’ve seen far less of his films than the other two, but I did see Ugetsu Monogatari and Sansho Daiyu, perhaps two of his most famous internationally. I liked those films, but they didn’t seem to warrant putting him as one of the best Japanese filmmakers (at least after the first viewing).
So I’ve been trying to watch more of his films recently. I re-watched the films above, and I did appreciate the visual aspects of the films a lot more, and I thought both were good-to-very good. After those two, I watched Osaka Legacy and Sisters of Gion. Both were good, especially the second one. Isuzu Yamada’s feistiness stood out, reminding me of Stanwyck’s and Magnani’s feminine spunk. The fact that Mizoguchi made what can be categorized as feminist films, in 1936 Japan, also surprised me.
The Story of the Last Chrysanthemum (1941)
starring: Shotaro Hanayagi (Kikunosuke Onoe), Kakuko Omori (Otoku), Gonjuro Kawarazaki II (Kikugoro Onoue), etc.
82/100
I wasn’t sure if I would be able to sit through this, but in about 20 minutes the film hooked me, and held my attention for the most part. (There are relatively long segments of Japanese theater that some viewers may find dull.)
The film follows the adopted son of a famous actor, who is set to inherit his father’s position, and it follows the long and often arduous path to obtaining that position.
***
If Japanese leaders wanted to use film to inculcate important values and ideal gender roles–according to Japanese culture–this film would fit the bill. Kikunosuke and Otake feel like examples for the Japanese men and women, respectively. What makes the film effective is that this “lesson” is wrapped up in a really compelling dramatic story.
On a side note, as a Westerner, I bristle a bit at the Japanese notion of the ideal woman–essentially and primarily a helpmate for husband, specifically helping him find worldly success, to the point sacrificing everything for this. Interestingly, Isuzu Yamada’s characters in Osaka and Sisters provides an interesting contrast (rebuttal?) to Otake.
The 47 Ronin parts 1 and 2 (1941/1942)
Starring: Chōjuro Kawarasaki (as Ōishi Kuranosuke), etc.
A Confucian revenge tale–that a revenge tale within the context of Confucian society. That’s the thought that came to mind while watching this.
Lord Asano attacks an official, Yoshinaka Kira after a public slight, but violates the Shogun’s edict in the process. As a result, Asano must commit seppuku. Meanwhile, nothing happens to Kira. Most of Asano’s house take exception to this, and the film follow their action in response.
The film is a little more than three and half hours long, it has almost no action sequence, and some viewers may find it slow at times. (I believe part 1 did poorly at the box office.) What kept me engaged was the way principles guided Oishi Kuranosuke, the de facto leader of the Asano clan. If there is such a thing as a civilized, proper way of carrying out revenge, this story shows this, focusing on Kuranosuke–the way he’ll handle the shogun’s judgment on Asano and Kira, and the principles that will guide him in this process. Kuranosuke has a keen sense to of what is right and proper within samurai code, and this guides everything he does (and at one point causes him great anguish). Because of this, he’s a man of great honor, and it’s this, more than intelligence, fighting skill (he doesn’t really display any), or charisma that makes him a model leader.
Utamaro and His Five Women (1946)
63/100
While I haven’t deeply analyzed this film, it’s the weakest film that I’ve seen so far, although it’s not a bad one. If I had to analyze the film I would start with the main female characters, examining if they represent something. Then I would look at the way this relates to Utamaro’s interest and passion in female beauty.
The film covers the life of Utamaro Kitamura, the ukiyo-e painter, and five women, each with their own vignette, that intersect with his life.
(Note: The print isn’t in good shape.)
Women of the Night (1948)
Starring: Kinuyo Tanaka, etc.
45/100
The title basically describes what the film is about. Like the Sisters of Gion, circumstances, stemming from a patriarchal, sexist society, push two sisters into prostitution. (Technically, one sister isn’t a prostitute, but as a mistress she’s just a few notches away from that.)
**
Ultimately, the film is preachy, feminist social commentary. I could tolerate the preachiness if the film weren’t dated and predictable. Older films depicting the criminal element almost always lack the impact they’re probably seeking, largely because the conception of a hard, immoral and even savage life, created from urban squalor, seems fake and even mild. (I wonder if this is the dated quality of movies or if a sense of criminal element was actually milder in the past.)
***
One of the more interesting aspects of the film was the group trying to reform these women. They seemed to be based on Christian charity organizations like the Salvation Army, except without the Christianity. In the film, instead of God, the emphasis is on purity and importance of child bearing. In the end, the film depicts them and their efforts as insensitive, clueless and ultimately ineffective.