04-13-2020, 02:43 PM
Another early Mifune vehicle, this one directed by Kenji Mizoguchi, masterful in his own right. Amazingly, I didn't recognize Mifune. He's a tragic figure in the early going, a peasant who vies for the affections of Oharu, a lady-in-waiting at the Kyoto imperial court.
Here's a photo.
![[Image: MV5BOTkwNjk2OTAzOV5BMl5BanBnXkFtZTcwODUx...00_AL_.jpg]](https://m.media-amazon.com/images/M/MV5BOTkwNjk2OTAzOV5BMl5BanBnXkFtZTcwODUxNjc5Ng@@._V1_SY1000_CR0,0,728,1000_AL_.jpg)
In hindsight, I should have recognized his voice, as the southern gothic brogue accent is always unmistakable.
The film centers on Lady Oharu having a bad day. A really really bad day. And that day is followed by an even worse day. And then an even worser day. Rinse and repeat ad infinitum until the tears flow freely to obliterate the end credits.
Kenji Mizoguchi was a staunch feminist. While fellow directors were churning out war and samurai fare, he was focused on exposing the horrific plight of women in Japanese society. His shots are carefully staged, often long and tracking, and some of them stick with me even now. But overall I think he lacks in subtlety, as one begins to anticipate how each development is going to turn bad for Oharu, and in the worst possible way.
Though not as well-rounded and balanced as Kurosawa, Mizoguchi is nothing to sneeze at; and I'm glad I got a taste of his work.
Not recommended. But not disrecommended either. But if you dare, brace yourself for 2 hours and 13 minutes of growing despair, and only a speck of Mifune front-loaded.
Here's a photo.
In hindsight, I should have recognized his voice, as the southern gothic brogue accent is always unmistakable.
The film centers on Lady Oharu having a bad day. A really really bad day. And that day is followed by an even worse day. And then an even worser day. Rinse and repeat ad infinitum until the tears flow freely to obliterate the end credits.
Kenji Mizoguchi was a staunch feminist. While fellow directors were churning out war and samurai fare, he was focused on exposing the horrific plight of women in Japanese society. His shots are carefully staged, often long and tracking, and some of them stick with me even now. But overall I think he lacks in subtlety, as one begins to anticipate how each development is going to turn bad for Oharu, and in the worst possible way.
Though not as well-rounded and balanced as Kurosawa, Mizoguchi is nothing to sneeze at; and I'm glad I got a taste of his work.
Not recommended. But not disrecommended either. But if you dare, brace yourself for 2 hours and 13 minutes of growing despair, and only a speck of Mifune front-loaded.
I'm nobody's pony.