While the play is shot “cinematically,” the film action reflects the more deliberate pace of bunraku theatre. Made by fans in Auckland, New Zealand. HFA. If you know of something I should add, or I added something erroneously here, please let me know…. Volume 16, Issue 8 / August 2012 In this type of drama, hooded and cloaked puppeteers in black manipulate life-size puppets in full view of the audience while, to the side and also visible, a musician plays the samisen (a Japanese stringed instrument) and a chanter recites all the parts in the various characters’ voices. Un jour peut être je saurai quoi penser de ses films. The theatrical performance shown in Osaka Elegy is a bunraku play. Dramatically it may be a little stiff, it is true, but the ornate costumes and sets, embellished by veteran cameraman Kohei Sugiyama’s sumptuous cinematography, ensure it is never less than beautiful to behold. 1967. The Water Magician (1933) This haunting silent (one of his earliest extant works), based on a story … Later he became an assistant director and made his first film in 1922.

En tout cas ici il offre un des plus ravissants films muet japonais du point de vue technique, loin de l'esthétique sobre qu'on lui connaît, bien qu'on en voit les prémisses dans certains cadrages. In other films like the achingly beautiful UGETSU, women suffer the consequences of male greed and misguided ambition. BFI Japan 2020: Over 100 Years of Japanese Cinema. Stylistically pared down in comparison with the more lyrical, metaphysical period dramas for which he is best remembered from his final decade, the film paints an unvarnished yet sensitive portrait of the five women drawn by their circumstances to the Dreamland brothel and their fears for the future following its enforced closure. This list is the Letterboxd version of The Oxford History of World Cinema.

Sansho Dayu arguably represents the apogee of Mizoguchi’s method, unfolding with a clarity of vision in which form and content are perfectly matched and the whole far transcends the sum of its parts. . This is an example of how the kabuki acting space spills out of the theatre and into the film’s “real” action. Straordinaria opera di Mizoguchi che porta di due decenni avanti il cinema, fra carrelli "impossibili", psicologie levitanti, una umanita' nuda e terminale. One day she finds a poor young soul and the mother feeling arises in her and starts to take care of him. Mizoguchi’s first film for Daiei, the studio most active in pushing Japanese cinema towards overseas audiences during the 1950s, Miss Oyu features Kinuyo Tanaka as the eponymous widow who falls for the man introduced as a prospective partner for her younger sister Shizu as part of an omiai formal marriage arrangement.

This haunting silent (one of his earliest extant works), based on a story by the Japanese gothic novelist Kyoka Izumi (1873-1939), was the second Mizoguchi shot for Irie Pro, the first independent production company in Japan established by an actress (his 1932 film for Irie Pro, Dawn of Manchuria and Mongolia, is now lost). Film Criticism 4, (3) (Spring 1980): 2-16. 172-192. Self-sacrificing female characters are a key feature in Mizoguchi films, even though these characters are developed with more depth and nuance in his later masterful works. Keiko McDonald notes his acquiring a “passion for the stage” while a student [1], while Dudley Andrew describes him as a lifelong “addicted spectator.” [2] Given this, it is a short step to Tadao Sato’s argument that the one scene, one shot technique is connected to “the traditionally slow tempo to be found in Japanese dance, puppet drama, [or] the music of noh drama.” [3] Peter Morris partially disagrees, suggesting the main source of this method is Mizoguchi’s background as a painter [4], but does concede the influence of early silent films with their relatively long single-take scenes. . My advice is to hunt around second hand places and try and get yourself a copy before it disappears for good.
Of these 30 only three silent features survive intact (Song of Home [1923], Cascading White Threads [1933] and The Downfall of Osen … Mizoguchi first achieved real recognition outside of Japan with this adaptation of Saikaku Ihara’s 17th-century novel The Woman Who Loved Love when it won the international prize at the Venice International Film Festival.

responded more sensitively to the formal qualities of this than I did; read them instead of me. Strikingly shot by Kenji Mizoguchi! Hatamoto Taikutsu Otoko Bored…, This is a list by user tarrdigrade, and I never want to lose track of it.

[8] So while the scene in the hall is played straight, the play’s music and chanting, which continues as off-screen sound, exposes the squalid and farcical nature of the film’s characters’ interactions. Made by fans in Auckland, New Zealand. Sadly, my review here seems to have come too late. 3 (Spring 1980): 7, 4 Peter Morris, “The Cinema of Mizoguchi,” in Kenji Mizoguchi, ed. While there are many geometrically rectangular compositions in Ugetsu, none seem to be as consciously theatrical as the earlier films. [5] Mizoguchi himself acknowledges the influence of early cinema in his search for a technique that would “avoid the use of the close-up.” [6] But the source of these silent cinema traits can be traced back to stage performance, and most filmmakers had discarded them by the 1920s as “uncinematic.” [7].

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