But by resigning his post and by fleeing to Sado, isn’t it possible that he avoided any personal fallout? And so, while I can see that there is great emotional potential in the film, it never does that to me. This pretty much is the heart of the matter for me as well. The latter film examined the different paths taken by members of the 1930’s generation and the different ways each tried to fight the military government in their own small way. The resolution is a sad acceptance of the brutality of the world. … the more Mizoguchi I watched the more disappointed I became. But Zushio, like his father before him, also seems to be making a sacrifice for the people. It's a place that believes that every great movie is a wonderful new treasure, whether you see it the night of its premiere or fifty years later.
But, no, he is no Kurosawa…that much is certain! We are little diseases, like that-infecting what we observe. I doubt that these so-called critics can do that. He urges his son to remember his words and gives him a statuette of Kannon, the Goddess of Mercy. It seems pretty clear that, given his demeanor and some of the things he says to Sansho, as well as his experiences in Sansho’s household, he is motivated by a desire for retribution, a desire to honor his father’s example and follow in his footsteps (in other words, filial piety crossed with not a little family pride), a desire for justice for the slaves who labor in the same conditions he both suffered from and made others suffer, a desire for redemption for his prior collaboration, as well as a desire to show mercy and do the right thing in the midst of an unjust society. However, after Zushiō's escape, Anju commits suicide by walking into a lake, drowning herself so that she will not be tortured and forced to reveal her brother's whereabouts. I love Ugetsu Monogatori as I have loved few films, ever. Some of his films are little more than hack work, and some (in my opinion) betray the shallowness behind his supposed humanism and feminism. I would imagine that in the ensemble work it would have been down to the actors (and he always chose great actors) to flesh out those characters. This is a place for people who can't get to the theater until the third week a film is out; a place for people who just want to find something great to stream online after the kids have gone to sleep, a place for people whose favorite pastime is to grab a bunch of classic films on DVD from the library and watch them all weekend. Isn’t it more a bit of this, dash of that that helps you articulate your own attitudes toward something? And, as in many folktales, there is an echoing action…the father frees the slaves, the son and daughter are sold into slavery. Martinez draws our attention to the overlooked importance of guilt in Rashomon, and how the film deals with the unstated failure of millions of Japanese to query or challenge the military government of Japan before and during the war. You were right to love him. The fact that Roman Polanski is a child rapist has, to my mind, nothing to do with whether his movies are any good or deserve awards. It featured many supernatural anthmorphic elements such as talking animals like Toei's other anime movies of that time. He tells his mother he has been true to his father's teachings, which she acknowledges poignantly. Ugetsu, I believe that there is a way of making, and looking at film that is more similar to the way people make and look at some kinds of poetry than it is to making or “reading” novelistic storytelling- and I think that’s where the article by Jim Emerson comes in…it is instructive in guiding our view toward the poetry of the film, possible topics of discussion. After all, have you ever held, say, Chinese shadow puppets in your hands? I think the particular point of Kerr (and he’s not alone in making this point, there are several books on the topic) is that many western critics have confused what is quite a nationalistic and to some extent contrived official culture in Japan with a ‘real’ Japanese culture. Again, the business of fairy tales and how they serve filmmaking would be interesting to read as discussed by our wise and knowledgeable group, as both this film and Ugetsu are based on fairy/folk tales. Was he really condemning the entire notion of self-sacrifice as central to the Japanese identity? I will do so too, but yesterday I read a fairly interesting take on the subject by the Japanese film critic Tadao Sato. I think that’s how these things are structured…and that repetition isn’t meant to speak down to the audience, it is speaking to the part of us (the young listener part) that delights in rhyming and repetition.

I think when that article has a passage such as: Although a much more profound humanist than Kurosawa, Mizoguchi rarely, if ever, advertised his social concerns with the sort of condescending didacticsm which appealed to the message-hungry middlebrows of Sight and Sound and its ilk. Sansho the Bailiff, Mizoguchi’s eighty-first film, belongs with a group of four or five outstanding masterpieces on historical themes, including Ugetsu, that he directed late in his career for the Daiei production company. I’m not so sure about that – a few weeks ago I was following the route of one of the greatest Irish fairy tales, the Cattle Raid of Cooley – it is one of the oldest and a true achetype (showing echos of Indo-European origins in shared elements with the Iliad). I think Kurosawa is the greatest director who ever lived, so by definition I consider him the best Japanese director ever. Zushiō asks Tarō to take care of Namiji, who is recovering after being given medicine, so that he can go to Kyoto to appeal to the Chief Advisor on the appalling conditions of slaves. So while the term is anachronistic, the concept it refers to is not. lawless, you are right-Mizoguchi is a poetic flimmaker- and I think his imagery is the vehicle of meaning as much as is the story. I don’t think there is anything wrong with a film as a fairy tale – there are plenty of great, complex films (The Company of Wolves comes to mind) based on fairy tales – and indeed I’m a fan of Martinez’s theory that folk tales are an important and underrated component of some of Kurosawa’s films, especially Yojimbo. Carrie, our casual movie-goer, reminds us all that cinema is in fact supposed to be fun and entertaining and that sometimes, just sometimes, happy endings are good. It is perhaps a mistake (on my part) to focus too much on the characters motivation as metaphors for contemporary events. …pointing to a scar on his back from his lover’s dagger? So, Ugetsu has titled this thread Sansho the Bailiff: Idealism and self-sacrifice -a thread that resonates, since sacrifice, as Ugetsu states, is often the theme of Mizoguchi’s films featuring women in the central role. Actually, my problem is not so much his changing his mind, but rather that, as you mention elsewhere, his reasons for acting like he does are not really explored. Most likely he would have been exiled, not killed. Ugetsu, Kerr’s book looks interesting. That's because Spontaneous is honest. She tries to convince Zushiō to escape, but he refuses, citing the difficulty and their lack of money. And it kind of bothers me. Also, as far as we know, Kurosawa did simlar things and just didn’t talk about it.

The film ends with the slaves freed and Sansho in exile before the Minister of the Right puts someone else in Sansho’s place. But it’s those final scenes that make me think Kushio’s actions haven’t been for naught.

As we discussed in the introduction, Zushio clearly meant well when he found himself having the extraordinary luck to take his fathers place as a regional governor. Lawless suggests that “his inner struggles [are] off camera.” Again, I don’t feel that. Alternate Ending was formed when three friends realized they all shared a passion for movies.

Perhaps unfairly on my part, it led me to rethink what I’d loved about Ugetsu Monogatari and wonder if maybe there was less to them than I originally thought (I’ve been thinking a lot lately about the seductiveness of visually beautiful films recently, having watched a lot of Terrence Malick films in a row). This porridge is too hot, this porridge is too cold, this is just right….this bed is too hard, this is too soft, this is just right? She gives herself so that she won’t be tortured and betray him. And they rarely have anything interesting to say or do.

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