Neuigkeiten

Stars: Masayuki Mori, Eitaro Ozawa, Kinuyo Tanaka, Mitsuko Mito, Machiko Kyō | Written by Matsutarō Kawaguchi, Yoshikata Yoda | Directed by Kenji Mizoguchi

Kenji Mizoguchi was one part of the Holy Trinity of directors – alongside Akira Kurosawa and Yasujirō Ozu – spearheading the Golden Age of Japanese cinema in the 1950s. Released in 1953, Ugetsu is based on the book by Ueda Akinari, written in the 18th century (one of two known works by the author). Mizoguchi states upfront that he’s “refreshing the fantasies” of Akinari, which is a nice way of putting it.

The story opens in the village of Nakanogō in Omi Province, sometime in the 16th century. Genjūrō (Masayuki Mori) and Tōbei (Eitaro Ozawa) are best pals. Genjūrō is a potter; Tōbei is a clutz who dreams of being a samurai. One day the village is attacked by soldiers. Genjūrō and Tōbei flee with their wives, Miyagi (Kinuyo Tanaka) and...

It’s a given that their Main Slate — the fresh, the recently buzzed-about, the mysterious, the anticipated — will be the New York Film Festival’s primary point of attraction for both media coverage and ticket sales. But while a rather fine lineup is, to these eyes, deserving of such treatment, the festival’s latest Revivals section — i.e. “important works from renowned filmmakers that have been digitally remastered, restored, and preserved with the assistance of generous partners,” per their press release — is in a whole other class, one titanic name after another granted a representation that these particular works have so long lacked.

The list speaks for itself, even (or especially) if you’re more likely to recognize a director than title. Included therein are films by Andrei Tarkovsky (The Sacrifice), Hou Hsiao-hsien (Daughter of the Nile, a personal favorite), Pedro Costa (Casa de Lava; trailer here), Jean-Luc Godard (the rarely seen,...

Ugetsu

Blu-ray

Criterion

1953 / B&W / 1:33 / Street Date June 6, 2017

Starring: Mitsuko Mito, Masayuki Mori, Kikue Mouri, Sakae Ozawa, Kinuyo Tanaka

Cinematography: Kazuo Miyagawa

Film Editor: Mitsuzô Miyata

Written by Matsutarô Kawaguchi, Yoshikata Yoda

Produced by Masaichi Nagata

Music: Fumio Hayasaka, Tamekichi Mochizuki, Ichirô Saitô

Directed by Kenji Mizoguchi

In 1941 Orson Welles was busy giving the film industry a hot foot with Citizen Kane, a bullet-train of a movie whose rhythms sprang from the ever accelerating hustle and bustle of contemporary American life. That same year one of Japan’s greatest filmmakers, Kenji Mizoguchi, was taking his sweet time with a four hour samurai epic set 240 years in the past, The 47 Ronin.

The story of a band of loyal soldiers seeking revenge on a corrupt landowner, The 47 Ronin plays out in a precisely measured, ceremonial style, its 241 minutes leading up to the moment when the fierce band of brothers...

Stars: Kinuyo Tanaka, Toshiaki Onoe, Benkei Shiganoya, Tsukie Matsuura | Written by Kenji Mizoguchi, Yoshikata Yoda | Directed by Kenji Mizoguchi

The overarching Buddhist message of Kenji Mizoguchi’s 1952 epic should provide a clue as to the sheer depth of misery our eponymous heroine must endure in her lifetime. Death, and another chance in the next life, seems like her only solace. As Oharu (Kinuyo Tanaka) traverses 17th-Century Japan, at every turn events transpire against her, and glimpses of redemption are swiftly consumed by the shadow of despair.

It actually starts off okay. As a young woman, Oharu is spoiled by the romantic ideals of love. “The nobility makes sport of sincerity,” says her admirer, Katsunosoke (Toshiro Mifune), “turning it into mere wordplay.” He breaks through the caste order and wins her heart. But their love is forbidden and their affair begins the snowball of catastrophe.

There is an essential irony in...

News.

The 55th issue of Cinema Scope has arrived and it's a juicy one featuring a spotlight on Cannes as well as feature articles on Jess Franco, Paul Schrader, and Archer, among others. Mark Peranson abandons his usual annual vitriolic festival report in favor of a piece on three films, one he loves, one he gives mild praise, and a certain Palme d'Or winner that isn't so lucky. That piece is available to read online, as are a few others—the rest you'll find (including a piece on James Gray's The Immigrant by yours truly) in the magazine. The Film Society of Lincoln Center has conducted a poll with over fifty film critics to find out what the best film (released in Us cinemas) is at the halfway point of 2013. The results found Richard Linklater's Before Midnight as a landslide favorite. You can browse the complete list of critics and their votes here.