Erzählung von den späten Chrysanthemen

Mizoguchi's 1939 masterwork is one that sneaks up on you to where its ending is so devastating because of how Mizoguchi never gives you that tight two shot or intense close ups. You have to WATCH this film but it can bring you in unexpectedly; shots at first may appear to be languid, veering maybe towards an early Bela Tarr film. But not too soon after it begins Mizoguchi's feminist (scatch that, simply a deeply felt humanist) view of the world, that oppression from familial obligations and guilt creates the tragedy of it all.

The Kabuki and theatrical performances were the only parts I felt things lag a bit for me; I readily admit not being from Japan or understanding this anachronistic style (ironically but correctly Mizoguchi ups his pace for cutting in these scenes, there are more cuts and more reactions from the audience). I nevertheless think this is so powerful because of the purity of its story, that it is challenging the hierarchical structure of the period while coming to a conclusion in its final section where artistic triumph and tragic fate collide.

Some may actually read into Osuka that she is a "doormat", like how can she look past anything she wants all for a man who, for much of the story - a man cant live up to his own standards as an actor, or to his families demands for him to be the next BIG actor in line, so he leaves home to cut his own path, with this woman who was once his little brothers wet nurse as his lover but more importantly his booster - lacks confidence. But I found myself rooting for him and finding that he was not unsympathetic; when he does get angry and pissy at one point the feeling is not hate but one of "come on you can put it together! Do it for her if nothing else!"

There is suffering, quite so much so. But is showing the status quo, how men use women, being a critique here or simply showing it as it was/is in 1939 and before? So much of Last Chrysanthemum is painful to watch, yet in a way that I can never pull away from. A lot of it comes back to how he uses the camera and editing - take a key moment between these two people near the end and he never goes for the easy close up or two shot, we have to see this from one end of the room, but the emotion is laid bare - and that everyone in the cast knows how to play for it being about the firmness, even sanctuary nature, of the status quo.

At times melodramatic as any soap but directed with the fluidity and timing of a confident old master (Mizoguchi was 40 when he made this, and really John Ford and his long, absorbing masters and mediums are a better comparison than Tarr), this was an experience that brought me in gradually from one melancholic but realistically drawn scene after another. Certainly not something to watch to get in a "happy" mood, but then when is with this filmmaker? (still not quite so soul crushing as Sansho the Bailiff, but close).

(1939) The Story OF The Last Chrysanthemums (In Japanese with English subtitles) DRAMA

To describe this film, one have to expect something from Yasujirô Ozu's ballpark, since it centers on a young couple's forbidden relationship. And it's a different kind of movie that's not like director, Kenji Mizoguch's "Ugetsu monogatari" or "Sansho The Baliff". But, before I go on, I just want to say that movies about very young innocent relationships starting out are usually met by three obstacles whether it's about real life, like Lady Diana or otherwise. And if you can't adapt then don't watch it since you'll probably never get into it. The obstacles I've been noticing that's most apparent are usually tradition, custom and honor. For instance, in "Sabrina"-it's custom, and on some royal heir movie like "The Student Prince in Old Heidelberg"- it's tradition. Adapted from the novel written by Shôfû Muramatsu centers on a young actor by the name of Kikunosuke Onoue (Shôtarô Hanayagi) falling for the family maid, Otoku (Kakuko Mori) since she was the only one honest with him about his bad acting, in comparison to the people who're around him who are always sucking up to him up, just because he's connected to the family name. And after a close encounter, mom then fires her after a long time of faithful service solely for that reason since people are already talking, with Kikunosuke's dad at the same time forbidding him to ever see Otoku ever again. He, of course rebels, and it was at this point is when his dad kicks him out of the family household while young Kikunosuke strives to become a better actor with Otoku at his side. Anybody who understands theatre in general will probably be much more involved than the viewers sticking to movies, since it also involves a traveling troupe. In comparison to Ozu movies, this movie takes risks by using the centered protagonist by using him to take a step further by rebelling the custom rather than accepting it which doesn't happen in Japanese movies often. 3.

A towering achievement, a tour de force of cinematic magic. A film that was ahead of it's time just as Jean Renoir and Orson Welles those years... The beautiful very long takes, one after another with elegance, emotions, and not a single close-up take, were something never seen before 1939. One of the greatest and most groundbreaking films ever made.

It's just a shame that this film is not famous, even in the expert cannon. The first decade of Mizoguchi as a filmmaker is overlooked. If you love cinema do yourself a favour and see this film.

The cinema of Kenji Mizoguchi certainly has its share of uninhibited feminism, but it also has its adequate share of realism. He has portrayed Japanese women, their roles and plight in traditional and orthodox Japanese society in variously diverse ways. But he never shied away from making the viewer confront the tough facts and compromise the reality of female oppression, just for the sake of happy endings. His female characters do suffer. The character of Otoku in 'The Story of the Last Chrysanthemum' is an angelic woman who pretty much sacrifices everything for her lover and in the end gets nothing in return. This constant suffering of Otoku has actually made a number reviewers criticise the film and question its agenda. But I disagree with the detractors of the film because for me, the suffering of Otoku in spite of being selfless to a fault represents Mizoguchi's criticism of society as a whole, criticism of a society which oppresses women and enslaves them. A woman can be angelic and downright subservient like Otoku, or she can be abrasive and self-serving like Ayako in 'Osaka Elegy', the patriarchal Japanese society in the end will crush her.

The camera is incredibly fluid and the movement are at times very symmetrical with a pattern to them. This symmetry of camera movement within the same scene or separate scenes reminded me of the films and camera movements of Max Ophüls. Although the blu ray print isn't that great in comparison to restored prints of other films of the same era, one can't help but notice the incredible attention to detail when it comes to the sets and how Mizoguchi uses them with his camera. There is a very noticeable reluctance to use close-up shots, which is interesting. But for the most remarkable aspect of the film in terms of visual technique is the reliance on numerous extended unbroken, long takes which are just incredibly executed and choreographed. Mizoguchi's use of space within a particular frame is genuinely incredible.

The romance between Kikunosuke and Otoku is given a layered and complex treatment by Mizoguchi. Their relationship persists for numerous years and we see the gradual changes in their relationship dynamics. Mizoguchi ornaments the film with beautiful singular moments of humanism and emotions which is scattered throughout the film. Moments like Otoku folding Kikunosuke's jacket without being asked to, Kikunosuke's brother not recognising him, Otoku sitting alone in her room in the dark,etc. are moments that will touch the heart of every sensitive viewer.

I don't think 'The Story of the Last Chrysanthemum' is a perfect film. There are aspects to the film that are a bit too simplistic and a few scenes are stretched out a bit too long for my liking. But having said that, I still consider it to be a special film. One can't help but admire the technical brilliance on show. Mizoguchi's direction is sensitive, subtle and yet complicated in the way he composes his shots and uses his sets. The film has a feminist agenda with its heart in the right place made by one of the masters of world cinema which makes it an easy recommendation.

Zangiku Monogatari / The Story of the Last Chrysanthemum (1939) : Brief Review -

A Classic heartbreaker of Artist's Life. Undoubtedly, Kenji Mizogushi's Greatest Pre-War film. Mizogushi is one of the most respected director of his time, not only in Japanese cinema but also all over the globe. Many people know him for films like Ugetsu (1953), Sansho The Bailiff (1954), The Crucified Lovers (1956) and many others but it is always important to see the early great works of any acclaimed director because that's where he starts exploring new ideas and techniques with unshaken dedication. I am glad to have seen his early work and in my opinion, The Story of the Last Chrysanthemum is far better than those three highly appreciated films. The adopted son of a legendary actor, and an aspiring star himself, turns to his infant brother's wet nurse for support and affection - only for her to give up everything for her beloved's glory. The film is a true heartbreaker in every sense when it comes to the climax and the theatrical backdrop also provides it a metaphorical touch. I have seen many other classics which has been inspired from this film but the original always remains special and best. Shotaro Hanayagi and Kakuko Mori create a heart-touching chemistry and theirs perfomances make it even more lovable. The side roles are very important and powerful in the film and every actor gives his best, even in small roles. Hats off to Kenji Mizoguchi for creating such an emotional film despite using new methods of filmmaking such as long shots, one take frames and refusals to give close-up shots. It's just fabulous in every department that it's very difficult to find a mistake but as a cine lover i love these moments when you don't have any complaints for the film. Overall, a Cult Classic Japanese Flick that shouldn't be missed for anything.

RATING - 8.5/10*

By - #samthebestest.