Das Leben der Frau Oharu

I cannot agree with the reviewer who commented that Mizoguchi does not have the aesthetic sensibility of Kurosawa or Ozu. In fact, he appears to me to be the true master of Japanese cinema. 'Oharu' is a marvellous achievement - a compassionate, beautiful account of a quite astonishing fall from privilege and grace into destitution and despair. It is unremittingly bleak and yet due to Mizoguchi's genius and Kinuyo Tanaka's luminous portrayal of the unlucky Oharu, it is a spiritually compelling work, with sheer artistry and simple human empathy competing for our attention in every take. Breathtaking film-making of the highest quality.

Kenji Mizoguchi's stunning masterpiece is a heartbreaking tale of purity in a world of corruption. Based on a seventeenth-century novel by Saikaku Ihara called The Woman Who Loved Love, the film tells the story of Oharu, a young woman who in her younger days worked as a lady-in-waiting at the Imperial Palace of Kyoto, but having fallen in love with a man below her rank is expelled from the palace, and she and her parents are forced to live in exile. Try as she might to find love in her relationships, she is constantly thwarted by her society's low expectations for a woman's heart and her father's ambitions for respectability, and soon descends to being a concubine, later a streetwalking prostitute. Mizoguchi's tones are so gentle and poetic that every frame works its way into your heart, and in such a delicate manner. Kinuyo Tanaka's performance as Oharu is beautiful as well, abandoning the melodramatic gestures common to Japanese film acting and going straight for the heart. Sumptuous production design and a decidedly feminist message make a film well worth seeing.

As this film opens, Oharu (Kinuyo Tanaka), a 50 year old prostitute, goes into a Buddhist temple and looks back at her life. We see that she was once loved, but because her young suitor (the great Toshiro Mifune) was of a lower caste, it was forbidden, resulting in her being banished and him being beheaded. As her family has been shamed, her father jumps on the chance to send her to a local Lord who is looking for a mistress who can be a surrogate mother. Unfortunately, she's abruptly dismissed after bearing him a son, and from there she steadily declines. The film was highly personal to director Kenji Mizoguchi since his own sister (who had raised him) was sold by their father to be a geisha, which is one of the things that happens to Oharu.

Like 'Ugetsu', the film Mizoguchi made the following year, 'The Life of Oharu' is a morality tale, and while it's less heavy-handed than 'Ugetsu', it is fairly melodramatic. The central message is one of Buddhist compassion, and not just for those who we know have had a sad, unfair life – but also those who appear derelict or decrepit to us, and who we might otherwise judge, not knowing what they've experienced. While there is depth to that message, and it's certainly nice seeing a film that empathizes with woman and the misogyny they endure, 'The Life of Oharu' is dark and hard to watch for 148 minutes. The plot is quite linear and we see her used and abused in every single societal role she plays: daughter, lover, concubine, courtesan, wife, nun, and common prostitute. I also don't think Tanaka was well utilized in this role – she simply doesn't look young enough in early scenes, or old enough in later scenes. The filmmaking is good and the film has a solid place in film history for its message, but it's too bleak, and too simplistically so, for a film of this length.

Mizoguchi's empathy for female characters is legendary. The Life of Oharu is one outstanding example. One woman's journey from member of the imperial court to elderly streetwalker is narrated in exquisite, shimmering, painful style. Oharu (Kinuyo Tanaka) is seduced by a man below her station. Her crime is to love the man back unreservedly. That action becomes the catalyst for a series of degradations punctuated by false dawns, as Oharu's life spirals to rock bottom. And as bleak and depressing as that sounds, Mizoguchi's storytelling, combined with Tanaka's dignified portrayal, make this film cathartic, a tragedy with a small, life-affirming message at its heart. It is a cautionary tale to the follies of social mores, and the burden that women through the ages have to endure. More than that, it is a tale of one woman's dignity through the most humiliating of circumstances. Stunning.

Mizoguchi's films are capable, I think, of teaching life lessons without preaching or grandstanding. This film could cause a male chauvinist to join a consciousness-raising make sensitivity group. In a simple,understated way, the film outlines the tyrannies that made happiness almost impossible for women, not only in feudal Japan, but all over the world. It comments on the use of women's bodies as sex objects and baby-making machines, with no regard for women's minds or feelings. Notice, by the way, that Oharu (Kinuyo Tanaka)is supposed to age from 18 to 50-and she really seems to age although makeup in the 1950s was not as advanced an art as it is now. The aging process is achieved through Tanaka's acting. And if she does not seem to us to be quite the ravaged old "witch" that one of her customers claims she is, then so much the better to let us know that she is being judged by an insensitive society.