Zangiku monogatari

Kiku (Shotaro Hanayagi), a proud but mediocre kabuki actor from a prominent theatre family is feted to his face but mocked behind his back. The only honest criticism comes from Otoku (Kakuko Mori), a young servant woman but when Kiku falls in love with her, he is rejected by his adopted father and, to prove himself (and the value of Otoku's support), he decides to establish a reputation as an actor independently of his family's influence. The trope of 'defiant love between classes' is culturally universal (and well-trodden) and Kenji Mizoguchi's theatre-melodrama doesn't add much new (other than, to my eyes, the kabuki venue). Otoku is young, sincere and vulnerable but, as the story progresses, not much is done to develop her character beyond 'long-suffering loyalty'. Kiku is a bit more volatile but the resolution to the young couple's travails comes off as overly convenient and the story's conclusion borders on the maudlin. The film is lauded for Mizoguchi's direction and the striking cinematography, especially the long-takes and 'dolly shots' and, despite my reservations about the plot and characters (which likely reflect my 'Western' perspective 85 years after its release), I found it eminently watchable (albeit a bit slow-going). Needful viewing for anyone interested in early Japanese cinema or in Mizoguchi's oeuvre (but not in the same league (IMO) as his post-WW2 works such as 'Ugetsu' (1953) or 'Sansho the Bailiff' (1954)).

I wish I spoke fluent Japanese--then I am sure I could have enjoyed the movie so much more. That's because this movie had horrible subtitles and often sentences or more were simply left untranslated or 50 words in Japanese were distilled down to only 3 or 4 words. In essence, the translators were very lazy and did a terrible job. Some might not mind this, but since I am a very avid fan of Japanese films it seriously detracted from the experience. This does NOT mean it is unwatchable or you should avoid it. In fact, if anyone knows of a better version available to Western audiences, let me know.

The plot itself seems very familiar and is reminiscent of some other films, as its main ideas are respect for your elders and unrequited love. The main character is madly in love with his step-brother's nursemaid and the family strongly opposes it. I don't really think I need to divulge more but felt that the actors did a fine job and the story itself was interesting.

UPDATE: There is a new DVD version from Criterion and I assume it's much better than the DVD I saw. Criterion always seems to do good jobs with subtitles on their film releases.

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).

This is one real powerful and effectively directed movie, that also is fine looking and features some fine acting performances.

It's a quite long movie, which is not really due to its story but more in the way its sequences are handled. Director Kenji Mizoguchi maintains a very slow pace with many long static scenes in it, in which the camera doesn't move and there are no in between cuts. It does work out well though for the movie. It makes the movie visually beautiful to look at but also makes the story more powerful. It's a real fine directed movie, for which the director can not be praised enough. He handles the movie and its story really well and effectively.

The story features some typical and important Japanese themes in it, such as honor and family. Fans of Japanese cinema or Japanese culture will surely get a blast out of this movie. The entire story is set in the Japan, or Tokyo to be precise, of 1885. This means that the movie is also being filled by some wonderful looking sets and costumes.

It's also a pretty well acted movie. Normally I'm not a too big fan of acting in Asian movies but this movie feature some rather realistic performance, that don't ever go over-the-top, which also is a real accomplishment for a '30's movie in general.

Mostly due to its directing approach the movie works out so well and effectively. Because lets be honest, the story itself is actually quite simple and also not something that hasn't done before in any way. It's the reason why director Kenji Mizoguchi is still so loved and appreciated by many, even now, well over 50 years after his death. The themes are all handled well and despite being not too original, it all works out still well and refreshing.

But it's not just a style for everybody though. I can understand that some people might not like watching this movie, since it's pace is so slow and overall cinematic style is so outdated now days. Nevertheless cinematic lovers, or just fans of Japanese cinema, should be able to really appreciate this movie.

9/10

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Along with "Sisters of the Gion"(1936) and "Osaka Elegy"(1936), "Zangiku monogatari" is a strong candidate for Kenji Mizoguchi's finest pre-war film. It is one of the greatest and most beautiful films I have ever seen - a profoundly sublime, heartbreaking love story between a Kabuki actor(Shotaro Hanayagi) and working class servant (Kakuko Mori) who makes sacrifices to herself to ensure his theatrical success. The film, filled with dazzling long takes and rich Sternbergian compositions, centers on Mizoguchi's characteristic theme: the shallowness of men and the generosity of women. Rarely has a Mizoguchi film seem at once so sublime and devastating in its impact. The final sequence alone is among the finest in all of cinema.

My favorite Mizoguchi remains "The Life of Oharu"(1952); "Zangiku monogatari" is not very far behind.