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IMDbPro

El intendente Sansho

Título original: Sanshô dayû
  • 1954
  • Not Rated
  • 2h 4min
CALIFICACIÓN DE IMDb
8.3/10
19 k
TU CALIFICACIÓN
Yoshiaki Hanayagi, Kyôko Kagawa, and Kinuyo Tanaka in El intendente Sansho (1954)
TragedyDrama

En el Japón medieval, un gobernador compasivo es exiliado, tras esto, su familia intenta reunirse con él.En el Japón medieval, un gobernador compasivo es exiliado, tras esto, su familia intenta reunirse con él.En el Japón medieval, un gobernador compasivo es exiliado, tras esto, su familia intenta reunirse con él.

  • Dirección
    • Kenji Mizoguchi
  • Guionistas
    • Ogai Mori
    • Fuji Yahiro
    • Yoshikata Yoda
  • Elenco
    • Kinuyo Tanaka
    • Yoshiaki Hanayagi
    • Kyôko Kagawa
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    8.3/10
    19 k
    TU CALIFICACIÓN
    • Dirección
      • Kenji Mizoguchi
    • Guionistas
      • Ogai Mori
      • Fuji Yahiro
      • Yoshikata Yoda
    • Elenco
      • Kinuyo Tanaka
      • Yoshiaki Hanayagi
      • Kyôko Kagawa
    • 72Opiniones de los usuarios
    • 81Opiniones de los críticos
    • 96Metascore
  • Ver la información de producción en IMDbPro
  • Ver la información de producción en IMDbPro
    • Premios
      • 2 premios ganados y 2 nominaciones en total

    Fotos93

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    Elenco principal42

    Editar
    Kinuyo Tanaka
    Kinuyo Tanaka
    • Tamaki
    Yoshiaki Hanayagi
    Yoshiaki Hanayagi
    • Zushiô
    Kyôko Kagawa
    Kyôko Kagawa
    • Anju
    Eitarô Shindô
    Eitarô Shindô
    • Sanshô Dayû
    Akitake Kôno
    Akitake Kôno
    • Tarô
    Masao Shimizu
    Masao Shimizu
    • Masauji Taira
    Ken Mitsuda
    Ken Mitsuda
    • Morozane Fujiwara
    Kazukimi Okuni
    • Norimura
    Yôko Kosono
    Yôko Kosono
    • Kohagi
    Kimiko Tachibana
    • Namiji
    Ichirô Sugai
    Ichirô Sugai
    • Niô - Old Escaped Slave
    Teruko Ômi
    • Nakagimi
    Masahiko Tsugawa
    Masahiko Tsugawa
    • Young Zushiô
    • (as Masahiko Katô)
    Keiko Enami
    Keiko Enami
    • Young Anju
    Bontarô Miake
    • Kichiji
    Chieko Naniwa
    Chieko Naniwa
    • Ubatake
    Kikue Môri
    Kikue Môri
    • Priestess
    Ryôsuke Kagawa
    Ryôsuke Kagawa
    • Ritsushi Kumotake
    • Dirección
      • Kenji Mizoguchi
    • Guionistas
      • Ogai Mori
      • Fuji Yahiro
      • Yoshikata Yoda
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios72

    8.319.1K
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    Opiniones destacadas

    spoilsbury_toast_girl

    A Life Without Freedom

    With tears of emotions the word "masterpiece" begins to develop on my lips. Incapable to speak it out loud, a gentle smile surrounds my face. I am deeply blessed. (This is my immediate reaction after having finished watching "Sansho".)

    In long, meditative shots, Mizoguchi fluently tells the story of two siblings who get separated from their mother and have to work for a cruel slave owner. It is an old legend of destitution and revenge, brought in pictures so beautiful, that you would want to frame each and every one of it and hang them up above your bed. Those are pictures of utter elegance, extreme subtlety and an intoxicating abstinence of brutality, of vain love and the slam of fate, which form that one condition people usually call life.

    Probably the best film I have seen in 2006.
    futures-1

    Delicate woodcut prints come to life

    "Sansho the Bailiff" (Japanese, 1954): Kenji Mizoguchi made an epic film from what was (apparently) a centuries-old Japanese morality tale. We watch a well-to-do family slowly disintegrate - not from events they cause, but those out of their control. How they each react, how they deal with the passing years and events, and how they find solutions (if any) are powerful, emotional, lessons in life. Can a half-century old Japanese film be useful to a contemporary American audience? Of course it can. Human issues of love, devotion, honor, greed, lust, hate, violence, sadness, and revenge are, if anything, in further need of consideration and dealing. To enhance these thoughts, the musical scoring is superb (I love classical Japanese music), the photography is in gorgeous black/gray/white with artful composing, the pacing is patient and more explanatory than many Japanese films (perhaps Mizoguchi had foreign audiences in mind – which I appreciate!), and I often felt like I was watching delicate woodcut prints come to life.
    10sansho-4

    A haunting, heartbreaking masterpiece

    Man's inhumanity to man is presented here with no artifice. This has long been a favorite of mine, although it's difficult to sell many others on the premise -- an honest, benevolent Governor in medieval Japan is imprisoned by the military regime, forcing his wife, son, and daughter to fend for themselves. They are soon captured, separated, and sold into slavery, but remained determined to reunite.

    There's something about the medieval Japanese setting that lends itself to explorations of grandiose themes painted with a broad brush. This will break your heart, and belongs on your shelf next to "Ran".
    chaos-rampant

    The transient world

    Lately I have been puzzling over Mizoguchi. I have been captivated every time by a heart of reflective images, but have had to work to unearth these against what is usually acclaimed about him. In simple terms, I think what is so vital about Mizoguchi has been obscured by precisely what has given rise to his reputation here in the West.

    I think the mistake lies in evaluating Mizoguchi within the limits of what James Quandt wrote about him for the centenary retrospective: "Mizoguchi is cinema's Shakespeare, its Bach or Beethoven, its Rembrant, Titian or Picasso." That is not quite so, of course. But here in the West we have understood images and the world from them in terms of theater; we expect a grand stage where destiny is revealed by conflict. We expect to be moved or educated, to have our heartstrings tugged from outside. We expect an irrational world to be rationalized and given coherence to as a narrative. Mizoguchi does all those things some would say masterfully, and it's under those terms that we have evaluated him; a profound humanist, powerful elegies, social critique.

    But in the Eastern world, in our case Japan, they have understood images in the light of the practice of seeing. They have chronicles, myth, stories, all these things that we have also used to narrate our world and which Mizoguchi works from. But they also have their cessation, adopted from Buddhist China.

    We have poorly understood this tranquility as a matter of simply aesthetic consideration, this must explain why comments on Mizoguchi's visual prowess rest with vague mentions of 'lyricism'. We expect beauty from representation, an illustrative beauty. Indicative of this loss in translation comes as early as Van Gogh when he copied 'The Plum Garden at Kameido' for just its idyllic scenery.

    It is that abstraction from the Buddhist eye refined on the Noh stage or the painter's scroll that interests me in Mizoguchi, himself a converted Buddhist near the end of his life.

    So beneath histrionics we can easily process as conventional tragedy, there are powerful karmas at work powering life from one world to the next, here about brother and sister reborn from nobility to forced labor and out again. There is painterly space cultivated with the mournful beauty of transience. There are soft edges, clear reflections.

    So not an aspiration to just formal beauty, but a way of cultivating images embedded with the practice of seeing that gives rise to them. A way of moving the world to where our hearstrings are. The result effortlessly radiates outwards with beauty from disciplined soul. It's a different thing from impressionists who, in painting as well as film, lacked the disciplined practice that we find in Buddhist art; so they painted looking to see.

    I have puzzled over Mizoguchi because, all else aside, this reflective seeing is not always well integrated with the outer layers that resolve emotionally. It's like a transparent Japanese image has been plastered on top with all manner of Western-influenced frescoes - influences Mizoguchi practiced since the 30s. So even though both Oharu and this end with profound glances of a fleeting suffering world, it is just too much work trying to find their proper emptiness to let them settle.
    9ynpad

    A great film tell us a very important precept which is almost forgotten

    I'm so moved. This is not only one of the greatest film of Mizoguchi but also tell us a very important precept which is almost forgotten. That is "Without mercy, a man is not a human being. Be hard on yourself, but merciful to others." This is very important precept, but how many people still know or remember it? I'd like to use this film for children's educational program. Now I know why "Sansho the Bailiff" was voted for No.1 film of the year beating so many great films like "La Dolce Vita", "Psycho" and so on.

    Más como esto

    Ugetsu
    8.1
    Ugetsu
    La vida de Oharu, mujer galante
    8.1
    La vida de Oharu, mujer galante
    Chikamatsu monogatari
    8.0
    Chikamatsu monogatari
    Akasen chitai
    7.8
    Akasen chitai
    Late Spring
    8.2
    Late Spring
    La mujer de arena
    8.4
    La mujer de arena
    Uwasa no onna
    7.4
    Uwasa no onna
    El samurai rebelde
    8.3
    El samurai rebelde
    Barbarroja
    8.3
    Barbarroja
    Ordet. La palabra
    8.2
    Ordet. La palabra
    Trono de sangre
    8.0
    Trono de sangre
    La condición humana I: no hay amor más grande
    8.5
    La condición humana I: no hay amor más grande

    Argumento

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    • Trivia
      This film, like several films by director Kenji Mizoguchi from this period, was widely praised in both Japan and the West for its smoothly flowing camera work. But these camera movements were, in fact, planned and blocked by his great cameraman, Kazuo Miyagawa, rather than by the director, who gave Miyagawa free rein in his use of the camera.
    • Citas

      Masauji Taira: [Speaking to his son Zushio on the verge of being exiled and separated from his family] Zushio, I wonder if you'll become a stubborn man like me. You may be too young to understand, but hear me out anyway. Without mercy, man is like a beast. Even if you are hard on yourself, be merciful to others. Men are created equal. Everyone is entitled to their happiness.

    • Conexiones
      Featured in Cinematic Venom Presents: 1001 Movies You Must See Before You Die: Sansho The Bailiff (1954) (2017)

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    Preguntas Frecuentes16

    • How long is Sansho the Bailiff?Con tecnología de Alexa

    Detalles

    Editar
    • Fecha de lanzamiento
      • 31 de marzo de 1954 (Japón)
    • País de origen
      • Japón
    • Idioma
      • Japonés
    • También se conoce como
      • Sansho the Bailiff
    • Locaciones de filmación
      • Japón
    • Productora
      • Daiei Studios
    • Ver más créditos de la compañía en IMDbPro

    Taquilla

    Editar
    • Total a nivel mundial
      • USD 5,267
    Ver la información detallada de la taquilla en IMDbPro

    Especificaciones técnicas

    Editar
    • Tiempo de ejecución
      2 horas 4 minutos
    • Color
      • Black and White
    • Mezcla de sonido
      • Mono
    • Relación de aspecto
      • 1.37 : 1

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    Yoshiaki Hanayagi, Kyôko Kagawa, and Kinuyo Tanaka in El intendente Sansho (1954)
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