Yôkihi

PRINCESS YANG KWI FEI is an early collaboration betwene Japan's Daiei studio and Hong Kong's Shaw Brothers, and it's very much a sumptuous-looking historical drama. I'm not sure if it's based on a true story but it certainly feels like it is. The story is about an ageing Chinese emperor and a family who gradually insinuate themselves into his court, causing a popular revolt as a result. The film looks Chinese but feels Japanese with a mainly Japanese cast and the usual quietly mannered performances you tend to find in Japanese cinema. It's not the most engrossing out there, but a good example of this genre.

Like with 'Zangiku monogatari', Mizoguchi has made a very beautiful film. The long tracking shots, deep focus editing, and vibrant colors are gorgeous. Yet the story in 'Yang Kwei fei", just like in Mizo's 'Zangiku monogatari' and 'The Crucified Lovers', is very typical and unexceptional. Be prepared to see ideal archetypes of perfectly virtous self-sacrificing women, stupid greedy and cruel men, and did I mention?...the cruelties of feudalism. I think such a simple story set during feudalism is a weakness in this film. It leaves a viewer commonly thinking: feudalism sucks (boy that's new), it's good it's over,...what's next? This is a perfectly valid critique. Mizoguchi's vastly better films are his realistic masterworks from 1036: 'Osaka Elegy' and 'Sisters of the Gion', as well as his late more retrained masterpieces 'Ugetsu', 'Sansho Dayu', and 'Life of Oharu'.

Despite poor health Kenji Mizoguchi mangaged to make about eighty films over a thirty-four year period. Thanks to International Film Festivals it was the works of his final decade that brought him deserved recognition in the West.

This is the first of his two colour films made the year before his death and perhaps because of its lack of natural background and its formalised setting, it has been unjustly overlooked.

It could hardly be said to be teeming with life but captures brilliantly the enclosed and stifling nature of the eighth century Chinese court with its rules, rituals and the rigid protocol that would ultimately lead to the sacrifice of its title character. As a child Mizoguchi had witnessed his sister being sold as a Geisha and it is hardly surprising that the social condition of women was to become his overriding theme.

The attention to detail here is stunning thanks to exquisite art design by Hiroshi Mizatini and costumes by Tsugio Togo whilst cinematographer Kohei Sugiyama shoots in glorious Daiecolor. Not for nothing has Mizoguchi been described as having 'the eye of a painter and the soul of a poet'.

The superlative cast is headed by a sensitive Masayuki Mori as Emperor Xuan, a bravura So Yamamura as Anshan and of course the magical Machiko Kyo as the ill-fated Princess Kwei Fei.

Coincidentally this film was released the same year as Max Ophuls' 'Lola Montes', his only film in colour, and his last. Lola of course flees the country so as to spare Ludwig's monarchy. Film historian David Thomson has observed that both films depict 'the impossible balance between authority and despair, beauty and prison.'

Princess Yang Kwei Fei is an absolutely wonderfully and touching movie, which features Mizoguchi's astoundingly beautifully storytelling and direction. The Cinderella style story of a peasant step sister who is suddenly made the bride of the emporer and their ultimate love is totally spellbinding. This is not a film to watch lightly, it requires concentration and appreciation of the beauty of the film. If you've never seen anything by Mizoguchi watch Ugetsu as well. It's beautiful and only 90 minutes long for those who can't take subtitles (losers). 10 out of 10.

The Empress is dead, and Chinese Emperor Masayuki Mori mourns endlessly. Scullery maid Machiko Kyô is chosen by her relatives and trained to please the Emperor, but it is her frankness as much as her beauty which pleases him. When she is made his consort, however, her relatives call in favors for wealth and position, until the populace demand their deaths, and hers.

It's another of Kenji Mizoguchi's beautifully made and exquisite dramas, full of long, slow moving shots, and actors who move silently, but movingly. Mizoguchi had started as a performer of women's roles. When he began to direct in the early 1920s, he directed these pictures, because, as he later said, "When I was working for Nikkatsu, the company already had Murata Minoru making films featuring heroes, so for balance they made me do films featuring heroines. Also, I am very quarrelsome and so when I work there is always the possibility of a fight, but I can't very well slug an actress." He was another of those tough, artistic directors who feigned a low-brow attitude, like John Ford.

I thought there was much that was ambiguous about Miss Kyô's character here. Is she being honest, or frank? Are her actions in returning to her humble origins honest, or a miscalculated power play? Is my uncertainty because I am a cynical westerner, not the intended audience, or because that is how Mizoguchi intended me to think?

Regardless of how I react to the story raised to the level of fantastic legend of this movie, it certainly is a beautiful thing to look at. For the moment, that's enough.