La signora di Musashino

Cor, this film is a bit of a downer as everyone ends up miserable but it also holds hope for the future as Akihiko Katayama (Tsutomu) is forced to face up to reality and take on the big wide world in Tokyo rather than be held back by his childlike dream of Musashino, a land that no longer exists. It's a sudden wake-up call for Katayama as he must experience tragedy in order to set himself a more fulfilled role in life. Hanging around to make love to your cousin? I mean, come on.

The film follows the story of Kinuyo Tanaka (Michiko) and how she wishes to live an honourable life. This is Japanese society so suicide is always somewhere in the background as a correct path to take.

You can tell where this film is headed and the acting is fine by all involved although you may need to keep reminding yourself of the relationship between the characters. It's an ok film.

intensely moving story about a woman trapped between her stoic/moral beliefs, and the changing times brought about by the end of WW2. Similar themes discussed in Ozu's films 'floating weeds' + 'end of summer', but with a more direct and stark style.

Fascinating look at how upper middle class in Japan react to war and its aftermath, as well as to adultery and suicide.

As in Ridley Scott's 'Gladiator', the image of tall grass serves to express the calm fertility of nature with a dream-like quality, in contrast to the malignant hustle and bustle of the city.

An excellent drama, despite the less than perfect quality of the print (even though it is a new print)

A pretty racy film about a family trapped by tradition and warped by modernity. I found our heroine to be too self-sacrificing to be truly interesting, though her situation (caught between illicit love and familial restraint) sympathetic. I did relate in a personal sense to her attachment to a rural past, and understood her inability and desire to transcend it. None of the characters was especially interesting, being there to represent types and ideas more than for nuanced development -- no subtle Ozu or Naruse moments here. A lot of interfamilial 1) love & 2) sleeping around. Fun! ... For me the film was too baldly nostalgic about traditional Japan & too overt about the warping of Western influences -- until the end, in which it all came together in a stunning, profound fashion. Not my favorite Mizoguchi, or the most beautiful, but I'm glad I saw it.

Any fan of classic Japanese cinema is no doubt aware, that the post-war filmography of director Mizoguchi Kenji forms a steady line of Japan's finest film-making. The highs of this canon are of such importance, that the lesser entries often get sidelined in the conversation, such as "Musashino fujin" (The Lady of Musashino, 1951). The lesser films of Mizoguchi are much different from, say, the lesser films of Naruse. Naruse's weaker films are "soft throughs", which usually just fail to make an impact. Mizoguchi's weaker ones are "stray bullets", which often include his fantastic visuals, but due to poorly fleshed out morals end up making statements, that probably weren't their initial target.

Directly after the war, Mizoguchi was in a difficult spot. He did not really know what kinds of films he should be making in the post-war period, with the SCAP censors breathing down the necks of Japan's film-makers. His initial answer was three films, that are now known as his feminist trilogy: "Josei no shori" (The Victory of the Women, 1946), "Joyû Sumako no koi" (The Love of Actress Sumako, 1947) and "Waga koi wa moenu" (Flame of My Love, 1949). All bio-pics of important Japanese women, all starring Tanaka Kinuyo, an important Japanese woman herself. The films were receive unevenly, though for myself I consider the last one to be among my favorite Mizoguchi films. Scholars now view these to be the most radically feminist works made in the post-war period, though other directors too pushed the limits as the SCAP censors really liked films that challenged the patriarchy.

After these works, and before his biggest masterpieces, "Musashino fujin" seems like a transitional work: a reaction to the former trilogy that isn't all-that-well thought-out. What Mizoguchi seems to be trying to do is highlighting the double standards in Japanese marriage culture. The film opens with the war still raging on, but quickly time jumps to late 1940's. Tanaka plays Michiko, a daughter of a traditional (former) samurai family, who is trapped in a loveless marriage with a professor Akiyama (Mori Masayuki). Akiyama is a man, who has a somewhat twisted concept of modernity, based heavily on the works of Stendhal, that he translates to Japanese and then lectures about. He views adultery to be rebellion against society's ways, and tries to romance every woman that comes his way. The Akiyamas do not have children, though Michiko's parents wished for a continuation of the family line before passing. Michiko's cousin Tsutomu (Katayama Akihiko) returns from the war, and then moves in with the couple. Gradually, he starts to develop feelings for our leading lady, and the pieces have been set for a tale of moral confusion.

The film points out that Japan decriminalized female adultery in 1947. The whole society seems to be at a transitional point, and the characters must make difficult decisions about how they choose to act, also for the sake of future. Ideally, the film would be championing the equality of the spouses and their rights. Wives should treat their husbands well, but husbands should do the same. This doesn't really come across from the final film. The film, like so many by Mizoguchi, does make us see the unfair position of the wife, but it struggles to move past this. It paints a terrible family situation, but seems unsure, whether tradition or modernity should be the direction for the characters in their actions.

The film manages to relay, that marriage is not a light issue, and neither should adultery be. But in the end, which I will not spoil, the film's stance about marriage and divorce seems highly problematic, specially for modern audiences. I realize that a "happy ending" would be very un-Japanese, but the message comes out in a way, that I doubt it was intended. There is also this European styled "force of destiny" thing playing in the background, which ideally would give weight to the narrative, but now stresses the negative outcome. Like I said, Mizoguchi's films struggle with such big moral questions, that the lesser ones do seem like stray bullets that hit places that aren't ideal.

I think this film doesn't work as a narrative, which can also be contributed to the novel that it was based on. That is not to say there aren't good things in the film. From the first shot, the cinematography is wonderful, as it is in all post-war Mizoguchi. The performances are good, though for an actress of Tanaka's caliber this is not a stand-out. In the early 1950's, there was a streak of films that looked at wives not just as mothers, but as unhappy individuals trapped in stale marriages. Naruse made a bunch of them, and just a year before this Mizoguchi film, Tanaka had played another childless mother in a loveless marriage, who meets a love interest from her past in Ozu's "Munekata kyodai" (The Munekata Sisters, 1950). Neither film is as good as you would expect from the director, but thankfully Mizoguchi's next five years of films would make his filmography a treasure of world cinema.

(1951) The Lady of Musashino/ Musashino fujin (In Japanese with English subtitles) DRAMA

Adapted from the novel by Shohei Ooka has the set up after the ending of WWII that has Michiko Akiyama (Kinuyo Tanaka) inheriting property that belonged to her family for many generations. At the same time she is married to someone who simply does not love her back his name is Tadao Akiyama (Masayuki Mori). Tadao does however mixes himself up with another already married lady, Tomiko Ono (Yukiko Todoroki) married to factory owner, Eiji Ono (Sô Yamamura) both have a daughter Yukiko. Then one day Michiko's cousin, Tsutomu Miyaji (Akihiko Katayama) have just return from the army and he is then allowed to stay with them. And viewers are wondering why out of all places why Tsutomu Miyaji stopped there, and it mainly because of the village nearby called "Musashino" hence the title.

When there were no soap operas, the only soap operas available to watch are in movie form. I just did not care too much the way it ended despite there were no surprises.