Art Director: Kisaku Ito. Sansho the Bailiff (1954) is exiled to the Criterion Collection, Rashômon (1950) tells four tales on the Criterion Collection. Farmers Genjuro and Tobei realise that the pottery they make can sell well at the market in town. They eventually reunite, reconcile, and go back to the village together. Matsutaro Kawaguchi, ‘Sekai isshu nikki’, 4 September 1953, Nihon Kindai Bungakukan, Kawaguchi Matsutaro Collection. Ugetsu is based on three short stories from Akinari Ueda and Guy de Maupassant’s Tales of Moonlight and Rain. Ukon admits that they are spirits and have returned to this world so Lady Wakasa could experience the joys of love, something she was not able to do while she was alive. Lady Wakasa is familiar with Genjūrō’s work and lavishes him with compliments.
He tells her that he wishes to return home to his family. It solidified Mizoguchi’s reputation within the international film circuit, following The Life of Oharu (1952), a Silver Lion winner of the previous year. Hideo Nakata (Ringu, Ring 2) was highly conscious of this lineage in adapting the same original into his costume horror Kaidan (2007) at the height of his international fame. 5. 8 Judging from what he and Miyagawa did and considering the handscroll’s narrative technique, Mizoguchi seems to have meant a particular kind of continuity and irreversibility that swiftly connects two or more different objects, locations, and temporalities. In the woods, Miyagi comes across more hungry soldiers who begin to search her for food. The unblinking look at the murder of Miyagi testifies for such reputation, as Robin Wood brilliantly put it (McDonald 1993: 148–9). When his men want to stop at the local brothel to celebrate his victory, he agrees. Genjuro promises her spirit to lead a simple life in the village. She desperately tries to continue on her way, but ultimately collapses with her young son still on her back. stream She embraces her husband and he tells her how much he has missed her and how right she was when she warned him about just being concerned about money. Kaneto Shindo, Aru eiga kantoku no shôgai: Mizoguchi Kenji no kiroku, 1st ed., Tokyo, Eijinsha, 1975, p. 313.
That night at the Kutsuki mansion, Genjūrō confesses to Lady Wakasa that he is already married and has a son.
Thus, producer and screenwriter Matsutaro Kawaguchi was approached by a young representative at Venice and sealed a contract for Ugetsu’s American distribution, even before the film officially received the prize.5. 8.
Judging from the contemporary Japanese reviews, The Passion of a Woman Teacher, a dark, erotic tale of obsessive love and vengeance, was probably a brilliant film. Screenwriters: Matsutaro Kawaguchi and Yoshikata Yoda (based on stories by Akinari Ueda).
Many of the villagers run into the forest to hide, but Genjūrō returns because of his concern for his pottery. The two men makes plans to take an even bigger load of pottery into town and go about making it. When they find food, they take it from her.
For our part, of interest is what may have caused the marked gap in the European reception of these two films, The Passion of a Woman Teacher and Ugetsu.
Ugetsu, also known as Tales of Ugetsu or Ugetsu Monogatari (雨月物語), is a 1953 Japanese romantic fantasy drama film directed by Kenji Mizoguchi and based on stories in Ueda Akinari's 1776 book of the same name.
Analysis: From Senses of Cinema – Ugetsu (Issue 36, July 2005) Dan Harper. Liz Heron, in Jim Hillier (ed.
Ugetsu, however, in some of its best moments, connects and smoothly merges two or more heterogeneous or even incongruous parts with each other through montage, camera movements, or just change of lighting. Seduced by prospects of wealth and social mobility, they embark on a dangerous trip through war zones, taking their family with them. It is well known that the younger Akira Kurosawa’s unanticipated triumph with Rashomon (1950) in Venice in 1951 directly stimulated Mizoguchi to crave for international recognition.2 Yet, in effect, another ghost story Mizoguchi had made in 1926, titled The Passion of a Woman Teacher (Kyoren no onna shisho), had been exported to France in 1929 and screened privately to an audience.3 Even though recent research suggests that the film was never commercially distributed, and then presumably was shelved, lost and forgotten, it never left Mizoguchi’s mind.4 For his part, three Silver Lions (the third for Sansho the Bailiff in 1954) were tokens of a fair recognition that belatedly and finally arrived.
He comes across a young samurai who has beheaded the general of an opposing clan.
3. Genjūrō becomes very enamored with Lady Wakasa and she convinces him to marry her.
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