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Ugetsu

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This article is about the 1953 film. For other uses, seeUgetsu (disambiguation).

Ugetsu
Theatrical release poster
Directed byKenji Mizoguchi
Screenplay by
Based onUgetsu Monogatari
byUeda Akinari
Produced byMasaichi Nagata
Starring
CinematographyKazuo Miyagawa
Edited byMitsuzō Miyata
Music byFumio Hayasaka
Production
company
Distributed byDaiei Film
Release date
  • 26 March 1953(1953-03-26)(Japan)
Running time
96 minutes[2]
CountryJapan
LanguageJapanese

Ugetsu( vũ nguyệt vật ngữ,Ugetsu Monogatari,lit. "Rain-moon tales" )[3]is a 1953 Japaneseperiodfantasy filmdirected byKenji MizoguchistarringMasayuki MoriandMachiko Kyō.It is based on the stories "The House in the Thicket" and "The Lust of the White Serpent" fromUeda Akinari's 1776 bookUgetsu Monogatari,combining elements of thejidaigeki(period drama) genre with aghost story.

Drawing from Ueda's tales, the film is set in Japan's civil war–tornAzuchi–Momoyama period(1568–1600). In a small rural community, a potter leaves his wife and young son behind to make money selling pottery and ends up being seduced by a spirit that makes him forget all about his family. A subplot, inspired byGuy de Maupassant's 1883 short story "How He Got the Legion of Honor" ( "Décoré!" ),[4][5]involves his brother-in-law, who dreams of becoming a samurai and chases this goal at the unintended expense of his wife.

The film won theSilver LionAward at the1953 Venice Film Festivaland other honours.Ugetsuis one of Mizoguchi's most celebrated films, regarded by critics as a masterpiece ofJapanese cinema,credited with simultaneously helping to popularize Japanese cinema in the West and influencing later Japanese film.[citation needed]

Plot

[edit]

In the farming village Nakanogō, on the shore ofLake BiwainŌmi Provincein theSengoku period,Genjūrō, a potter, takes his wares to nearbyŌmizo.He is accompanied by his brother-in-law Tōbei, who dreams of becoming asamurai.A respected sage tells Genjūrō's wife Miyagi to warn him about seeking profit in times of upheaval, and to prepare for an attack on the village. Returning with profits, Miyagi asks him to stop but Genjūrō nevertheless works to finish his pottery. That night, lordShibata Katsuie's army sweeps through Nakanogō, uprooting Genjūrō, Tōbei and their wives; Genjūrō decides to take his pots to a different marketplace. As the couples travel across Lake Biwa, a boat appears out of the thick fog. The sole passenger tells them he was attacked by pirates, warns them, and dies. The men decide to return their wives to the shore but Tōbei's wife Ohama refuses to go. Miyagi begs Genjūrō not to leave her, but is left on the shore with their young son Genichi clasped to her back. At market, Genjūrō's pottery sells well. After taking his share of the profits, Tōbei buys samurai armor and sneaks into a samurai clan. Lost from her companions, Ohama wanders beyond Nagahama searching for Tōbei and gets raped by soldiers. Noblewoman Lady Wakasa and her female servant visit Genjurō, ordering several pieces of pottery and telling him to take them to the Kutsuki mansion. There, Genjūrō learns thatNobunaga'ssoldiers attacked the manor and killed all who lived there, except Wakasa and her servant. He also learns that Wakasa's father haunts the manor. Genjūrō is seduced by Lady Wakasa and she convinces him to marry her. Meanwhile, Nakanogō is under attack. In the woods, several soldiers desperately search Miyagi for food. She fights them and is stabbed, collapsing with her son clutching her back.

Location ofŌmi Province,the setting ofUgetsu

Tōbei presents the severed head of a general that he stole to the commander of the victor, receiving armor, a mount, and a retinue. Tōbei later rides into the marketplace on his new horse, eager to return home to show his wife. However, he visits a brothel and finds her working there as a prostitute. Tōbei promises to buy back her honor.

Genjūrō meets a priest and soothsayer who tells him to return to his loved ones or accept death. When Genjūrō mentions Wakasa, the priest reveals that she is dead and must beexorcisedand invites Genjūrō to his home, painting Buddhist symbols on his body. Genjūrō returns to the Kutsuki mansion. He admits that he is married, has a child, and wishes to return home. Wakasa refuses to let him go. She and her servant admit they are spirits, returned to this world so that Wakasa, slain before she knew love, could experience it. They tell him to wash away the symbols. Genjūrō reaches for a sword, throws himself out of the manor, and passes out. The next day, he is awakened by soldiers accusing him of stealing the sword, but he denies it, saying it is from the Kutsuki mansion. The soldiers laugh at him, saying the Kutsuki mansion was burned down over a month ago. Genjūrō arises and finds the mansion nothing more than a pile of burnt wood. The soldiers confiscate his money, but because Shibata's army burned down the prison, they leave him in the rubble. He returns home by foot, searching for his wife.

Miyagi, delighted to see him, will not let him tell of his terrible mistake. Genjūrō holds his sleeping son in his arms, and eventually falls asleep. The next morning, Genjūrō wakes to the village chief knocking on his door. He is surprised to see Genjūrō home and says that he has been caring for Genjūrō's son. Genjūrō calls for Miyagi; the neighbor asks if Genjūrō is dreaming as Miyagi was killed after she was stabbed. The next morning, as Tōbei bought back Ohama's honor, they return to Nakanogō. Tōbei reflects on his mistakes, both resolving to work hard from now on. Genjūrō continues looking after Genichi and working on his pottery. Ohama gives Genichi a plate of food, which he takes and puts on his mother's grave.

Cast

[edit]
Masayuki Mori,Machiko KyōandKinuyo Tanakastar in the film.
  • Machiko Kyōas Lady Wakasa
  • Mitsuko Mitoas Ohama
  • Kinuyo Tanakaas Miyagi
  • Masayuki Morias Genjūrō
  • Eitaro Ozawaas Tōbei (as Sakae Ozawa)
  • Ichisaburo Sawamura as Genichi
  • Kikue Mōri as Ukon, Lady Wakasa's Nurse
  • Ryōsuke Kagawaas Village Master
  • Eigoro Onoe as Knight
  • Saburo Date as Vassal
  • Sugisaku Aoyama as Old Priest
  • Reiko Kongo as an Old Woman in Brothel
  • Shozo Nanbu as Shinto Priest
  • Ichirō Amano as Boatsman
  • Kichijirō Ueda as Shop Owner
  • Teruko Omi as Prostitute
  • Keiko Koyanagi as Prostitute
  • Mitsusaburō Ramon as Captain of Tamba Soldiers
  • Jun Fujikawa as Lost Soldier
  • Ryuuji Fukui as Lost Soldier
  • Masayoshi Kikuno as Soldier
  • Hajime Koshikawa
  • Sugisaka Koyama as High Priest
  • Ryuzaburo Mitsuoka as Soldier
  • Koji Murata
  • Fumihiko Yokoyama

Production

[edit]

Development

[edit]
DirectorKenji Mizoguchimade the effects of war a major theme of his film.

After the success of his previous filmThe Life of Oharu(1952), Mizoguchi was offered to make a film by his old friendMasaichi NagataatDaiei Filmstudios. The deal promised Mizoguchi complete artistic control and a large budget. Despite this, Mizoguchi was eventually pressured to make a less pessimistic ending for the film.[6]Mizoguchi's screenwriter and long-time collaboratorYoshikata Yodasaid that originally, Mizoguchi did not envision making ananti-war film,instead wishing to capture the sensations and lucidity of Ueda's bookUgetsu Monogatari.[7]

Mizoguchi based his film on two stories from Ueda's book, "The House in the Thicket" (Asaji ga Yado) and "The Lust of the White Serpent" (Jasei no In).[8][9]"The Lust of the White Serpent" is about a demon who appears as a princess and attempts to seduce a man. It was the basis of the plot in which Lady Wakasa seduces Genjūrō. "The House in the Thicket" gave the film its ending, in which the protagonist returns home after a long absence, only to meet the spirit of his lost wife.[10]The film is set in the 16th century, though "The House in the Thicket" is set in the 15th century and "The Lust of the White Serpent" is set in an earlier time frame.[11][12]Other inspirations for the film's script includeGuy de Maupassant'sDécoré!(How He Got the Legion of Honour).[6][8]This story provided a basis for Tōbei's subplot. In the short story, the protagonist receives the FrenchLegion of Honourby ignoring his wife's adultery with a member of the Legion. Similarly, Tōbei becomes a samurai while his wife becomes a prostitute.[13]

Despite initial intentions, as the film developed, Yoda said anti-war messages, particularly about how war makes women suffer, kept surfacing and soon became the most prominent theme.[7]While writing the script, Mizoguchi told Yoda "Whether war originates in the ruler's personal motives, or in some public concern, how violence, disguised as war, oppresses and torments the populace both physically and spiritually... I want to emphasise this as the main theme of the film".[9]During the shooting Yoda was constantly rewriting and revising scenes due to Mizoguchi's perfectionism.[14]

Casting

[edit]

The film wasMachiko Kyō's second collaboration with Mizoguchi, as she had a small role inThe Three Danjuros(1944). She had collaborated much more frequently withMasayuki Mori.[15]As Lady Wakasa, Kyō's costume was modeled after fashion before theEdo periodand her face was designed to appear similar to a mask common inNohtheatre.[16]As such, her eyebrows were styled using a practice known ashikimayu.

Kinuyo Tanaka,who played Miyagi, found the scene where she is a ghost to be the most stressful, as she had to play a ghost and appear to be an actual wife at the same time. After rehearsals and the shooting, Mizoguchi lit a cigarette for Mori, indicating his rare degree of satisfaction with the scene.[17]Eitaro Ozawa,who played Tōbei, said the actors frequently rehearsed alone, or with the cinematographer, while Mizoguchi was willingly absent during these preparations.[18]

Filming

[edit]
Katsura Imperial Villawas the basis for Katsuki Manor.

Mizoguchi told his cinematographerKazuo Miyagawathat he wanted the film "to unroll seamlessly like a scroll-painting".[6]TheSouthern SchoolofChinese paintingwas particularly an inspiration the filmmakers aspired to.[19]The film has been praised for its cinematography, such as the opening shot and the scene where Genjūrō and Lady Wakasa have sex by a stream and the camera follows the flow of the water instead of lingering on the two lovers.[20]Mizoguchi never personally handled the camera and did not participate in planning the lighting of his film.[21]To achieve the appearance the filmmakers wanted, Miyagawa kept lighting low and filmed as near to sunset as circumstances would allow.[19]Many of the shots were taken from cranes, with Miyagawa claiming in 1992 that these shots made up 70% of the film.[22]

Shooting of Ugetsu

Miyagawa also stated that this film was the only occasion in which Mizoguchi complimented him for his camera work.[20]

The set depicting Kutsuki Manor was based on theKatsura Imperial VillainKyoto.These sets are decorated withpropsevocative of feudal-era aristocrats, such askimonoand armor, personally chosen by Mizoguchi.[10]The scene where the protagonists travel throughLake Biwaon a boat was in fact shot on a pool in the studio, with added smoke. The assistant directors had to push the boat through the cold waters.[23]Miyagawa identified this as one of the scenes shot from a crane.[19]

Music

[edit]
Fumio Hayasakacomposed the score.

For thefilm score,Mizoguchi relied on composerFumio Hayasakaand the assistant directors, and was not involved in their creative process.[21]Fumio Hayasaka was a strong proponent of using Japanese music in Japanese films, though he incorporated several elements of Western music as well.[24]ForUgetsu,he employedgeza music,common inKabukitheatre.[25]Additional, uncredited composers wereIchirō SaitōandTamekichi Mochizuki,whose music was blended with Hayasaka's, and could provide accurate music reflective of the period.[26]

The score employsdrums,flutesand chanting.[22]The film's sounds also include bells heard in improbable places.[25]There is significant use of theharp,restricted to the presence of the supernatural.[27]

Themes

[edit]

According to Professor Martha P. Nochimson, a common interpretation of the film is that Mizoguchi refashioned the stories ofUgetsu Monogatarito express regret about the pro-war extremism leading toWorld War II,with Mizoguchi personally having made the pro-warpropaganda filmThe 47 Roninin 1941.[28]These reflections onmilitarism,greed and arrogance connected with audiences not only in Japan but around the world in the wake of the war.[29]The subplot of Tōbei and Ohama particularly reflects thecomfort women,who were made into prostitutes by theImperial Japanese Army.Mizoguchi struggled with Daiei to give the subplot an unhappier ending than what appears in the film, in line with real comfort women's experiences after the war.[30]Tōbei's subplot reveals the mistake of war can also be a "tragicomedy".[31]

According to British criticTony Raynsthe film's presentation of the vanity of a man, neglecting his family, is a critique of historic men in feudal Japanese culture.[32]In his relationship with Wakasa, Genjūrō is insignificant and is seduced by something greater, that he can never comprehend.[31]However, by neglecting his family, Genjūrō failed to appreciate he has already been blessed with a good life, and in the process, loses it.[33]

As a ghost story, the film delves into a relationship between a spirit and a living person, which runs contrary to nature and will lead to the death of the person.[34]Although ghosts are not mentioned in the initial parts of the film, Japanese writerKazushi Hosakastated Mizoguchi foreshadowed it using the scenery, which suggests a detachment from real life. The scene where the protagonists crossLake Biwais an example, given the fogs that turn the film away from thejidaigekigenre.[35]ProfessorRobin Woodargues that the film's depiction of the main ghost character evolves from the mere demon of "The Lust of the White Serpent" into the more humane and tragic Lady Wakasa, and this makes the story more complex. Wood further opines the combination of the story with "The House in the Thicket," combining the male protagonist of each tale into one character, Genjūrō, also connects the demon character and the ghost wife. Both Lady Wakasa and Miyagi are killed by a male-dominated society, and both are wronged by Genjūrō.[36]Wood believesUgetsucan be considered afeminist filmfor its exploration of the negative impact of a patriarchy.[37]

Genjūrō's pottery is also a major theme in the film. Professor Wood argues his pottery evolves in three phases, reflecting Mizoguchi's changing approach to filmmaking. Genjūrō begins making the pottery for commercial reasons, shifts to pure aesthetics while isolated with Lady Wakasa, and finally moves on to a style that reflects life and strives to understand it.[38]

Release

[edit]

Ugetsuwas released in Japan on 26 March 1953.[39]It was shown at the1953 Venice Film Festival.Accompanied by Yoda andKinuyo Tanaka,[20]Mizoguchi made his first trip outside Japan to attend the festival. He spent much of his time in Italy in his hotel room praying to a scroll with a portrait ofKannonfor victory.[40]While in Venice he met directorWilliam Wyler,whose filmRoman Holidaywas also screening in competition at the festival and was rumoured to be the winner of the Silver Lion for best director.[14]The film opened inNew York Cityon 7 September 1954,[41]with theEnglishtitleUgetsubeing a truncation ofUgetsu Monogatari,the Japanese title, from Ueda's book.[42]It was distributed elsewhere in the United States by Harrison Pictures under the titleTales of Ugetsuon 20 September 1954.[1]

In September 2006,Film Forumscreened the film in New York City over six days, opening a Mizoguchi tribute.[43]A4K digitalrestorationalso screened as part of the Cannes Classics section at the2016 Cannes Film Festival,[44]Il Cinema Ritrovatoin Bologna,[45][46]and the2016 New York Film Festival.[47]The restoration "was undertaken by The Film Foundation andKadokawa Corporationat Cineric Laboratories in New York ".[48]

Home media

[edit]

Ugetsuwas released onVHSby Home Vision Entertainment, with English subtitles.[49]The film was released onLaserDiscin the United States byVoyager Companyon November 24, 1993.[50]On 8 November 2005, the film became available for the first time onRegion 1DVDwhenthe Criterion Collectionreleased a two-disc edition of the film,[51]which includes numerous special features such as a 150-minute documentary on Mizoguchi,Kenji Mizoguchi: The Life of a Film Director,directed byKaneto Shindo.The box-set also includes a booklet with an essay by Keiko I. McDonald, the author ofMizoguchiand editor ofUgetsu,and the three short stories from which the film draws inspiration.[52]The film was released on Blu-Ray through the Criterion Collection years later, with all the features included.

In April 2008,Ugetsu Monogatariwas released in the U.K. onRegion 2DVD by Eureka Entertainment as part of theirMasters of Cinemaseries. The two-disc special edition containing new transfers is released in a double pack which twins it with Mizoguchi's filmMiss Oyu(1951).[53]This U.K. set was released onBlu-rayon 23 April 2012.[54]

Reception

[edit]

Critical reception

[edit]

Ugetsuis often regarded as a masterwork ofJapanese cinema[55]and a definitive piece during Japan's Golden Age of Film.[8]It is one of a number of films arguably more popular in western countries than in Japan. Japanese film historianTadao Satōremarked that while this film, along with Mizoguchi's other works of the periodThe Crucified LoversandSansho the Bailiff,was probably not meant specifically to be sold to westerners as an "exotic" piece, it was perceived by studio executives as the kind of film that would not necessarily make a profit in Japanese theaters but would win awards at international film festivals.[56]

The film was immediately popular in western countries and praised by such film critics asLindsay AndersonandDonald Richie.Richie called it "one of the most perfect movies in the history of Japanese cinema" and especially praised the beauty and morality of the film's opening and closing shots. Richie analyzed how the film starts with "a long panorama" and shots spanning from a lake to the shore and the village. He judged the ending's "upward tilting panorama" from the grave to above to reflect the beginning.[20]Bosley Crowther,inThe New York Times,wrote that the film had "a strangely obscure, inferential, almost studiedly perple xing quality".[41]Varietystaff praised the film's visuals for reminiscence to Japanese prints, costumes and set design, and the performances ofMasayuki MoriandMachiko Kyō.[57]

The film appeared inSight & Soundmagazine's top 10 critics poll of the greatest films ever made, which is held once every decade, in 1962 and 1972.[58][59]In the 2012Sight & Soundpoll, it was voted the 50th greatest film of all time.[60]Ugetsucurrently holds a100% approval ratingonRotten Tomatoes,based on 30 reviews, with aweighted averageof 9.40/10. The site's critical consensus states, "With its thought-provoking themes, rich atmosphere, and brilliant direction, Kenji Mizoguchi'sUgetsu monogatari[sic] is a towering classic of world cinema ".[61]Roger EbertaddedUgetsuto hisGreat Movieslist in 2004, calling it "one of thegreatest of all films",and said that" At the end ofUgetsu,aware we have seen a fable, we also feel curiously as if we have witnessed true lives and fates ".[62]DirectorMartin Scorsesehas also listed it as one of his favourite films of all time[63]and included it on a list of "39 Essential Foreign Films for a Young Filmmaker."[64]It was also listed by Russian filmmakerAndrei Tarkovskyas one of his top ten favorite films.[65]

In5001 Nights at the Movies,film criticPauline Kaelfound it to be "subtle, violent yet magical", and termedUgetsuas "one of the most amazing of the Japanese movies that played American art houses".[66]In 2000,The Village Voicenewspaper rankedUgetsu29th on their list of the 100 best films of the 20th century.[67]

Accolades

[edit]

Ugetsuwon theSilver LionAward for Best Direction at theVenice Film Festivalin 1953.[14]The night before, Mizoguchi, believing that if the film did not win an award the shame would prevent him from returning to Japan, stayed in his hotel room and prayed.[56]In Japan it was named third inKinema Junpo's Best Ten for Japanese films of 1953.[68]and won two awards at the 8thMainichi Film Awards.[69]

Award Date of ceremony Category Recipient(s) Result Ref(s)
Academy Awards 21 March 1956 Best Costume Design, Black and White Tadaoto Kainosho Nominated [70]
Kinema Junpo Awards 1953 Best Ten Ugetsu Monogatari Won [68]
Mainichi Film Awards 1953 Best Sound Recording Iwao Ōtani Won [71]
Best Art Direction Kisaku Itō Won
Ministry of Education 1953 Cinematography Kazuo Miyagawa Won [20]
Venice Film Festival 20 August – 4 September 1953 Silver Lion Kenji Mizoguchi Won [14][72]
Pasinetti Award Kenji Mizoguchi Won

Legacy

[edit]

Along withAkira Kurosawa's filmRashomon(1950),Ugetsuis credited with having popularised Japanese cinema in the West.[8][62]The film, andYasujirō Ozu'sTokyo Story,released the same year, particularly created awareness of other Japanese filmmakers.[73]Mizoguchi cemented his reputation among film aficionados in Europe with his filmSansho the Bailiff(1954).[74]UgetsuandSansho the Bailiffmade an impact onFrench New WavedirectorsJean-Luc GodardandFrançois Truffaut,and U.S. directorPaul Schrader,who soughtKazuo Miyagawafor advice on the filmMishima: A Life in Four Chapters(1985).[75]

See also

[edit]

References

[edit]
  1. ^abGalbraith IV 1996,p. 382.
  2. ^"Vũ nguyệt vật ngữ".Kinenote(in Japanese).Retrieved12 November2022.
  3. ^Ueda, Akinari (2007). "About Tales of Moonlight and Rain".Tales of Moonlight and Rain.Translated by Chambers, Anthony H. New York: Columbia University Press. p. 13.
  4. ^Bock, Audie (1985).Japanese Film Directors.Tokyo: Kodansha International. p. 47.ISBN9784770012142.
  5. ^Andrew, Dudley; Andrew, Paul (1981).Kenji Mizoguchi: a Guide to References and Resources.Boston: G. K. Hall. p. 184.ISBN9780816184699.
  6. ^abcWakeman 1987,p. 798
  7. ^abKaneto Shindo(Director);Yoshikata Yoda(1975).Kenji Mizoguchi: The Life of a Film Director(Motion picture).The Criterion Collection.
  8. ^abcdMcDonald, Keiko."Ugetsu".The Criterion Collection.Archivedfrom the original on 12 October 2012.Retrieved31 December2012.
  9. ^abMcDonald 1984,p. 116
  10. ^abRussell 2011,p. 55
  11. ^Haydock 2008,p. 53.
  12. ^Balio 2010,p. 121.
  13. ^Russell 2011,p. 56
  14. ^abcdMcDonald 1984,p. 104
  15. ^Kaneto Shindo(Director);Machiko Kyō(1975).Kenji Mizoguchi: The Life of a Film Director(Motion picture). The Criterion Collection.
  16. ^Nochimson 2011,p. 211
  17. ^Kaneto Shindo(Director);Kinuyo Tanaka(1975).Kenji Mizoguchi: The Life of a Film Director(Motion picture). The Criterion Collection.
  18. ^Kaneto Shindo(Director);Eitaro Ozawa(1975).Kenji Mizoguchi: The Life of a Film Director(Motion picture). The Criterion Collection.
  19. ^abcKaneto Shindo(Director);Kazuo Miyagawa(1975).Kenji Mizoguchi: The Life of a Film Director(Motion picture). The Criterion Collection.
  20. ^abcdeWakeman 1987,p. 799
  21. ^abRussell 2011,p. 54
  22. ^abRussell 2011,p. 57
  23. ^Russell 2011,p. 60
  24. ^Kalinak 2012,p. 167
  25. ^abClarke, Donald (13 September 2014)."50 years, 50 films Vol II: Ugetsu Monogatari (1953)".The Irish Times.Archivedfrom the original on 1 July 2016.Retrieved15 December2016.
  26. ^Chang, Chris (March–April 2006). "Ghost Tones".Film Comment.p. 16.
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  31. ^abSultanik 1986,p. 136
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  41. ^abCrowther, Bosley(8 September 1954)."The Screen in Review; Ugetsu, From Japan, Offered at Plaza".The New York Times.Archivedfrom the original on 2 April 2014.Retrieved1 January2013.
  42. ^McDonald 1984,pp. 103–104
  43. ^Rafferty, Terrence(3 September 2006)."Kenji Mizoguchi's Movies Seek Beauty".The New York Times.Archivedfrom the original on 21 July 2016.Retrieved14 December2016.
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  50. ^McGowan, Chris (6 November 1993)."Letterbox Format's Popularity Widens"(PDF).Billboard.p. 73.Retrieved4 February2024.
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  63. ^"Scorsese's 12 favorite films".Miramax.Archived fromthe originalon 26 December 2013.Retrieved25 December2013.
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  71. ^"8th (1953)".Mainichi Film Awards.Archivedfrom the original on 20 December 2016.Retrieved13 December2016.
  72. ^Cahiers du cinéma,Issues 25–30, Editions de l'Etoile, 1971, p. 21.
  73. ^Burr, Ty(1 November 1997). "TALES FROM THE UNDERGROUND AN EARLY INDIE TIME LINE".Entertainment Weekly.p. 82.
  74. ^Russell 2011,p. 61
  75. ^Miyao 2013,p. 255

Bibliography

[edit]
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