David Lara
27Apr11
Word.
Movies don't get any better than this. With the classical Japanese directors there's a sense of complete efficiency, no waste, that every cubic centimeter of the shot was absolutely planned, and nowhere is that more apparent than Ugetsu.
My absolute favourite film. Mizoguchi made films for everyone and no one: if you choose to really take note of the exquisite camera movement and extended takes, that's fine, but he doesn't care if you just want to watch it as a story. It's that detachment that elevates him far above others, such as Angelopooulos and Kubrick. As mean-spirited as it sounds, perhaps that's the difference between art and craft.
قصهای کلاسیک را به سبکی میتوان گفت مدرن روایت میکند. داستان دو برادر که یکی در پی ثروت و دیگری در پی قدرت به تعالی توام با قهقرا میرسند. خانوادههایشان را از دست میدهند و به درکی عمیق از زندگی میرسند. به سینما در آوردن افسانهای کهن؛ افسانه ازدواج با یک روح شیطانی صحنهای درفیلم هست که آدم را میخکوب میکند. صحنهای که جنجوری از شهر برمیگردد روستا پیش زن و بچهاش و شب با زنش حرف میزند و صبح که بیدار میشود
Ugetsu: the film was spoiled for me because the beauty of a minority of scenes overshadowed the rest.
Beautiful morality tale. When dreaming with a better life becomes greater, blinding us, foreshadowing everything we have, and this seemingly improved life gained reveals itself as a mirage, a pile of nothingness, that's the only time people feel the urge to get back home. There are men so poor that the only thing they have is money.
The line between the world of ghosts and the world of the living gradually fades away through Mizoguchi's impeccably fluid, ethereal camera. The constant presence of death brings the two worlds closer together, so that the landscape itself seems haunted by the moans of ghosts. Truly one of the most beautiful and haunting of films, and one that has remained in my Top Ten as many others have come and gone.
Mizoguchi surpasses boundaries of cinema rarely thought conceivable. To watch his work is to experience rather than observe, for you live and breathe each line as if it were your own. Very few artists care for your emotions so tenderly like he does, handing you back a wisdom full of centuries. The beauty with his films is that we uncover in two hours what life teaches us in decades. No gift is greater than that.
I just can't decide which I like more, this one or Sansho the Bailiff. But both are masterpieces and stay with you after you see it. Brilliant !
Beautiful film. Mizoguchi's mastery over the long take and the fluid crane shots are particularly impressive.
is a much more subtle, haunting, otherworldly, and consistent than any of Kurosawa's medieval films, as skilled as they are
What's there to say? Just wow. This was my second Mizoguchi experience and I rewatched it for the second time in one week.
I really like Lopate's idea that Mizoguchi's "formalism and humanism are part of a single unified expression." So often, his fluid, floating camera synthesizes and mirrors his characters' emotions. I was also amazed that the ghost story fits so perfectly. It isn't stylistically or thematically incongruous with the rest of the film, and in fact helps illuminate the theme of the transience of life throughout the film.
Mizoguchi's ghost story is an unsettling fable with a purpose. The fear isn't of the supernatural or pending death but rather losing sight of those you love and that which matters. Above all love. The camera and direction is perfect in every single way: not a frame is wasted. The traditional yet modern score chills the soul. The women will leave a permanent impression... FOR ALL TIME!
I watched Ugetsu for the first time a couple days ago, and I thought it was truly fantastic. One of the best films ever made.