La identidad entre el espacio y los humanos inscrita en la distancia cinematográfica, alejamiento profundo que deja paso a la vitalidad de los que habitan la imagen. En Mizoguchi hay coreografías sutiles de las emociones, como en aquellos travellings de tristeza, ritualidad, vaciedad, que se desbordan en los momentos cumbres de libertad expresiva. El espacio emocional: la playa de reencuentro, el terreno de Sansho
The sublime, in cinema - that elusive state of rapture, of ego-dissolution, wherein I become no more than an emotional/physical/chemical projector for the film to watch itself through; its realization. The only thing keeping this one from taking me completely was my brain blurting,"Gah! It's perfect" every few minutes (maybe my mind's defence against it?) That, and the heavy truth of our undiminished brutality...
the movie begins with a card that announces this tale to be set in the "dark ages", but, really, man's inhumanity to man will unfortunately be an everfresh topic for movies, as long as there is a tension between cold bureaucracy (the wheels of which are greased by the blood, sweat, and tears of the everyday people), and everyday breakthrough moments (big and small) of palpable humaneness and heartfulness.
Glorious humanist tale with elements of Greek tragedy fused in Buddhist resignation over fate's uncharted trajectories. Miyagawa's cinematography provides us with exquisite shots of lyrical evocations of nature, superb punctuations of movement in the frame and some unruvaled tracking shots. The drama of chattel slavery unfolds the filmmaker's compassion for women's plight between stoicism and liberation. Fabulous!
Very good adaptation from the short story; a more realistic version. Interesting to compare with the original to see how time put its weight on the plot. Rumor has that Mizoguchi did not like the story himself; I can suspect several changes that did not come from his hands.
9 - Ravaging AND ravishing. The little nuggets of optimism it throws your way every now and then, aside from helping to elevate it a billion notches above everyday misery porn, make the bitter parts hit that much harder. How can you blame a film for tearing you up inside when it has the decency to look you in the eyes (and to forgo the whispering of sweet banalities in your ear) while it twists the knife?