As Dave Kehr said, a sublime, perfectly modulated film, even though, as Benard da Costa said, it goes from commedia dell'arte to Tristan and Isolde. That apparent conceptual imbalance disappears thanks to Mizoguchi's mastery of space, camera, acting and editing. Despite a constantly eventful story and its epic scope of human nature and relations, the film remains a simple, focused, quietly beautiful, perfect piece.
D'une beauté formelle éblouissante, une oeuvre parfaite et rare, tant pour son esthétisme raffiné, magistralement épurée, que pour son profond humanisme entre désespérant fatum inexorable, barbare oppression sociale et déchirante passion (im)mortelle. Une réalisation hautement incontournable ! www.cinefiches.com
Mizoguchi's classical tale of morality and love is replete with all the suffering we expect from him. The road to hell is paved with good intentions, and the noble are frequently exploited at the hands of the rich and cowardly. His humanity as a director doesn't especially extend to the villains of the piece, but here we see the heroes are not entirely their victims either. Gorgeous cinematography.