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| '''''Ugetsu''''' ({{lang-ja|雨月物語}} ''Ugetsu monogatari'') is a 1953 Japanese film directed by ]. Set in ] ], it stars ] and ]. It is one of Mizoguchi's most celebrated films, regarded by critics as a masterwork of ], a definitive piece during Japan's Golden Age of Film. |
'''''Ugetsu''''' ({{lang-ja|雨月物語}} ''Ugetsu monogatari'') is a 1953 Japanese film directed by ]. Set in ] ], it stars ] and ]. It is one of Mizoguchi's most celebrated films, regarded by critics as a masterwork of ]<ref>Phillip Lopate, "," ''The Criterion Collection'', URL accessed December 31, 2012.</ref> and a definitive piece during Japan's Golden Age of Film.<ref>Keiko McDonald, "," ''The Criterion Collection'', URL accessed December 31, 2012.</ref> | ||
| ==Plot== | ==Plot== | ||
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| ''Ugetsu'' was immediately popular in western countries and praised by such film critics as ] and ]. 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 stated that "''Ugetsu'' opens with a long panarama around a lake, a shot which begins on the far shore and then tilts down to reveal the village at the conclusion. It closes with the child and the father offering a bowl of rice at the mother's grave...with the camera moving off into an upward tilting panaroma which describes the movement of the opening."<ref>Wakeman. pp. 799.</ref> | ''Ugetsu'' was immediately popular in western countries and praised by such film critics as ] and ]. 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 stated that "''Ugetsu'' opens with a long panarama around a lake, a shot which begins on the far shore and then tilts down to reveal the village at the conclusion. It closes with the child and the father offering a bowl of rice at the mother's grave...with the camera moving off into an upward tilting panaroma which describes the movement of the opening."<ref>Wakeman. pp. 799.</ref> | ||
| Later, prominent American critic ] called ''Ugetsu'' "one of the ]," which with '']'' popularized Japanese cinema in the West.<ref>Roger Ebert, "," ''rogerebert.com'', May 9, 2004, URL accessed December 31, 2012.</ref> | |||
| ==Awards== | |||
| ⚫ | ''Ugetsu'' won the Silver Lion Award for Best Direction at the ] Film Festival in 1953.<ref>McDonald. pp. 104.</ref> In ] it was awarded third place at the Kinema Jumpo awards and won awards for Art Direction and for Sound at the Mainichi Concours awards. It also won an award for Cinematography from the ministry of Education.<ref>Wakeman. pp. 799.</ref> The film appeared in '']'' magazine's top ten critics poll of the greatest movies ever made, which is held once every decade, in 1962 and 1972. In 2000, '']'' newspaper ranked ''Ugetsu'' at #29 on their list of the 100 best films of the 20th century. | ||
| == |
===Awards=== | ||
| ⚫ | ''Ugetsu'' won the Silver Lion Award for Best Direction at the ] Film Festival in 1953.<ref>McDonald. pp. 104.</ref> In ] it was awarded third place at the Kinema Jumpo awards and won awards for Art Direction and for Sound at the Mainichi Concours awards. It also won an award for Cinematography from the ministry of Education.<ref>Wakeman. pp. 799.</ref> The film appeared in '']'' magazine's top ten critics poll of the greatest movies ever made, which is held once every decade, in 1962 and 1972. In 2000, '']'' newspaper ranked ''Ugetsu'' at #29 on their list of the 100 best films of the 20th century. | ||
| ===Home media=== | ===Home media=== | ||
Revision as of 02:31, 1 January 2013
This article is about the film. For the 1963 jazz recording by Art Blakey and the Jazz Messengers, see Ugetsu (album). 1953 Japanese film| Ugetsu | |
|---|---|
 1953 Japanese poster | |
| Directed by | Kenji Mizoguchi |
| Written by | Matsutarō Kawaguchi Yoshikata Yoda |
| Produced by | Masaichi Nagata |
| Starring | Masayuki Mori Machiko Kyō Kinuyo Tanaka |
| Cinematography | Kazuo Miyagawa |
| Edited by | Mitsuzô Miyata |
| Music by | Fumio Hayasaka |
| Distributed by | Daiei |
| Release dates | March 26, 1953 (Japan) September 7, 1954 (USA) |
| Running time | 94 mins. |
| Country | Japan |
| Language | Japanese |
Ugetsu (Template:Lang-ja Ugetsu monogatari) is a 1953 Japanese film directed by Kenji Mizoguchi. Set in Azuchi–Momoyama period Japan, it stars Masayuki Mori and Machiko Kyō. It is one of Mizoguchi's most celebrated films, regarded by critics as a masterwork of Japanese cinema and a definitive piece during Japan's Golden Age of Film.
Plot
Ugetsu is set in villages which line the shore of Lake Biwa in Ōmi Province in the late 16th century. It revolves around two peasant couples – Genjurō and Miyagi, Tōbei and Ohama – who are uprooted as Shibata Katsuie's army sweeps through their farming village, Nakanogō. Genjurō, a potter, takes his wares to nearby Ōmizo. He is accompanied by Tōbei, who dreams of becoming a samurai. A respected sage tells Miyagi to warn her husband about seeking profit in time of upheaval, and to prepare for a probable attack on the village. Genjurō arrives with his profits, but she asks him to stop. Genjurō nevertheless works long hours to finish his pottery. That night Nakanogō is attacked by soldiers, and the four main characters hide out in the woods.
Genjurō decides to take the pots to a different marketplace, and the two couples travel across a lake. Out of the thick fog another boat appears. The sole passenger tells them he was attacked by pirates, warns them back to their homes, then dies. The two men decide to return their wives to the shore. Tōbei's wife refuses to go; Miyagi begs Genjurō not to leave her, but is left on the shore with their young son clasped to her back. At market, Genjurō's pottery sells well. After taking his promised share of the profits, Tōbei runs off to buy samurai armor, and sneaks into the ranks of a clan of samurai. Lost from her companions, Ohama has wandered beyond Nagahama in her desperate search for Tōbei. She is raped by a group of soldiers.
Genjurō is visited by a noblewoman and her female servant, who order several pieces of pottery and tell him to take them to the Kutsuki mansion. Genjurō learns that soldiers have attacked the manor and killed all who lived there, except Lady Wakasa and her three servants. He also learns that Lady Wakasa's father haunts the manor. Genjurō is seduced by Lady Wakasa, and she convinces him to marry her. Meanwhile, Nakanogō is under attack. Miyagi and her son hide from soldiers and are found by an elderly woman who hurries them to safety. In the woods, several soldiers desperately search her for food. She fights with the soldiers and is stabbed. She collapses with her son still clutching her back.
Tōbei steals the severed head of a general, which he presents to the commander of the victorious side. He is rewarded with 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. Tōbei promises to buy back her honor. Later, the two return to Nakanogō, Tōbei sans armor.
Genjurō meets a priest, who tells him to return to his loved ones or certain death awaits him. When Genjurō mentions the noblewoman, the priest reveals that the noblewoman is dead and must be exorcised, and then invites Genjurō to his home where he paints Buddhist prayers on his body. Genjurō returns to the Kutsuki mansion. He admits that he is married, has a child and wishes to return home. Lady Wakasa will not let him go. They admit they are spirits, returned to this world so that Lady Wakasa, who was slain before she knew love, could experience its joys. She tells him to wash away the Buddhist symbols. Genjurō reaches for a sword, throws himself out of the manor, and passes out. The next day, he is awakened by soldiers. They accuse 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. Genjurō arises and finds the mansion he has lived in is nothing more than a pile of burnt wood.
Miyagi, delighted to see him, will not let him tell of his terrible mistake. Genjurō holds his sleeping son in his arms, and eventually lies down to sleep. The next morning, Genjurō wakes to the village chief knocking on his door. He is surprised to see Genjurō home, and expresses concern. He explains that he has been caring for Genjurō's son, and that the boy must have come to his old home in the middle of the night. Genjurō calls for Miyagi. The neighbor asks if Genjurō is dreaming, as his wife is dead. Miyagi's spirit tells Genjurō: "I am always with you".
Cast
- Masayuki Mori as Genjurō
- Machiko Kyō as Lady Wakasa
- Kinuyo Tanaka as Miyagi
- Eitarō Ozawa as Tōbei (as Sakae Ozawa)
- Ikio Sawamura as Genichi
- Mitsuko Mito as Ohama
- Kikue Mōri as Ukon
- Ryōsuke Kagawa as 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
After the success of his previous film The Life of Oharu, Mizoguchi was offered to make a film at Daiei Studios by his old friend Masaichi Nagata. 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. The film's title, Ugetsu, is a contraction of its Japanese title Ugetsu Monogatari, the Japanese title of Tales of Moonlight and Rain by Akinari Ueda. Mizoguchi based his film on two short stories from the book. Other inspirations for the film's script include Guy de Maupassant's Déconé! (How He Got the Legion of Honor). While writing the script, Mizoguchi told his screenwriter and long time collaborator Yoshikata Yoda "Whether war originates in the ruler's personal motives, or in some public concern, how violence, disguised as war, oppresses and torments the popluace both physically and spiritually... I want to emphasize this as the main theme of the film." Film critics Dudley Andrews and May Tossier have written about the film in regards to Mizoguchi's intended theme. During the shooting Yoda was constantly rewriting and revising scenes due to Mizoguchi's perfectionism.
Mizoguchi told his cinematographer Kazuo Miyagawa that he wanted the film "to unroll seamlessly like a scroll-painting." Film scholars have often praised the film's cinematography, such as the film's opening shot and the scene where Genjurō and Lady Wakasa make love by a stream and the camera follows the flow of the water instead of lingering on the two lovers. Miyagawa stated that this film was the only occasion in which Mizoguchi complimented him for his camera work.
Release and reception
Ugetsu premiered at the 1953 Venice Film Festival. Accompinied by Yoda and Kinuyo Tanaka, Mizoguchi made his first trip outside of Japan to attend the festival. He spent most of his time in Italy inside his hotel room praying to a scroll with a portrait of Nichiren. While in Venice he met director William Wyler, whose film Roman Holiday was also screening in competition at the festival and was rumored be the winner of the Silver Lion for best director.
Ugetsu was immediately popular in western countries and praised by such film critics as Lindsay Anderson and Donald 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 stated that "Ugetsu opens with a long panarama around a lake, a shot which begins on the far shore and then tilts down to reveal the village at the conclusion. It closes with the child and the father offering a bowl of rice at the mother's grave...with the camera moving off into an upward tilting panaroma which describes the movement of the opening."
Later, prominent American critic Roger Ebert called Ugetsu "one of the greatest of all films," which with Rashomon popularized Japanese cinema in the West.
Awards
Ugetsu won the Silver Lion Award for Best Direction at the Venice Film Festival in 1953. In Japan it was awarded third place at the Kinema Jumpo awards and won awards for Art Direction and for Sound at the Mainichi Concours awards. It also won an award for Cinematography from the ministry of Education. The film appeared in Sight and Sound magazine's top ten critics poll of the greatest movies ever made, which is held once every decade, in 1962 and 1972. In 2000, The Village Voice newspaper ranked Ugetsu at #29 on their list of the 100 best films of the 20th century.
Home media
Ugetsu is now available for viewing on Huluplus, at hulu.com.
On November 8, 2005, Ugetsu became available for the first time on Region 1 DVD when The Criterion Collection released a 2-disc edition of the film, which includes numerous special features such as a 150-minute documentary on Mizoguchi, Kenji Mizoguchi: The Life of a Film Director, directed by Kaneto Shindo. The boxset also includes a booklet with an essay and three short stories from which the film draws inspiration: Akinari Ueda's "The House in the Thicket" and A Serpent's Lust, and Guy de Maupassant's "How He Got the Legion of Honor".
On April 21, 2008 Ugetsu Monogatari became available in the UK for the first time on Region 2 DVD released by Eureka Entertainment as part of their Masters of Cinema series. The 2 x disc special edition containing new transfers is released in a double pack which twins it with Oyu-Sama (Miss Oyu, 1951).
The box set includes a 64 page booklet, featuring writing by Keiko I. McDonald (author of Mizoguchi and editor of Ugetsu) and award-winning translations of Ueda Akinari’s "The Reed-Choked House" and "A Serpent’s Lust", tales adapted by Mizoguchi in Ugetsu Monogatari.
This UK set has been released on Blu-Ray on April 23, 2012 in a Dual Format combo (the DVDs being the same discs than the 2008 release). However, due to the booklet size limitations, it does not includes Keiko I. McDonald essays anymore, but only retains the translations of Ueda Akinari’s short stories.
References
- Phillip Lopate, "Ugetsu: From the Other Shore," The Criterion Collection, URL accessed December 31, 2012.
- Keiko McDonald, "Ugetsu," The Criterion Collection, URL accessed December 31, 2012.
- Wakeman, John. World Film Directors, Volume 1. New York: The H. W. Wilson Company. 1987. ISBN 0-8242-0757-2. pp. 798.
- McDonald, Keiko. Mizoguchi. Boston: Twayne Publishers. 1984. ISBN 0-8057-9295-3. pp. 103-104.
- McDonald. pp. 116.
- Wakeman. pp. 798.
- McDonald. pp. 116.
- Wakeman. pp. 798.
- McDonald. pp. 104.
- Wakeman. pp. 798.
- Wakeman. pp. 799.
- Wakeman. pp. 799.
- McDonald. pp. 104.
- Wakeman. pp. 799.
- Roger Ebert, "Ugetsu (1953)," rogerebert.com, May 9, 2004, URL accessed December 31, 2012.
- McDonald. pp. 104.
- Wakeman. pp. 799.
- "The Criterion Collection: Ugetsu by Kenji Mizoguchi".
External links
- Ugetsu at IMDb
- Template:Amg movie
- Criterion Collection essay by Phillip Lopate
- Template:Ja icon Ugetsu at the Japanese Movie Database
- Ugetsu at Rotten Tomatoes
- Crowther, Bosley (September 8, 1954). "The Screen in Review; Ugetsu, From Japan, Offered at Plaza". The New York Times. Retrieved 24 August 2012.
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