Fatma Suarez
The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful
Logan
By the time the dramatic fireworks start popping off, each one feels earned.
Dana
An old-fashioned movie made with new-fashioned finesse.
Antonius Block
Set in 17th century Japan, and based on a 1715 play by Chikamatsu Monzaemon (hence the title, 'A Story From Chikamatsu'), this film starts with a rich scroll-maker (Eitarō Shindō) refusing to give his wife (Kyōko Kagawa) money. When she turns to one of his top apprentices (Kazuo Hasegawa), she sets in motion of a chain of events that ultimately have them fleeing together, because the apprentice, normally a virtuous man, intended to take the money from the scroll-maker and was caught. The story reveals emotion and desire that is both on the surface, such as the scroll-maker sexually harassing a young servant (Yōko Minamida), as well as that which is concealed. It shows us the randomness of events which may cause everything to suddenly change in one's life; as the wife puts it at one point, "Nothing is more unpredictable than a person's fate. In just one day, all of this has happened to us." If you've ever had your life flip suddenly because of love, you'll identify. The film also shows the all-too-common fate of women; the advice given to the young servant being harassed is to "Just take it. That's the duty of an employee." Adultery is also blamed first and foremost on the women ("It's frightening what women are capable of"), and it's ominous when a couple of adulterers are being led through the town to be crucified early on in the film. It's a solid film throughout – the cast is strong, the story is well told, and there are some gorgeous scenes, one of which is in a bamboo forest. I don't think it's going to blow you away, but it's a good one.
WILLIAM FLANIGAN
"A Story From Chikamatsu" (Lit.). Viewed on Streaming. Restoration = nine (9) stars; cinematography = eight (8) stars; subtitles = seven (7) stars; music = two (2) stars. Director Kenji Mizoguchi's fascination with classical literature from and dramas originally written for the Japanese puppet theater (that later became stage plays) during the Edo period couldn't be more obvious. "Chikamatsu" is a pen name (not a place in Japan!) of a playwright who created puppet dramas but is probably best remembered for his domestic plays of love and suicides written in the early 18th Century that seemed to cater to women audiences. Mizoguchi's scenario starts with a purely accidental romantic encounter and continues (through many twists and turns) as a high socioeconomic romantic barrier (between the wife of a wealthy merchant and an employee) slowly dissolves even in the face of institutionalized execution for adultery. Once again, the Director spins a tale where the male protagonist's happiness is derived from a woman's sacrifice and the emphasis (from personal experience?) is on the attraction that some "strong" women have for "weak," impoverished men with close to zero prospects. While this is not a morality photo-play, Mizoguchi stresses (perhaps to the extreme?) that adultery (real or imagined) was a big deal in Japan's Pre-modern Social System. Adultery laws were a bit tricky though. Husbands could have (were expected to have?) unmarried female lovers. Wives who took on male lovers (married or single) were deemed to have committed adultery. Both lovers faced execution for their actions. "Proof" of adultery could be based on heresy, gossip or other circumstantial evidence (and motivated by business jealousy or revenge). The husband and families of adulterers could be thrown in jail and have their assets confiscated. Even villages the adulterers came from could be punished! (It would seem that same-sex adulterous relationships were not legally addressed, since, apparently, they were assumed never to occur!) Criterion's restoration is outstanding! Cinematography is very good (often due to the camera subtly "floating" on a crane. Subtitles are a bit long and often fail to fully capture the Kensai-Ben flavor of line deliveries. Music uses only Japanese instruments. While this may be commendable, performances are uneven with percussion used more to provide irritating acoustic-shocks than to enhance scene richness. Recommended. WILLIAM FLANIGAN, PhD.
GyatsoLa
This film was near the end of a wonderful sequence of films made near the end of his life by Mizoguchi. As Tony Raines says in the DVD extra for the Masters of Cinema edition this was a studio project that he was not wholly enthusiastic about. This shows a little in the film as it lacks some of the real flair and emotional power of some of his earlier great films. However, it shares with them his wonderful flowing camera and great cinematography. Its also a terrific story, based originally on a story from the great Japanese 17th Century playwright Monzaemon Chikamatsu (hence the Japanese name, A Tale from Chikamatsu). The screenplay is skillfully worked from the original story, which depends a lot of some pretty unlikely coincidences.The film has a great cast, although the lead actor (and major star at the time) Kazuo Hazegawa is a little old for the role of the shy lover. Kyoko Kagawa is great as the wife of a powerful merchant who is mistakenly accused of having an affair with her servant, but then falls in love with him as they both go on the run. As you'd expect from a Mizoguchi film, technically it is flawless, with lovely sets and some beautiful camera work. The Masters of Cinema version on DVD is a beautiful restoration. For Mizoguchi fans, this film is well worth getting, but for those who haven't seen many of his films it would be better to start with some of his earlier masterpieces.
tedg
Some time ago, I had the opportunity to attend an Ichibana lecture and demonstration. It was given by those close to emperor and was tailored for westerners. That meant that there were plenty slides that contrasted western flower arranging with this highest Japanese art. The western values all had to do with perfect symmetry, balance, coherent, simple shapes. Each element should be beautiful by itself. Harmonies were all within this lovely melody of perfect pace. Bach.Contrasted with this was the Ichibana we saw constructed before us. Dissymmetries, tension, motion and peace. Some elements were dead, even damaged. The base or container was as likely to be misshapen, even ugly. Where the western arrangements were music, this was life. It had soul, katachi. The whole thing was quite an experience for me and was my most visceral introduction to a corner of Japan that I have since enfolded into my own life and eye. At the root of this is dissymmetry (which is different from asymmetry), the presence of items that have sibling states which are not expressed. It gives a tension that springs, the pumps blood and makes real beauty because it provides space for the definition of beauty.This is one of the reasons I appreciate Kurosawa. He understood this, and is why I eagerly watch recommended Japanese films. And why I came to this. Surely Mizoguchi is one of the most celebrated Japanese filmmakers. But what I'm experiencing with him lacks that katachi, that clean, beauty of tension I wished for. What I see is comparatively western. Oh, the story is traditionally Japanese, and the manner of the story. But everything cinematic is perfectly constructed, balanced. Every frame is a masterpiece of construction, and in three dimensions. Its geometric, its rich, its balanced, every vision. Every bit is lovely, every motion perfect, every jot complemented.Its not Ichibana. Its too pretty to be beautiful. Its too Methodist.Ted's Evaluation -- 2 of 3: Has some interesting elements.
