Long Take on Mizoguchi
Jan. 26 - Feb. 27
Northwest Film Forum
www.nwfilmforum.org

Review by LESTER GRAY
Arts Editor

Kenji Mizoguchi, a master of the Japanese cinema, made over 100 films spanning the transition from silent to sound. His subject matter often dealt with the subjugated role of women in Japan and, as a corollary, the foolhardy nature of the men. Next week the Seattle Film Forum begins a monthlong retrospective of his movies, two of which were previewed for the press.

The Sisters of Gion is one of Mizoguchi’s better known works. It tells the story of two sisters, lower level geishas, who live among similarly employed residents in the Gion district of Tokyo. When the “patron” of one of the sisters goes bankrupt, no longer able to afford her, she allows him, a married man, to move in. She has a true affection for him and finds the relationship to be more than a commercial exchange.

This arrangement sits poorly with her sister, who has a low regard for men in general and a strictly business-like interpretation of the profession. The two barely make ends meet as it is, rendering her even less disposed to the specter of a middle-aged, pampered, indigent roommate.

The shenanigans set in motion by the disgruntled sister to undo this arrangement and pair her sibling with someone of more substantial means is evocative of the American romantic comedies of the ’50s. But alas, there is no humor here, and when deceptions are revealed, no one is laughing.

In Ugetsu, an adapted Japanese folk tale, Genjuro and Tobei are villagers in 16th century Japan, a country riven by civil war. The two male friends struggle daily to bring bread to their respective tables. But in reveries more associated with glory than practicality, they entertain illusions of power and wealth. The goal is to boost their stature in the eyes of their wives. Ironically, the women only wish to have their husbands display some sensibility.

With the country in turmoil and goods scarce, Genjuro’s pots will bring a pretty penny in the marketplace, and he entertains visions of great wealth. Tobei, buffoonish and quixotic, dreams of becoming a samurai and seeks a mentor. To follow their dreams, both aspirants must travel the roads, a great risk in such fractious times. More importantly, they will be leaving their wives at home alone, easy prey for bands of rapacious marauders wandering the countryside.

In a deft fabulist style that includes a bit of the metaphysical, the versatile Mizoguchi offers up his variation on the theme “Be careful what you wish for.” Although the histrionics of this particular work may be initially off-putting to contemporary American audiences, patience will prove the large gestures and melodrama appropriate with the overall design of the story.

Gion and Ugetsu are just two examples from a long and prolific career. Even though at least 50 of Mizoguchi’s films were lost, what remains clearly attests to the filmmaker’s artistry. While some of these titles are available on DVD, the upcoming showing at the Northwest Film Forum presents a rare opportunity to view them projected on a large screen.