Mizoguchi's "classy" compositions, living tableaux and indiscernible camera movements shape the contrivances of the story into a solemn criticism of social conventions proliferating hypocrisy and greed. By juxtaposing the most definitive shot-crucified lovers in twilight-with the final proud parade, he avoids the fashionable misery/martyrdom obsession of theses days, so important for a story this tragic and brimming with human cruelty. But what makes this film truly memorable is the unexpected and genuine passion between the two main actors/characters when they decide to live, breaking through the reserved mise-en-scène.
Oh, How delirious Mohei kisses Osan's sore calf and holds her tight! It's awesome!
Oh, How delirious Mohei kisses Osan's sore calf and holds her tight! It's awesome!