Chikamatsu monogatari (1954)

User Rating:

8.2/10   

Director:

Kenji Mizoguchi

Writers:

Monzaemon Chikamatsu (play)
Matsutarô Kawaguchi (adaptation)

Release Date:

November 1970 (USA)

Genre:

Drama

Plot:

In 17th century Kyoto, Osan is married to Ishun, a wealthy miserly scroll-maker. When Osan is falsely accused of having an affair with the best worker...

Plot Keywords:

Love | Adultery | Crucifixion | Honor | Scandal

Awards:

1 win & 1 nomination

Cast

Kazuo Hasegawa	...	Mohei
Kyôko Kagawa	...	Osan
Eitarô Shindô	...	Ishun
Eitarô Ozawa	...	Sukeemon (as Saka Ozawa)
Yôko Minamida	...	Otama
Haruo Tanaka	...	Gifuya Dôki
Chieko Naniwa	...	Okô
Ichirô Sugai	...	Gembei
Tatsuya Ishiguro	...	Isan
Hiroshi Mizuno	...	Kuroki
Hisao Toake	...	Morinokoji
Ikkei Tamaki	...	Jushiro Umegaki
Kimiko Tachebana	...	Umetatsu Akamatsu
Keiko Koyanagi	...	Okaya
Sayako Nakagami	...	Osono

Also Known As:

A Story from Chikamatsu
The Crucified Lovers
The Tale of the Crucified Lovers

Runtime:

102 min

Country:

Japan

Language:

Japanese

Colour:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono

Certification:

UK:A (1977) | UK:PG (2007) | Argentina:13 | Finland:K-12 | Hong Kong:I

Company:

Daiei Studios

Movie Connections:

Referenced in Aru eiga-kantoku no shogai (1975)

Balanced Beam

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.