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The Criterion Collection presentsUgetsu
(1953)
"Success always comes with a price in suffering."- Ohama (Mitsuko Mito)
Stars: Masayuki Mori, Machiko Kyo, Kinuyo Tanaka, Sakae Ozawa, Mitsuko Mito
Director: Kenji Mizoguchi
MPAA Rating: Not RatedRun Time: 01h:36m:51s
Release Date: 2005-11-08
Genre: foreign
Style Grade |
Substance Grade | Image Transfer Grade | Audio Transfer Grade |
Extras Grade |
---|---|---|---|---|
A | A | B+ | B | A |
DVD Review
Great films come in many flavors, and they need not trumpet themselves as epic for them to be worthyÑJean Vigo's L'Atalante, for instance, is a seemingly simple story, but if it's not necessarily the greatest film ever made, it's certainly in the team picture. Ugetsu doesn't have the trappings of an epic, and it's not self-consciously artyÑdirector Kenji Mizoguchi doesn't lard up his film with technical effects that call attention to themselves, in an effort to make a grab at the brass ring. But this insinuating, haunting tale is an extraordinarily worthy cinematic achievement, and its release on DVD, making it the first Mizoguchi title in the Criterion Collection, is landmark, and a delight. (Pedants take note: I'm referring only to DVDs here, and am well aware that Criterion released some Mizoguchi on laserdisc.)Much of the recent English-language literature on Mizoguchi has put him in the blocks for some insipid Japanese cinematic footrace, but I'll leave that to othersÑone need not run down the achievements of such fine filmmakers as Akira Kurosawa or Yasujiro Ozu to laud Mizoguchi and his achievements. Ugetsu is set in sixteenth-century Japan, and its setup is pretty straightforward, focusing on two potters and their wives. One of the men, Genjuro, wants only to make his fortune, even if it means taking advantage of the misfortunes of others; he's prodded along by his wife, Miyagi, more content with the small pleasures and quiet life of their peasant village. Genjuro is assisted by Tobei, who dreams even bigger, with Don Quixote-like fantasies of being a great samuraiÑhis wife, Ohama, thinks him a fool, and with good reason. War comes to their part of the country, and they are forced to evacuateÑthe adventures of the two men out in the world, and the impact of their choices on their families, makes up the bulk of Mizoguchi's story.
Preposterously enough, circumstances conspire to allow Tobei to don samurai garb, and even, for a brief time, to be taken for a great manÑhe cannot believe his good fortune, and is willfully ignorant to the occasional derisive laughter. The impact on his wife is brutal, thoughÑwithout his income or protection, and in a time of war and chaos, prostitution is the only viable economic choice she can make. Genjuro gets waylaid as wellÑon his way to market, he's seduced by the eerie Lady Wakusa, whose house on the edge of town and lunatic demands for eternal fidelity give this plot strand the form of a classically told ghost story. (All the actors in the film are very good, but the most memorable among them may be Machiko Kyo as Lady WakusaÑKurosawa fans will know her as well as the woman at the center of the story in Rashomon.)
There's much that's brutal in Ugetsu, and Mizoguchi seems to be encouraging his audience to draw parallels between the predicaments of his characters and those of his fellow citizens in postwar JapanÑthe selfish pursuit of glory and the failure to attend to the consequences of one's actions on others is at the heart of the matter, though there are eternal truths in this look at one aspect of the human condition, and the film works perfectly well on its own terms, and not just as a political allegory. And one of the reasons it does is Mizoguchi's technical mastery. His camera is remarkably fluid, and compositionally, it's one of the most striking movies ever madeÑunlike Kurosawa, who flattened filmic space nearly into two dimensions, Mizoguchi is keenly attentive to and interested in depth of field, with movement on all axes, choreographed as well as any musical sequence ever shot. Ugetsu is, among other things, a horror movie, and the sense of pandemonium and lawlessness is palpable, informing the frequently poor choices of the characters, illuminating aspects of human behavior that we'd frequently rather keep in the dark. It's a haunting movie, beautifully made, and worth watching and re-watching.
Rating for Style: A
Rating for Substance: A
Image Transfer
One | |
---|---|
Aspect Ratio | 1.33:1 - Full Frame |
Original Aspect Ratio | yes |
Anamorphic | no |
Image Transfer Review: Scratches and discolorations are frequently evident, alas, but they seem like the scars of neglect through the decades, not the fault of Criterion's strong transfer. Kazuo Miyagawa's cinematography retains much of its starkness and power.
Image Transfer Grade: B+
Audio Transfer
Language | Remote Access | |
---|---|---|
Mono | Japanese | yes |
Audio Transfer Review: Occasional hiss interferes, but, as with the picture quality, this seems like the ravages of time, not the fault of the transfer.
Audio Transfer Grade: B
Disc Extras
Full Motion menu with musicScene Access with 19 cues and remote access
Subtitles/Captions in English with remote access
3 Original Trailer(s)
2 Documentaries
2 Featurette(s)
1 Feature/Episode commentary by Tony Rayns
Packaging: Box Set
Picture Disc
2 Discs
1-Sided disc(s)
Layers: RSDL
Extra Extras:
- accompanying booklet
- color bars
The second disc in the set is devoted to a feature-length documentaryÑKenzi Mizoguchi: The Life of a Film Director (02h:29m:44s) provides a useful career overview, back to Mizoguchi's days working in silent pictures, and up through his death, three years after the completion of Ugetsu. It's jammed with clips, and with conversations with colleagues, collaborators and scholars, and is a fine starting place for those who may not be familiar with the man or his work. An accompanying booklet features an essay by Philip Lopate, making the persuasive case that Mizoguchi belongs in the first level of the pantheon; the booklet also includes the source material for the screenplay, from both EastÑtwo short stories by Akinari Ueda, from the late eighteenth centuryÑand WestÑHow He Got the Legion of Honor, by Guy de Maupassant.
Extras Grade: A
Final Comments
A great film, with luminous images sure to haunt you, and a beautifully despairing look at the nature of human folly. The film looks magnificent on this majestic set, which comes with an array of extras that are sure to please even the most devoted Mizoguchi fan.Jon Danziger 2005-11-13