'Mizoguchi'

Details

Mizoguchi
September 8 through 21,
Film Forum

Related Stories

More About

In some danger of being overlooked in the press of history that reveres Ozu's rigorous constancy and Kurosawa's noble pulp, Kenji Mizoguchi is a more difficult master magician to love. His style was neither hyper-restrained nor post-Kabuki —rather, Mizoguchi followed in the footsteps of Murnau, investigating the potential for emotional expression through camera motion and placement. The laziest eye can see how Mizoguchi's heat-seeking visual style expresses the stories and vice versa. The Film Forum mini-retro brings out the late films that made his reputation in the art houses of the postwar era: The Life of Oharu(1952), the still magisterial Ugetsu (1953), the Job-like bludgeon Sansho the Bailiff (1954), and his final film, Street of Shame (1956), a stinging portrait of an Americanized postwar Tokyo where hooking became the new geisha-dom. Shoring these up are two earlier works—Sisters of the Gion (1936) and The Story of the Late Chrysanthemums (1939)—each an indictment of a lingering traditional culture in which even headstrong women are reduced to sex slavery.

 
My Voice Nation Help
0 comments
Sort: Newest | Oldest
 

Now Showing

Find capsule reviews, showtimes & tickets for all films in town.

Powered By VOICE Places

Box Office

Scores provided by Rotten Tomatoes

Join My Voice Nation for free stuff, film info & more!

Loading...