An elder ronin samurai arrives at a feudal lord's home and requests an honorable place to commit suicide. But when the ronin inquires about a younger samurai who arrived before him things take an unexpected turn.
Ishun is a wealthy, but unsympathetic, master printer who has wrongly accused his wife and best employee of being lovers. To escape punishment, the accused run away together, but Ishun is certain to be ruined if word gets out.
In the beginning of the springtime in the period of the Japanese Civil Wars of the Sixteenth Century in Lake Biwa in the Province of Omi, the family man farmer and craftsman Genjurô travels to Nagahama to sell his wares and makes a small fortune. His neighbor Tobei that is a fool man dreams on becoming a samurai, but he can not afford to buy the necessary outfit. The greedy Genjurô and Tobei work together manufacturing clay potteries, expecting to sell the pieces and enrich; however, their wives Miyage and Ohama are worried about the army of the cruel Shibata that is coming to their village and they warn their ambitious husbands. Their village is looted but the families flee and survive; Genjurô and Tobei decide to travel by boat with their wives and baby to sell the wares in a bigger town. When they meet another boat that was attacked by pirates, Genjurô decides to leave his wife and son on the bank of the river, promising to return in ten days. Genjurô, Tobei and Ohama raise a large... Written by
Claudio Carvalho, Rio de Janeiro, Brazil
The stories of Akinari Ueda were not the only literary sources that the movie's scriptwriters drew upon. They also was inspired by the comic story "How He Got the Legion of Honor" by Guy de Maupassant for the subplot involving Tôbee's fanatical desire to become a samurai. See more »
After the soldier cuts off the general's head there's no blood on his sword. See more »
A film of haunting beauty by the precursor of Kurosawa
This film used to make all the top ten lists for the greatest movies ever made. However, with the discovery of Ozu and the ( justified) cinematic canonization of Kurosawa, Mizoguchi has been been neglected. This is a pity, for he was one of the supreme masters of the cinema. Ugetsu Monogatari is one of the most beautiful explorations of the human spirit ever put on the screen. Rarely has black and white been used more beautifully, or the supernatural portrayed more convincingly. If Dreyer is the great "Protestant" of the cinema, and Bresson, Rossellini, and, it must said, Hitchcock and Ford, its great "Catholics', Mizoguchi is its greatest Buddhist.
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