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.
Follows the lives of the Borgen family, as they deal with inner conflict, as well as religious conflict with one and other, and the rest of the town. The various events that unfold throughout the film tests all of their faith and beliefs.
Carl Theodor Dreyer
Emil Hass Christensen,
Preben Lerdorff Rye
The mother of a feudal lord's only heir is kidnapped away from her husband by the lord. The husband and his samurai father must decide whether to accept the unjust decision, or risk death to get her back.
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
I first saw this masterpiece in 1973 during a special retrospective of Japanese films on PBS hosted by the former US Ambassador to Japan, Edwin O. Reischauer. I was 18 at the time. Twenty-six years later this film still holds a special place in my heart (did you not fall in love with Machiko Kyo?). It also reminds me that Kurosawa's shadow has unfortunately obscured the works of Mizoguchi and Konichika (my apologies if I've misspelt the latter).
Before writing this comment I reviewed the voter history and was dismayed to discover that three people ranked this film 3 or less on a scale of 10. Did I miss some flaw in this film? I hope this isn't too opinionated, but if you don't love "Ugetsu" then perhaps you should avoid foreign films altogether.
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