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Sansho the Bailiff
(1954)
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Title: Sansho the Bailiff (1954)
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Cast
| Cast overview, first billed only: | |||
| Kinuyo Tanaka | ... |
Tamaki
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Yoshiaki Hanayagi | ... |
Zushiô
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Kyôko Kagawa | ... |
Anju
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Eitarô Shindô | ... |
Sanshô dayû
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Akitake Kôno | ... |
Taro
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Masao Shimizu | ... |
Masauji Taira
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Ken Mitsuda | ... |
Prime Minister Fujiwara
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Kazukimi Okuni | ... |
Norimura
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Yôko Kosono | ... |
Kohagi
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Kimiko Tachibana | ... |
Namiji
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Ichirô Sugai | ... |
Minister of Justice
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Teruko Ômi | ... |
Nakagimi
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Masahiko Kato | ... |
Young Zushio
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Keiko Enami | ... |
Young Anju
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Bontarô Akemi | ... |
Kichiji
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Plot Summary
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Storyline
In mediaeval Japan a compassionate governor is sent into exile. His wife and children try to join him, but are separated, and the children grow up amid suffering and oppression. Written by David Levene <D.S.Levene@durham.ac.uk>
Taglines:
A film of unparalleled beauty by the great Japanese Master Kenji MizoguchiGenres:
DramaParents Guide:
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Details
Country:
JapanLanguage:
JapaneseRelease Date:
1955 (USA) See more »Also Known As:
Legend of Bailiff Sansho See more »Filming Locations:
JapanCompany Credits
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Technical Specs
Runtime:
Sound Mix:
MonoColor:
Black and WhiteAspect Ratio:
1.37 : 1
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Did You Know?
Trivia
'Kenji Mizoguchi' initially intended to center the film around Sansho, the Slavelord. However, the film ended up with the sad story of Zushio and Anju as its narrative, dramatic center. See more »Quotes
Masauji Taira: [Speaking to his son Zushio on the verge of being exiled and separated from his family] Zushio, I wonder if you'll become a stubborn man like me. You may be too young to understand, but hear me out anyway. Without mercy, man is like a beast. Even if you are hard on yourself, be merciful to others. Men are created equal. Everyone is entitled to their happiness.See more »
Luminous...painterly...haunting...devastating...in terms of both substance and style, a cinematic achievement of the very highest order. Like all great works of art, it is incomparable, although it would not be misleading to place it in the company of the very best of Renoir, Ford, and Kurosawa. It has the same kind of compassionate humanism, high-caliber storytelling, and effortless-seeming mastery of the medium...the same generosity.
I prefer this film even to the great (and much better-known) Ugetsu. And I know now why Welles once said that Mizoguchi "can't be praised enough, really." I hope one day this film will be as well known as it deserves to be.