Ugetsu (1953)

A tale of ambition, family, love, and war set in the midst of the Japanese Civil Wars of the sixteenth century.

Director:

Kenji Mizoguchi

Writers:

Matsutarô Kawaguchi (adaptation), Hisakazu Tsuji (idea) (as Kyûchi Tsuji)

Stars:

Masayuki Mori, Machiko Kyô, Kinuyo Tanaka

Nominated for 1 Oscar. Another 4 wins & 1 nomination.

Cast

Cast overview, first billed only:
Machiko Kyô	...	Lady Wakasa
Mitsuko Mito	...	Ohama
Kinuyo Tanaka	...	Miyagi
Masayuki Mori	...	Genjurô
Eitarô Ozawa	...	Tôbei (as Sakae Ozawa)
Sugisaku Aoyama	...	Old Priest
Mitsusaburô Ramon	...	Captain of Tamba Soldiers
Ryôsuke Kagawa	...	Village Master
Kichijirô Ueda	...	Shop Owner
Shôzô Nanbu	...	Shintô Priest
Kikue Môri	...	Ukon
Ryûzaburô Mitsuoka	...	Soldier
Ichirô Amano	...	Boatsman
Eigorô Onoe	...	Knight
Saburô Date	...	Vassal

Storyline

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...

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Plot Keywords:

samurai | civil war | ambition | japan | 16th century | 

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Genres:

Drama | Fantasy | War

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Certificate:

Not Rated

Details

Country:

Japan

Language:

Japanese

Release Date:

7 September 1954 (USA)

Also Known As:

Ugetsu

Filming Locations:

Daiei Studios, Tokyo, Japan

Box Office

Opening Weekend USA:

$6,154, 3 March 2017, Limited Release

Gross USA:

$6,154, 3 March 2017

Company Credits

Production Co:

Daiei Studios

Technical Specs

Runtime:

96 min

Sound Mix:

Mono (Western Electric Recording)

Color:

Black and White

Aspect Ratio:

1.37 : 1

Did You Know?

Trivia

Included among the "1001 Movies You Must See Before You Die", edited by Steven Schneider.

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Goofs

After the soldier cuts off the general's head there's no blood on his sword.

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Connections

Referenced in Kenji Mizoguchi: The Life of a Film Director (1975)

User Reviews

A Film of Stunning Beauty and Emotional Depth

Having read much about this film, I thought I knew what to expect when I finally had the chance to see it. I was wrong; no amount of writing can convey the richness and impact of the images and the overall flow of the film-- which is why this commentary will be brief. Suffice it to say that I recommend this film wholeheartedly to anyone looking for cinematic poetry (though not, probably, to those who, misled by its being set during the Japanese Civil Wars, expect an action film).

Perhaps the most striking thing about the film is the camera-work; on a first viewing one is scarcely aware of it much of the time, but the camera is in constant motion, emblematic of the restlessness which pervades not only the era and the central characters but, by implication, all of human life (in this regard, it's a very Buddhist film). This movement is never gratuitous; when the scene demands little or no movement the camera stays still. Notice, though, how often the camera's movement enhances the emotional impact of the scene, especially in the famous panning shot (not, as occasionally described, a 360 degree shot) of the reunion near the end. Along with this is Mizoguchi's penchant for long takes, which seduce the viewer into the rhythm of the film without calling attention to themselves or to his cleverness as a director.

But these are technical comments which may or may not be helpful in focussing a viewer's attention; what really matters is the film itself as a whole. It is truly beautiful, and powerful in the unexpected way of great poetry. Technique and emotion, simplicity of means and complexity of effects, walk hand-in-hand here, and the result is remarkable in a way which film rarely attains.