Ugetsu (1953)

☆ ☆ ☆ ☆ ☆

Ugetsu (1953) – K. Mizoguchi

Mizoguchi doesn’t pull his punches. So even though he is recounting a ghost story (as one of two interwoven tales), we are still treated to a look at the brutal conditions of feudal Japan in the 16^th century. In particular, he shows us the awful fate of women – here the wives of the two protagonists (Kinuyo Tanaka and Mitsuko Mito) suffer either sexual violence or murder (you are forewarned). Things are barely better for Genjurô (Masayuki Mori) and Tôbei (Eitarô Ozawa).  Both are farmers but Genjurô has a side-line in pottery, using a hut-sized kiln to forge sake cups, jugs, and bowls. As war breaks out among the Samurai clans, they decide to sell their wares in the nearest town, discovering profits to be had. Tôbei longs to become a samurai himself and uses his share of the proceeds to buy some armor. Genjurô is seduced by a noble woman (Machiko Kyô), after delivering her purchases to her expansive but decaying manor.  Both neglect their wives, who suffer the fates described above. As the two tales unfold, our heroes find different fortunes – both transcending what could be expected from your standard reality (although Genjurô’s tale is clearly the more supernatural). Perhaps the censors (American) required Mizoguchi to tack on an unlikely “happy” ending but there is no escaping the downbeat nature of these tales of moon and rain.  (Sansho the Bailiff, 1954, would go even further into the horror of the times, with no relief). As a jidaigeki (period film), Ugetsu’s mise-en-scene and art direction are top notch – no sign of 1950s Japan anywhere and thus, we are transported to another time and land, where real and unreal mix.