Login
In 16th Century Japan Potter Genjurô and Tobei set out with their wives in search of wealth and military glory. Two parallel tales ensue when the men are lured from their wives: Genjurô by the ghostly charm of Lady Wakasa and Tobei by the dream of being a famed great Samurai.
Masayuki Mori: Genjurô
Ugetsu is a 1953 Japanese film directed by Kenji Mizoguchi. Set in 16th century Japan, it stars Masayuki Mori and Machiko Kyō, and is inspired by short stories by Ueda Akinari and Guy de Maupassant. It is one of Mizoguchi's most celebrated films, regarded by critics as a masterwork of Japanese cinema, a definitive piece during Japan's Golden Age of Film.
The film's original Japanese title is Ugetsu monogatari(雨月物語), which means Tales of the Moon and Rain, sometimes translated as Tales of Moonlight and Rain or Tales Of The Pale And Silvery Moon After The Rain.
Similarly to Akira's Rashomon(1951), Kenji's Ugetsu monogatari released 1953 is one of the rarities among Japanese films to gain international recognition. However, upon its release, didn't savour such a positive response as garnered later in time. In Japan upon release, for instance, attracted little attention from audiences. A year before Mizoguchi's Saikaku Ichidai Onna released 1952, which I will be seeing very soon, was being claimed as a masterpiece.
We can only blame the climate of the film Industry of Japan during this period...Because quite frankly Ugetsu monogatari is the definitive masterpiece with it's timeless storytelling and chilling vision. This is perhaps the pinnacle of perfection from a bygone age of beautiful film making, inspiring many psychological supernatural stories to follow in Western and Asian cinema.
So why is Ugetsu monogatari a masterpiece? Well, like Rashomon and Tora no O its starting point is a period of civil war and the experiences and mishaps of individuals living in a state of violence and upheaval, although at the same time combining pure folklore with this reality. The result is a strange and beautiful work, where ghosts, friendly and vengeful, mystical signs and enigmatic rituals, co-exist in a material world. Ugetsu monogatari is a treasure house of richly adorning imagery, energetic heightened performances with effective development, all woven and kept together by the presence of acting sublimity via Kyo Machiko and Mori Masayuki.
The theme of the individual's confrontation with a chaotic feudal society set in 16th Century Japan might be expected to yield a glossy historical rendering or perhaps realism laced with political implications, with near documentary resonance, yet pleasingly Mizoguchi's approach is totally different here.
He connects with his material on several levels; Realistic, aesthetic, religious, and mystical. He successfully and uniquely weaves together a hefty palette of styles and themes.
To begin with, there are two realities: The natural World comprising of War and chaos; Then there is this Supernatural World thriving with ghosts and pale apparitions. This duality calls forth a range of expressive devices in similar contrast, moving back and forth between unvarnished realism and highly stylised lyricism. Some of the resulting scenes could stand by themselves as proof of Director Mizoguchi's mastery in this difficult art of shifting and intersecting perspectives.
It's fairly obvious he is richest and at his best using crucial techniques; The long take, for which is work is famous; The long shot; The pan; The dissolve; and low-key photography. To these might be added a special felicity of camera movement, the fluid glide from one segment to the next, resulting in a pleasing control of the effects regarding pictorial composition.
Many would characterize Ugetsu as a work of visual poetry. While Genjuro's tale is what I would call the main underlining light, the film is enriched and complimented by another aspect. This aspect is about Tobei and his wife, who are Genjuro's neighbours in the hamlet. Craving military glory, Tobei resorts to ignominious behaviour in his pursuit of it.
Circumstances do not bode well for any of the main characters, thus I believe that surely the film should be seen as a timeless fable of the folly of War and giving into the lustful natures that pollute and overrun our fantasies.
The wives are the ones who suffer most when their husbands are seduced by wealth, lust and glory. The story is suffused with Buddhist notions: Existence is suffering, the cause of suffering is desire, everything is transient.
Perhaps the film's serene ending suggests transcendence, peaceful acceptance or possible enlightenment. It is open to interpretation and discussion from audiences.
Genjuro's story in the film is inspired by two of the nine short stories in Akinari Ueda's 1776 book Ugetsu monogatari, translated as "Tales of Moonlight and Rain. Tobei's story in the movie is inspired by a short story by Guy de Maupassant.
The box set includes a 64 page booklet, featuring writing by Keiko I. McDonald (author of Mizoguchi and editor of Ugetsu) and award-winning translations of Ueda Akinari’s The Reed-Choked House and A Serpent’s Lust, tales adapted by Mizoguchi in Ugetsu Monogatari. Video lectures on Ugetsu Monogatari and Oyu-sama given by Tony Rayns, an expert on the cinema of the Far East, are included in this edition.
Overall, Ugetsu Monogatari is a story which teaches us the futility of war, of harbouring illusions or aspirations upon becoming something we are not. It shows how our dreams and material lusts can be the downfall of men and the women in our lives are left to pick up the broken pieces when things go wrong. Ghosts are as real as me or you, and the film strives to blend the two Worlds together, which in turn become a compliment. The material and immaterial relate in a way that transcends any realm our physical senses can perceive. In this World, aspects such as love, ghosts, belief and the mystery of our hearts and dreams cannot fully be explained by science or words. Kenji Mizoguchi captures upon film something that has not been recorded or seen in art, writing or other mediums for a long stretch of time.
In this regard, he has created a masterpiece, Ugetsu Monogatari is a ghostly reminder of how haunting poetry and storytelling can be when adapted into film. This is real yet mysterious and otherworldly. A triumph.
''I am at your side. Your delusion has come to an end.''
10/10
