Archive for the 'National cinemas: Japan' Category
Remember Web 1.0, when blogs were really logs? You know, diary-like accounts of events befalling the writer? The sense that every instant of one’s life needs preserving and broadcasting got absorbed into Facebook and Twitter and Instagram, I suppose. Today blogs are more likely to feature essayistic thinking. People slow-cook their blogs more, it seems to me, and they write in a reflective mode. Since our blog has always been, um, expansive in such ways, I welcome the Ruminative Turn.
Like most academics, we write long for a reason. You need more words to dig into a question. That’s why books exist. But mid-range is good too. The blog format suits specualtive, exploratory work and informal prose that wouldn’t show up in a journal. In this para-academic register, the aim is to spread ideas and information around. A reviewer of the book I mention below puts it well: “democratic, attainable erudition.”
Because we write long, and maybe because we’re a bit chatty, a few of our entries have become published, suitably spruced up, as “real” articles for diverse audiences. Some overseas journals, both print and online, have published translations of pieces available here. Thanks to the good offices of the University of Chicago Press, a gaggle of our entries became a book, Minding Movies. Lately, three of our blogs have wriggled their way into paper—two as DVD liner notes, and a third in an imposing rectangular solid that is sort of a mega-book. All are aimed beyond the academy.
Two summers ago our friend Gabrielle Claes tipped me to a visit by Kurosawa Kiyoshi, accompanying a screening of his Penance (Shokuzai) at the Brussels arthouse Cinéma Vendôme. Of course we went, and we had a good time with the film and the Q & A that followed. I duly wrote it up, did a bit of quick analysis, and offered it to the world online.
When the Doppelgänger branch of Music Box Films decided they wanted to distribute Penance on DVD, they asked for the essay. The it’s come out in a good edition (alongside Eddie the Sleepwalking Cannibal, worth a look, and other genre fare). My essay is preceded by one by Tom Mes of Midnight Eye, who discusses the film’s relation to its source novel and pinpoints its exploration of “the gray area between the mundane and the ghastly.” there’s also an informative interview with Kurosawa.
As a five-part TV series, Penance fits its plot to the installments pretty rigorously. A little girl is assaulted and murdered, and only her four playmates have seen the killer. Taking advantage of the serial structure, Kurosawa begins each episode by revisiting the original crime, picking details relevant to what we’ll see but expanding the sequence a bit by tracing each girl’s efforts to notify the community. It’s a sophisticated version of the “Previously on [name of series]” recaps we commonly get in TV serials.
After revisiting the killing and showing the aftermath as it affects each girl, every installment shows the children gathering for a grim birthday party. On that occasion Emiri’s mother Asako demands that the girls either find the killer or do penance for their lack of vigilance.
After this juncture, each of the first four installments attaches the narration to one girl’s viewpoint fifteen years later. The episodes trace the awful effects of the crime on the girls’ personalities and their adult lives. Each one gets involved with an unstable man, with catastrophic consequences. In each episode, Asako reappears at a critical moment to demand penance or to absolve the woman. The fifth episode centers on Asako herself: her immediate reaction to her daughter’s death, her search for the killer, and her realization that the crime has roots in her own past.
I was happy to get a chance to see Penance again, because it’s continually engrossing and quite moving. It also exemplifies the sort of clean, classical genre filmmaking that doesn’t get done in America very much. After watching all the GPS views and whooshes down to street level and nonstop bludgeoning supplied by Run All Night (still, an okay movie), it’s a pleasure to turn to a film that builds its tension through a fixed camera, calm clarity, and performances suggesting suppressed menace rather than explosive confrontations–though there are a few of those too.
Penance would be something for young filmmakers to study. It shows how locations can be used elegantly and economically, and how the inability to get extreme long shots in cramped quarters can actually be an advantage. Classrooms, offices, and gymnasiums are used with a sober restraint, each one given defining geometry and color scheme. A crucial confession takes place in a police station being renovated, and Kurosawa lets the scene unfold in a way that continually reveals surprising bits of space, such as a cop standing somewhat ominously at a distance. He’s unafraid of holding long shots because the shot is propelled by the drama, not the cutting pace. Here’s another example that illustrates the Monroe Stahr rules of storytelling: not a car chase or gun battle, but a quietly puzzling situation that evokes curiosity and suspense.
Asako has gone to a drawer and withdrawn a ring. We’ve not seen it before and have no idea what it signifies.
She crosses the room, as if to do something with it. Before we find out, cut to her husband in the hallway. This cut initiates a take lasting over three minutes.
When he reaches the doorway he catches her hurling it angrily into the wastebasket. So now we know he knows…but what?
Reminding her that she’s treasured this since college, he fetches it out for her and quietly leaves.
As she starts to explain, she follows him into the corridor. The camera pans right to reframe their new confrontation.
There she reveals her secret, slowly. As she crumples to the floor, Kurosawa permits himself a camera bobble–a rarity in a film that almost entirely avoids handheld camerawork. The husband at first consoles her…
…but then she confesses her secret. He pulls away from her.
She tries to embrace him, looking for solace, but he shuts her out and withdraws.
She’s left to fall to the floor crying in shame, in that classic attitude of distraught Japenese women.
The highest pitch of the drama–Asako’s revelations–has been given a close view, but the action has led up to it and away from it through character blocking, not cutting. The situation unrolls and builds tension completely through dialogue, body language, and facial reaction. But it could hardly be considered theatrical, because the camera has judiciously strengthened certain parts, concealed others, and obliged us to shift character perspective (Asako-husband-Asako) through slight changes of position. And playing so much of the scene in distant and dorsal shots harks back, inevitably, to Mizoguchi.
As I mentioned in the early entry and the liner notes, Kurosawa always knows where to put the camera–no small accomplishment these days–and there’s as much power in this apparently simple scene as in any of the grandiose Steadicam movements in more inflated films. Trust the audience to sense the undercurrents, and they will follow you if you have mastered calm, precise cinematic storytelling.
The Doppelgänger gang released Penance on DVD last November. I’m only a little less late in mentioning the arrival of Matt Zoller Seitz’s newest addition to The Wes Anderson Collection: The Grand Budapest Hotel. The decision to base a big, luscious book on a single Anderson film gives this ambitious picture even deeper treatment than we saw in the Collection’s individual chapters. From Seitz’s rich opening appreciation to the amiable list of contributors (The Society of Crossed Pens), the book is a serious divertissement, a wonder-cabinet of images, ideas, and semi-childish fun.
It’s partly a making-of book. We get production stills, script pages, set designs, storyboards, animatics, special-effects secrets, costume designs, and the now-celebrated photochrom images. Seitz has larded his captions with shrewd critical points about lenses, compositions, lighting, and staging—not the normal gee-whiz commentary of an “authorized” making-of. Anderson’s enjoyment of practical effects, his judicious use of digital tools, and his most complex voice-over narration yet come through vividly.
Seitz is especially interested in the history and artistic models behind the movie. His interviews are crowded with information about Anderson’s inspirations, which seem endless. Of course there is Stefan Zweig, who is given several pages of intense discussion. We also learn of Anderson’s interest in the exiled directors like Lubitsch and Wilder, who gave us both a Europeanized Hollywood and a Hollywoodized Europe. There are homages to The Red Shoes and Colonel Blimp and Letter from an Unknown Woman. Anderson was equally committed to a broader historical context, passing his story through different eras—the bell-jar atmosphere before the Great War, the premonitions of World War II (itself never shown), and the postwar emergence of Communism, seen in the revamped and decaying Hotel in the 1960s. Seitz has even spotted borrowings from James Bond movies. As skillful an interviewer as he is graceful an essayist, Seitz induces Anderson to reveal the density of this sweet, sinister movie—the cinematic equivalent of Chandler’s line about a tarantula on a slice of angelfood cake.
There are as well interviews with Ralph Fiennes talking of the “farce spectrum,” costume designer Milen Canonero ordering up a Prada leather coat for Willem Dafoe, the very great composer Alexandre Desplat explaining his compositional procedures, production designer (and Milwaukee native) Adam Stockhausen discussing the magnificent settings, and DP Robert Yeoman talking about shooting on 35mm.
Anderson’s fussbudget aesthetic meets its match in a book crammed with fastidious minutiae. Whimsy, as Lewis Carroll and G. K. Chesterton understood, escapes coyness only when it’s pursued rigorously. Seitz reviews the careers of the major players in postage-stamp pasteups. When Anderson is revealed as a connoisseur of frame stories, flashbacks, and other fancy techniques we favor on this site, Seitz provides a four-page spread of pick hits of voice-over. Max Dalton, the illustrator, gets the message. With their modestly lowered eyes and sidelong grins, his neo-New Yorker figures swarm these pages but assemble, obediently rank and file, in the end papers.
Most surprising of all for a production dossier, in-depth criticism is not only allowed in the tent but given its turn in the spotlight. Christopher Laverty analyzes the costumes with a precision seldom seen in academic writing, while Olivia Collette contributes an enlightening study of Desplat’s score. Steven Boone examines the art direction, with a special sensitivity to how set designs are fitted to anamorphic optics. Ali Arikan brings his characteristic lucidity to a study of Zweig’s Vienna and the traces it leaves on his fiction and Anderson’s film. The essays show that analytical film books, like volumes of academic art history, can be merit high production values.
My contribution, a revamping and nuancing of an earlier blog entry, looks at how Anderson adjusts his planimetric staging and shooting to different aspect ratios. For me, this assignment was the big time. No academic book, my usual publishing platform, could have illustrate my ideas so splendidly. I’m proud to be among fine company, and I like the fact that people are reading and buying the thing.
Of course very few film books have the built-in audience of a Wes Anderson project. As I wrote last summer, he brings his brand with him. But that isn’t, I think, a bad thing when the results are as lively and lovely as The Grand Budapest Hotel.
Last year I had to go to Hong Kong the weekend the film opened. I dashed to it during my first day in town, then squeezed in two more screenings during the festival. Now, after a year and many more viewings, it hasn’t cracked yet. At the moment I think of it in relation to the “hotel” books and movies of the 1920s and 1930s. I think of its predecessors, such as Arnold Bennett’s 1902 novel The Grand Babylon Hotel. (Did Anderson read it? I don’t find a mention here.) I remember those star-filled ensemble comedies of the 1960s like The Pink Panther and The Great Race, twitching with celebrity walk-ons and the cartoonish effects Anderson relishes. In short, I think about film history, and it pleases me when a film and its book trace out, in dazzling detail, an exceptional movie’s debts to tradition. Keep your Birdman and Gone Girl and Jersey Sniper (or is it American Boys?): This is the 2014 American film that will be remembered for decades.
Hello again, my language
Last year’s other big film for the future is, no doubt now, Adieu au Langage, just coming out on Blu-ray as Goodbye to Language from Kino Lorber. I’ve said my say about this item twice (here and here) so about all I have to add is that after several more viewings, I’m still convinced of its excellence. Kino Lorber gives us two versions, the 3D one and the “merged” 2D one. The 2D one is still one hell of a film, but of course in 3D it’s spectacular.
The disc includes an essay developed beyond my blog entries. It says some new things, but it’s inevitably incomplete. Godard’s films so teem with ideas (both intellectual and cinematic) that there’s almost always more to notice. “One can put everything in a film,” he remarked back in the 1960s. “One must put everything in a film.” He sort of does, especially here.
Both versions belong on every cinephile’s shelf. If I didn’t already have a 3D TV (purchased so I could watch Dial M for Murder and Gravity properly, and even freeze the frame), I’d get one so I could see Farewell to Language whenever I wanted. Consider your options. 3D TV is now dead enough to be cool.
Thanks to Austin Vitt of Music Box films for picking up Penance, and Richard Lorber and Robert Sweeney for recruiting me for the Godard disc. I’m indebted to Matt Zoller Seitz for bringing me on board the Anderson project, and to Caitlin Robinson of Twentieth Century Fox for loaning me a print of The Grand Budapest Hotel so that I could study its aspect ratios in their natural habitat.
Goodbye to Language.
My first visit to the Vancouver International Film Festival back in 2005 was at the invitation of Tony Rayns, programmer of the Dragons and Tigers series. That series included both new films by established directors and a batch of first or second features by beginners. Tony asked me to be on the jury for the young D & T award.
I enjoyed working on that jury, which consisted of old friend Li Cheuk-to of the Hong Kong Film Festival and new friend Gerwin Tamsma of the Rotterdam fest. We gave the prize to Liu Jialin’s Oxhide, and it’s been gratifying to track her career since. In the course of my stay I realized what an excellent festival Vancouver had, not least because of the warmth and enthusiasm of its staff.
My Vancouver experience helped launch this blog, which really got under way during my second visit, in several entries in 2006. That was also the year I met Bong Joon-ho, who was at VIFF with The Host. I kept going back, and Kristin began joining me, so every year we’ve been writing about this admirable event.
During that 2006 festival Tony decided to rearrange his commitment to Dragons and Tigers. He turned the curating of Chinese-language films over to expert programmer Shelly Kraicer, who was living on the mainland and had excellent contacts within China, Hong Kong, and Taiwan. Now things have changed again. This year the festival accepted fewer beginners’ features and folded them into a broader international competition. One of the Asian films in the collection, Rekorder by Mikhail Red, tied with a French entry, Miss and the Doctors, for the award. In the old days, the winner received a cash prize; alas, that benefit has not been retained, but maybe some far-sighted patron will step forward to give the award a little more heft.
There were fewer D & T titles overall this year, but I still found several of great interest. Herewith some notes on them.
Time, and time again
If your movie is going to include flashbacks, you have a choice among several standard ways of motivating them. You can use the very old device of presenting an investigation or trial, in which the film translates testimony into dramatized scenes. Or you might frame the flashbacks with a scene of a character who thinks back on events in the past. Three of the Dragons and Tigers films used some other common flashback setups, but treated them in fresh ways.
Im Kwon-taek’s Revivre (Hwajang, his 102nd film!) starts with another canonical flashback situation. In fairly washed-out footage a funeral procession crosses the screen. A man at the head of the group looks back and sees a beautiful young woman looking gravely at him. Immediately the film triggers questions: Whose funeral is this? Why is the young woman important?
The rest of the film fills us in via flashbacks,. The protagonist, Oh Sang-moo, is a manager of the advertising section of a cosmetics company. His wife is stricken with a brain tumor and he cares for her as best he can during her years of surgery and recovery. At the same time, he develops a restrained affection for Ms. Choo, an employee in his division. Eventually Oh’s wife dies and there is the lingering possibility of his starting his life afresh with Ms. Choo, whose phantom face we’ve seen in the procession. Threaded through this are the pressures of a business deadline, his need to keep his staff on track, his occasionally fraught relations with his daughter, and his wife’s adamant insistence that after she dies he keep none of her things, not even her beloved dog.
The film scrambles the order of Oh’s experiences. After the funeral, within about five minutes we get a scene of Oh’s wife dying in the hospital, then a scene of his own medical problems, and then the moment that Oh’s wife collapsed in the garden, yielding the first sign of a tumor. The rest of the film gives us incidents from all phases of their last years together, with emphasis on his careful attention to her bodily functions. Although his daughter finds the task repellent, Oh changes his wife’s diapers and cleans her private parts with the same calm professionalism that he brings to the meetings in his company. In all, the non-chronological flashbacks work effectively to show Oh juggling the pressures of business with the demands of his family situation.
What makes Im’s treatment a little unusual is that the flashbacks aren’t presented as Oh’s memories. They are rearranged by the narrational authority of the film itself, rather than by situations that provoke Oh to recall this or that incident. We’re restricted to Oh’s range of knowledge throughout, but that doesn’t draw us closer to him. We have to read his mind through his expressions and his gestures, and these are often severely controlled. A master of the poker face, this executive keeps a polite distance from everyone, including the viewer. Is he one of nature’s stoics? Or is he emotionally detached, attending to his dying wife more out of duty than love?
These questions are partly answered by some brief fantasy scenes in which Oh visualizes Ms. Choo as a romantic partner. She seems to intuit his interest, and responds through small signals. When she starts to reciprocate more explicitly, Revivre returns to its mood of impassive sadness for its final scenes.
Time and freedom
Hong Sangsoo has been playing with time from the start of his career. He has tried replays from different viewpoints (The Power of Kangwon Province, 1998), replays that differ in details (The Virgin Stripped Bare by Her Bachelors, 2000), odd déjà-vu experiences (Turning Gate, 2002), and all manner of theme-and-variations plotting (as noted on this blog here and here and here). So it’s a bit surprising to find him exhuming the old reliable setup of letters recounting events in the past. Yet here as ever he has a couple of tricks up his sleeve.
Like Im, Hong has scrambled the flashbacks in Hill of Freedom, but he offers a comically exact motivation. Kwon, a young language teacher in Seoul, returns to find a sheaf of letters written to her by a Japanese admirer, Mori. He taught with her at the school two years earlier. He has come to Seoul to reunite with her, and he has left her a letter every day. She starts to read them in the school lobby, and Mori’s voice-over narration establishes the beginning of his story. He tells how he found lodging, left a note at Kwon’s apartment, and paid his first visit to the “Hill of Freedom” café.
So far, 1-2-3 preparation. But when Kwon starts to leave the language institute, she staggers on the staircase, as if stricken, and scatters the letters on the steps. She gathers them back up in random order. This sets up the scrambled timeline of the flashbacks to come. (Hong mischievously zooms in on a letter she fails to retrieve, hinting at a gap in the story that will follow.)
What Kwon learns, in mixed-up order, is that Mori’s search for her leads him to meet and hang out with his landlady’s nephew, while also becoming romantically involved with Youngsun, the café owner. In the grip of a possessive lover, Youngsun attaches herself to the fairly passive Mori. Their affair plays out in Hong’s usual mix of drinking bouts and pillow talk.
By the time we’re used to this pattern, Hong sets up a new game. As he keeps cutting back to Kwon reading through the letters, accompanied by Mori’s voice-over, Hong gradually reveals that she is reading them in the Hill of Freedom café—the very place Mori hoped to meet with her (but never did).
Eventually, Kwon steps outside for a cigarette, and we suddenly get her voice-over remarking that the last letter was postmarked a week ago. Has Mori then already left and stopped writing? At this point Kwon encounters Youngsun coming in, and they greet each other as friendly acquaintances. The next scene finds Kwon visiting Mori’s guest house.
What happens there shifts the ground under our feet. After talking with friends, I think that we can’t be sure about what’s actually taking place. A mysteriously bruised cheek, a surprise reunion, and the return of Mori’s voice-over fill the penultimate scene. The coda is even more of a puzzler, at least to me. (I wonder if it’s the scene described in the letter that Kwon didn’t retrieve.) In any event, Hong’s usual themes of the foolish arrogance of Korean men and the comedy of male-female interactions are given new expression in this lightweight but enjoyable movie. The fact that Hill of Freedom is mostly in English, which Mori must employ to communicate with the Korean characters, adds to the fun.
Yet another trigger for a flashback can be provided by a crisis situation. It might be rather near the story’s climax, so that we are left hanging and the plot takes us back to the origins of the problem. This is what we get in movies like The Big Clock (1947), which starts with our hero hiding out from the police and wondering how he got in this pickle. Or the crisis situation may come earlier in the story, with the flashback again filling in what led up to it before continuing the situation presented in the frame.
This latter option is followed in Mikhail Red’s Rekorder. After a brief prologue showing violent acts captured by CCTV cameras, we are in a police van with stern cops chatting about killing a dog before we’re introduced to the shaggy, wasted protagonist Maven riding with them.
From this framing situation we flash back to the reason Maven is in the van. Once a cinematographer in the glory days of Filipino cinema, he’s now a loner using his ancient camcorder to film movies in theatres and sell them to a friend who bootlegs DVDs.
Maven is a compulsive recorder. As the director puts it, he is ”a ghost in the city observing everything through his lens.” So naturally he’s filming when a street gang kills a young man in front of a crowd who simply watch. Maven doesn’t volunteer his footage, since it includes part of a movie he was pirating. But now he’s been nabbed and is riding to headquarters with the cops, who are very curious about what’s on his tape.
Much of the rest of the film involves Maven’s attempt to keep the cops from examining his footage, while he agonizes about his passive acceptance of street violence. There are still more flashbacks, appropriately presented through old video footage of his wife and daughter. Not until the end of the film do we witness–again, on CCTV footage–the trauma that has turned him into the burnt-out case he is.
Mikhail Red commented that he was inspired to make Rekorder by a viral video in which a youth was shot in the street by thugs and a big crowd didn’t intervene but instead filmed the murder. He staged his own CCTV-style video to supply the denouement, and was shocked to find that it was appropriated in documentaries about street crime. Through a multimedia format, Rekorder updates the sort of social criticism that Raymond Red, Mikhail’s father, brought to Filipino cinema of the 1980s. That era as well is evoked through another sort of flashback, the clips from classic movies that Maven films. “I wanted,” Red says, “to pay homage to the pioneers.”
You don’t need to play time tricks to create an uneasy movie. Ow (Maru) presents a typical family squeezed by Japan’s economic stagnation. Dad pretends to have a job, when he actually sets out each day for the unemployment office. Mom and grandma putter about. Grown but spacy Tetsuo lounges about his room talking baby talk. One day, when his girlfriend has just snuggled into bed with him, they are transfixed by a big gray-brown sphere that drifts into his room.
Transfixed, literally. They freeze upon seeing it. So does Dad, and so do the cops who are called. Director Suzuki Yohei introduces us to the big ball with a shot of it slowly spinning, held long enough for us to get slightly hypnotized too. There follows some comic suspense in which people enter the bedroom and may or may not leave. The biggest tease is the reporter who, after learning of a death during the sphere’s arrival, researches the case and then lunges into the room, ranting about a police cover-up.
The tension–will others fall under the spell or the sphere?–is accentuated by shrewd camera setups. When the cops arrive, we get a low-angle shot behind Yuriko and Tetso, showing the frozen cops and a new one not yet transfixed. He pushes one stiff colleague over, revealing the ball, still hovering there, and we wait for him to be the new victim.
Much later, when the reporter first visits the room, the sphere has vanished. But a rhyming angle forces us to remember its presence, and to let the reporter–the source of the plot’s momentum for the rest of the movie–take the place of the hapless cop.
Finally, for another exercise in unkinked time, there is the Korean action picture Haemoo. Produced by Bong Joonho, it centers on the desperate captain of a fish-trawler who agrees to bring illegal immigrants into Korea. Everything that could go wrong does: storm, fog, Coast Guard patrols, a horny crew, and an idealistic novice seaman who tries to protect a woman. Everything, including the accident that creates a horrifying midway turning-point, is carefully prepared in the film’s opening scenes. The film’s second half locks us into the relentless consequences of covering up a huge crime.
The pace is so snappy that I expected lots of cutting, but I counted only about eight hundred shots in 106 minutes. (The Equalizer, only twenty minutes longer, has three times that number.) I attribute this cutting rate to neatly functional direction, with no fuss or waste. The ship’s engine room is a cramped set, hazy with steam and dust, and the shots there are finely calibrated to build the drama through depth, fluid camera movement, and our old friend The Cross. The randy engineer’s business of checking the equipment carries him from one side of the shot to the other, while the young seaman shifts around him–first on frame right, then on frame left, then in the center.
The plot has that satisfying neatness that is characteristic of Bong’s work, and its forward thrust has no need of flashbacks. We can’t ask for backstory when the upcoming twists are as fast-paced and exciting as they are here. Dragons and Tigers has always showcased not only the experimental films like Ow and Hill of Freedom but also the crowd-pleasers, and Haemoo (which translates as “Sea Fog”) solidly fulfills that mission. Long live linearity!
Hill of Freedom has sharply divided critical opinion. Richard Brody considers it a masterpiece; others consider it fluff. At Fandor David Hudson painstakingly surveys the cut and thrust of the controversy.
Hill of Freedom.
Okoto and Sasuke (1935).
Some final notes on this year’s Cinema Ritrovato. Kristin has more when I’ve finished.
Poland, very wide
The First Day of Freedom (1964); production still.
Revisiting a couple of the Polish widescreen classics Kristin mentioned earlier, I’d just add that The First Day of Freedom struck me as merging that heaviness often ascribed to Polish cinema with casual shock effects, as much visual as dramatic. It’s not just the opening shot, with the camera descending implacably to reveal layers of activity in a POW camp before settling on barbed wire in the foreground, made as big as the chains on an ocean liner’s anchor. A symmetrical vertical lift ends the film, rising through floors of a nearly destroyed church tower, revealing a half-shattered Madonna and a looming bell, to float back up to the sky.
As in Wajda’s Ashes and Diamonds, gunfire not only cuts you down but sets you on fire. A Nazi dead-ender, holed up in the steeple and dying from his wounds, orders his girlfriend (“Whore!”) to take over his machine-gun nest. Since she’s been raped by wandering refugees early in the film, she has every reason to fire on the Poles, which she does with animal abandon. A Polish bullet cuts short her shooting spree, and then the camera launches on its remorseless movement heavenward. The primal force of this movie, especially the climax, suggests that Alexander Ford and Samuel Fuller have more in common than I’d suspected.
Kristin pointed out the efforts of Lenin in Poland (1965) to humanize the Great Man, and indeed there are many charming scenes showing him sliding down a banister, taking innocent walks with a Polish maiden, and generally being avuncular. But Sergei Yutkevich also doesn’t spare us the enraged Lenin, ranting in his cell when he learns of mistakes in party strategy. We also get a bit of the puritanical leader. He goes to the cinema for reportage on the political-military situation but walks out when a stupid melodrama comes on. To be fair, though, he does stick around to enjoy a comic short, Le cochon danseur (1907), with a lady cavorting with a man-sized pig. But the ex- (or maybe not so ex-) formalist Yutkevich recycles this image in a return to 1920s montage, when the pig shot reappears in a newsreel sequence showing the march to war.
Yutkevich seems to be keeping up with the Young Cinemas of his day. The film is plotted as a series of flashbacks, alternating the present (Lenin in prison) with pieces of the past, sometimes out of chronological order. He imagines himself striding across a battlefield, conveyed by him walking in place against a blatant back-projection. Late in the film, newsreel footage gets stretched and distorted to fill the ‘Scope format, as in Truffaut’s Jules et Jim (1962). The experimentation with the soundtrack seems likewise rather modern. The noises are filtered nearly as strictly as in Miguel Gomes’ Tabu, so that sometimes we hear only Lenin’s footsteps in a city street.
Lenin not only narrates the film but “quotes” the whole dialogue of the scenes; we never hear any voice but his. Reminiscent of passages of The Power and the Glory (1933) and the entirety of Guitry’s Roman d’un Tricheur (1936), this device blankets the movie with Lenin’s thoughts, feelings, and political analyses. It’s scarily evocative of that booming voice-over narrator that Soviet cinema imposed on imported films. Denied subtitles and dubbing, audiences were obliged to listen to an impersonal voice drowning out the actors with its sovereign interpretation of the action. I wouldn’t put it past Yutkevich to be slyly alluding to this Orwellian voice of authority.
1914 fashionistas and 1940s fakers
Maison Fifi (1914).
For sheer dirty fun I have to recommend Maison Fifi by Viggo Larsen, a Danish director working in Germany. Here situation comedy meets notably horizontal sight gags. A young couturier cozies up to the officers stationed in her town, hoping that their wives will buy her wares. Her first encounter takes place outside the officers’ quarters, as each man, from private up to general, spots her and starts to flirt before being ordered aside by a higher-up. Part of the humor comes from the strict adherence to the table of ranks, part from the fact that each dislodged officer enjoys watching his superior get taken down.
Later, on a lark, some officers swipe one of Fifi’s dummies and take it to a tavern. When their wives surprise them there, they stow the mannequin in a distant phone booth. As they expostulate with their wives in the foreground, the dummy sits unmoving in the window of the booth far on frame right. Meanwhile, increasingly annoyed customers line up outside the booth. The dummy is more visible in projection than in my still, but Larsen also obliges with a cut-in.
In a very logical reversal, Fifi is at the climax caught in a boudoir and must pretend to be one of her own mannequins. This affords the officers an excellent pretext to undress her. Today the scene yields a vivid sense of the hooks, buttons, and stays that women, and men, of 1914 had to contend with.
Faked identity was a motif of the festival’s Hitler strand. The Strange Death of Adolf Hitler (1943) centers on a man with a knack for mimicking his Fuhrer and accidentally becomes his double. In a series of twists, both he and others try to kill the original, but confusion ensues and leads to a very downbeat ending.
The same premise gets a different workout in The Magic Face (1951), a film as puzzling as its title. Luther Adler delivers a performance at once peculiar and virtuoso. A stage impersonator’s wife is stolen away from him by Hitler. Escaping from prison, he decides to get his vengeance by posing as a servant and gaining access to the dictator. He kills Hitler and takes over his identity. Thereafter he cunningly fouls up the prosecution of the war by an ill-timed invasion of Russia, etc. His general staff are baffled and even try to kill him, but he represses all resistance.
The weirdness of this speaks for itself. In addition, the film doesn’t explain how Hitler’s new mistress fails to realize that her paramour has been replaced by her husband. Perhaps more striking, we wonder whether the impersonator might have taken a little trouble to alter other Nazi policies, e.g., the Final Solution. No less odd is the frame story, narrated by celebrated war correspondent William L. Shirer. There he maintains that this account was relayed to him by the wayward wife, who survived the fire in Hitler’s bunker. An independent production directed by Frank Tuttle (recently under HUAC pressure for his Communist affiliations), The Magic Face was judged by Variety to provide “a dramatic and suspenseful story which would have had far greater audience impact five or more years ago.”
Talking, in and out of sleep
The Bride Talks in Her Sleep (Hanayome no negoto, 1933); production still.
The Japanese cinema of the 1930s through the 1960s has been one of the very greatest national film traditions. I once characterized it as the Western cinephile’s dream cinema: a relentlessly commercial industry that has given us dozens of indisputable masterworks. Yet it seems that every few years it’s necessary to remind western publics of this nation’s titanic accomplishments. Packages circulated by the Japan Film Library Council in the 1970s have been followed by retrospectives and one-off touring programs at rather long intervals; the Mizoguchi series is a recent example.
Another effort to draw Japanese cinema to the spotlight, “Japan Speaks Out!” has become a high point of Cinema Ritrovato over the last three years. Curators Alexander Jacoby and Johan Nordström deserve credit for assembling new prints of early talkies, grouped by studio. As in previous years, some of the titles were familiar to specialists, and a few to generalists (Ozu’s The Only Son being this year’s example). But there have been several new discoveries, and the Ritrovato audience has responded enthusiastically. This year the films were screened twice, often to jam-packed halls. The sessions were introduced with brevity and point by Alexander, Johan, and Tochigi Akira of the National Film Center of Tokyo.
This year’s batch focused on the Shochiku studio, more or less the MGM of Japan. Shochiku enjoyed financial stability because of its theatre holdings (both cinemas and live-performance venues) and its address to a modernizing, western-leaning urban audience. Its policies, overseen by Kido Shiro, aimed to provide movies mixing tears and laughter. Kido urged that Shochiku comedy have a melancholy cast, and that Shochiku melodrama indulge in lighter moments. This blend is familiar to us in Ozu’s 1930s works; even as sad a film as The Only Son displays a comic side when the mother falls asleep during a German talkie.
Perhaps the purest example of Kido-ism in this year’s package was one of Shimazu Yasujiro’s best films, Our Neighbor Miss Yae (Tonari no Yae-chan, 1934). Two brothers are introduced practicing baseball, and soon we learn that one has considerable affection for the girl next door. The neighboring families are thrown into quiet turmoil when Yaeko’s sister returns home, having left her husband.
Stylistically, Shimazu is less rigorous than either Ozu or Shimizu Hiroshi, but he is very skilful. Our Neighbor Miss Yae has the real Kido flavor, mixing comedy and drama and throwing in cinephile references that the studio’s young directors enjoyed: one boy is compared to Fredric March, the young people watch a cartoon featuring Betty Boop and Koko the Clown. Just as important, Shimazu enjoys throwing in a stylistic flourish every now and again–a striking, even eccentric shot that arrests our attention. As the four young people are eating in a restaurant, a very straightforward shot of them gives way to a bold composition full of peekaboo apertures. The shot enlivens the fairly routine act of waitresses delivering food; at the end, one pair stands and switches positions.
Not all Shochiku films displayed a mixed tone; we saw some fairly pure comedies and melodramas. Three self-consciously modern films showed an amused, slightly sexy concern with young marriage. Happy Times (Ureshii koro, 1933) by Nomura Hiromasa, begins with a pair of teenage boys practicing pitching and catching to the strains of “There’s No Place Like Home.” Soon they’re spying on newlyweds who are so infatuated with one another that the husband skips work to stay at home and lounge around. He’s mocked by his fellow employees and upbraided by his boss, but his wife is relentless in her sweet-talking ways. The marital bliss is disrupted by an obstreperous visiting uncle, and the couple must turn to one of the man’s old girlfriends, a tough singing teacher, to dislodge him—without sacrificing the inheritance he may leave them. Awkwardly shot and rather too prolonged, the film exemplified how loose-limbed Shochiku comedy could get.
A brace of films by Shochiku stalwart Gosho Heinosuke, The Bride Talks in Her Sleep (1935) and The Groom Talks in His Sleep (Hanamuko no negoto, 1935), showed other newlyweds with comic problems. Again the motif of spying plays a role. (Naughty voyeurism was essential to that strain in popular culture called Ero-guru-nansensu, “erotic-grotesque nonsense.”) Salaryman Komura’s pals have learned that his wife talks in her sleep, and so they drop by to hear for themselves. Unfortunately they drink so much that they fall asleep and miss the big revelation. Plot complications include a burglar, the couple’s decision to sleep elsewhere, and the revelation of what keeps the bride “sleep-talking.”
Only a little less slight is The Groom Talks in His Sleep. Here the title probably gives away too much, because the initial puzzle is why the young wife naps during the day. This scandalous dereliction of housewifely duty leads eventually to a demand for divorce until the cause, the husband’s sleep-talking that keeps her awake all night, is revealed. The family brings in a self-styled hypnotist, played with relish by Ozu regular Saito Tatsuo, to cure the groom.
Gosho is said to be the fastest cutter among classic Japanese directors, but I’m not sure that he goes much beyond what was fairly standard at Shochiku. Most of the studio’s directors working in the contemporary-life genre (gendai-geki) employed what I called in my book on Ozu “piecemeal découpage,” a breakdown of action and dialogue akin to that seen in late US silent films. What Gosho does have in abundance is different camera positions. In The Bride, our introduction to Komura’s drinking buddies takes place at a bar, and I didn’t spot any repeated setups. Throughout the two films, each composition is calibrated to a specific item of information—a line of dialogue, a reaction shot, or a change in the staging. This makes for a tidy visual texture, which is an advantage in the rather loose plotting that’s characteristic of Shochiku comedy (Ozu, always, excepted).
At the other extreme were some very serious drama, such as Mizoguchi’s relatively well-known Poppies (Gubinjinso, 1935) and the more obscure Mizoguchi-supervised Ojo Okichi (1935). There was as well Okoto and Sasuke (Shunkinsho: Okoto to Sasuke, 1935), another Shimazu work. It’s based on a Tanizaki Junichiro tale of male devotion passing into love and masochism. Okoto is blind, but her family can afford to pamper her. She takes up the koto and the family’s young servant Sasuke faithfully escorts her to her music lessons. She often treats him disdainfully, but she insists on his company, and so gossip grows up around them. Sasuke’s loyalty is tested when Okoto is wooed by a vacuous but persistent suitor. Spurned, he arranges an attack on her, which triggers Sasuke’s ultimate sacrifice.
Shimazu treats this story with a calmness that builds up tension between the often wilful Okoto and the simple-hearted Sasuke. The discreet simplicity of the film’s technique, excepting the violent climax, can be seen in an almost throwaway moment. Sasuke as been assigned to tutor two of Okoto’s students, and they laugh at his efforts. As they rise, Shimazu cuts to a new angle, putting them the background and showing Okoto is shown growing anxious in the foreground.
Keeping Sasuke out of focus and far back allows Shimazu to stress a micro-movement in the foreground: Okoto’s shift from sympathy for Sasuke to her usual imperious annoyance. After unfolding her hands, she clenches her right hand and softly strikes it on the edge of the brazier.
As Okoto turns to summon him for a mild dressing-down, still keeping her little fist extended, Sasuke has shifted his position slightly so that he is a more active responder to her.
This sort of directorial discretion, so characteristic of classic Japanese cinema, seems today to come from another world.
Probably the greatest revelation of the Shochiku show was another masterwork by the ever-more-impressive Shimizu Hiroshi. A Woman Crying in Spring (Nakinureta haru no onna yo, 1933), Shimizu’s first sound film, was given its western premier. It was chosen to exemplify his experiments with sound–experiments that induced Ozu to try his own hand at talkies.
Mining work in Hokkaido brings day laborers by ship, along with women who wind up serving them drinks and perhaps something more. Most of the action takes place in a tavern with a bar downstairs, women’s rooms on the next story, and a small upstairs where the mysterious, somewhat cynical Chuko keeps her daughter. Kenji and his boss become rivals for Chuko, and a young woman drawn into prostitution further complicates the situation.
After only a single viewing, I’m pressed to say much more than noting that Shimizu sacrifices some of his geometrical precision (discussed here) to a more naturalistic treatment of the bar’s space and more experiments with chiaroscuro lighting. A somewhat flamboyant scene, in which our view of a fistfight is mostly blocked by a high wall, shows how Shimazu was trying to let sound do duty for the image. The title has multiple implications: the woman we see crying at the outset is Fuji, the girl initiated into the trade; but at the end, Chuko is weeping. Moreover, as Alexander Jacoby pointed out, the scenes we see are all set in winter, although the ending suggests that the couple that is created will find spring elsewhere. Long unavailable in its Japanese VHS edition, A Woman Crying in Spring is ripe for Western distribution.
Last notes from Kristin
Despite my commitment to the Polish, Indian, and Japanese threads, I was able to fit in a film or selection of shorts now and then.
On the afternoon of the opening day, the first “Cento Anni Fa” program for 1914 included a couple of interesting items. One was La guerre du feu, a French film directed by George Deonola. It dealt with a tribe of fur-clad cavemen who have captured fire but lack the knowledge to create it themselves. Thus they must tend their fire constantly and protect it from a rival tribe. In the course of the action the hero learns the secret to using tinder and flint to generate a blaze. This, it has to be said, was more interesting as an historical curiosity than as entertainment.
Not so the final film of this group, Amor di Regina (Guido Volante, 1913). Its unusual story dealt with a queen of an unnamed country who is having a secret affair with a young soldier. When the latter gets wind of a rebellious group’s plans to assassinate the king, the hero and the queen manage to spirit him out of the palace and away to exile. It struck me that in a more conventional film, the lovers would use the assassination of the king to allow them to marry. Instead they take care of the king in exile and watch for a chance to reinstate him.
Stylistically there were some impressive shots. In one, we see a close-up of the back of the hero’s head, looking out from a terrace at a group of conspirators in the distance sneaking toward the palace, and the camera racks focus from him to them–for 1913, a highly unusual way to handle a very deep composition. If anyone is contemplating a DVD/BD release of some Italian short features of this era, Amor di Regina would be a good choice.
Another 1914 program included the lovely La fille de Delft, which, along with Maudite soit la guerre (which was shown at one of the Piazza Maggiore screenings), is one of Alfred Machin’s best-known films. Its plot concerns a little country boy and girl who are dear friends; a variety-theater owner sees them dancing at a country celebration and takes the girl off to the city to become a star. Seeing it again, I was struck at how marvelously natural the performances of the two child actors (above) was, something that goes a long way to making this film so very affecting.
Despite the fact that all of Tati’s early short films are on the new French boxed Blu-ray set, I decided to see the Tati program on the big screen. Seen again, Gai dimanche (1935) seemed a bit labored in its humor, dealing with two layabouts who hire an old car and persuade several people to purchase day trips to the country. The situation seems more the sort of thing that René Clair could have made work, but director Jacques Berr makes it somewhat leaden.
Soigne ton gauche centers on a gawky farmhand who is mistaken for a boxer by a promoter and ends up in a practice ring with a tough opponent. Tati creates a very Keatonesque situation as the naive young man finds a book on boxing on his stool and proceeds to consult it at intervals (below). As he assumes classic boxing poses, the experienced boxer uses brute force to knock him silly.
The opening and closing of Soigne ton gauche contains a comic, bicycle-riding postman, and clearly Tati recognized the comic potential of the character. In his first directorial effort, L’école des facteurs (School for Postmen, 1946), Tati himself played the postman François, who tries to please his teacher by finding ways to deliver the mail more swiftly. The idea proved so fruitful that the film was remade as Tati’s first feature, Jour de fête. The bouncy music and many of the gags were retained, and the longer film’s success established Tati as a major director and star.
To all our friends and the coordinators of Cinema Ritrovato: Thanks for another wonderful year!
You can watch The Eye’s tinted copy of Maison Fifi here.
Miriam Silverberg’s Erotic Grotesque Nonsense offers a thorough discussion of Japanese popular culture of the 1930s. For more on Kido Shiro’s influence on Kamata cinema, see Mark Schilling’s Kindle book Shiro Kido: Cinema Shogun. I discuss trends in 1930s Japanese film style in Chapters 12 and 13 of Poetics of Cinema. For more on the restoration of Machin’s films, see our entry here.
Soigne ton gauche (1936).
Sansho the Bailiff (1954).
First things first: Happy birthday, Mizo-san! (He was born on 16 May 1898.)
Secondary things second: This entry is based on a talk I gave a couple of weeks ago at the Museum of the Moving Image in Astoria, Queens, as part of its comprehensive Mizoguchi retrospective. I want to thank my friends David Schwartz and Aliza Ma for inviting me to MoMI.
A fragile and fragmentary legacy
Mizoguchi, age twenty-eight, and Sakai Yoneko at Nikkatsu studio, 1926.
Mizoguchi Kenji’s renown in the West has flowered and faded. Like other Japanese directors, he was unknown in Europe and America before 1950. When Rashomon won the Golden Lion at Venice that year, Japanese cinema sprang onto the world’s radar. Just two years later, Mizoguchi began winning top Venice prizes with Life of Oharu (1952), Ugetsu (1953), and Sansho the Bailiff (1954). His old associate Nagata Masaichi saw export opportunities in Japanese costume pictures, especially after Gate of Hell (1953) won the Academy Award, and so Mizoguchi turned out several historical films with high-tone production values. He died in 1956, after Street of Shame (1956), a return to contemporary social commentary.
In just five years, this flare of attention and the praise of the Cahiers du cinéma critics made him second only to Kurosawa in Western recognition. During the 1960s, while Japanese critics were writing him off as outdated, international critics canonized him. Here’s Andrew Sarris in 1970.
I recently saw an obscure Mizoguchi film at New York’s Museum of Modern Art without any English subtitles, which left me up the Sea of Japan without a paddle. The program notes alerted me to the plot outline, but I was generally puzzled by the personal relationships, and the picture dragged along. . . . And then at the end the beleaguered heroine walks to a restaurant on a hillside overlooking the sea, and she orders something from a waiter in white, and the camera is high overhead, and the morning mists are bubbling all around, and the camera follows the waiter as he walks across the terrace to the restaurant and then follows him back to the heroine’s table now magically, mystically empty. It is as if death had intervened in the interval of two camera movements, to and fro, and the bubbling mists and the puzzled waiter provide the Orphic overtones of the most magical mise-en-scène since the last deathly images of F. W. Murnau’s Tabu.
Mizoguchi’s reputation was based almost completely upon his 1950s work. But as ever, film distribution shaped film tastes. Soon after the 1972 success of Tokyo Story in New York, Daniel Talbot’s New Yorker Films began circulating many major Japanese titles. Most electrifying for my generation was an abundant set of Ozu films, the arrival of which coincided with Donald Richie’s Ozu (1974). Twenty years after Mizoguchi’s emergence, Ozu began his ascent to the top of the pantheon.
Talbot’s catalogue included major Mizoguchi titles as well, notably Naniwa Elegy (1936), Sisters of Gion (1936), The Story of the Last Chrysanthemums (1939), Genroku Chushingura (The 47 Ronin, 1941-1942), Women of the Night (1948), and My Love Has Been Burning (1949). These showed us a new Mizoguchi, one that was more pictorially daring and more sharply socially critical, than the one we had known. Soon packaged programs toured by the Japan Film Library Council revealed other films by Mizoguchi and his contemporaries. At a certain point, a Japanese colleague told me at the time, it was easier to see his nation’s prewar films in New York than in Tokyo.
A broader recognition of 1930s-1940s Japanese film was crystallized in the 1978 publication of Noël Burch’s book To the Distant Oberver: Form and Meaning in Japanese Film. Burch urged the case that Ozu, Mizoguchi, and other “mature” directors had done their most ambitious work well before the Western festivals and critics had caught up with them–that in fact the venerated postwar films were mannered and unadventurous compared to the artistically radical prewar work.
Since then, as Ozu (and Naruse, and many more) have risen to the pantheon, Mizoguchi has become quite obscure. Critics haven’t really boosted him much; his most famous film, Ugetsu, ranked 50th in the 2012 Sight & Sound poll. Nor is the range of his work easy to sample on video. In 1976, Kristin and I were obliged to go to London to see the early Ozus not in US distribution; now, everything is on DVD. But many years later I went to Brussels for a complete Mizo retrospective, and the rare titles I saw there remain nearly unknown. His festival classics and the “Talbot canon” circulate on good-quality prints and DVDs, thanks to Criterion and Janus. But other films must be hunted down in obscure foreign DVD.
Worst of all, the survival rate of Mizoguchi’s films is appalling (although not exceptional for Japan). He made 43 films between 1923 and 1929; of these, only one survives complete. For the rest of his career he made or contributed to 42 features, of which we have 30. We lack over half his output. The physical quality of what we have varies a great deal, from gorgeous (Genroku Chushingura) to appalling (The Straits of Love and Hate, 1937, blown up from a scratched and contrasty 16mm copy). In fact, copies seem to have deteriorated. Prints I saw in the 1970s of Oyuki the Virgin (1935) were in decent shape, but many copies circulating now seem to be bad dupes of those prints, now much battered. There seems to be no systematic effort to restore what we have.
Tears are easy; tragedy is hard
I can’t deny that Mizoguchi’s fluctuating reputation is due to more than availability. He is easier to admire, even to worship, than to love. His films, though visually sumptuous, can be somber and bleak. Often unremitting tales of suffering, they lack humor (though not irony). Ozu’s mix of poignancy and comedy is much easier to enjoy than Mizoguchi’s forbidding, near-tragic despair. Ozu is also a more rigorous stylist; his signature is in every frame. While Mizoguchi was no less distinctive, he was more pluralistic in his technique.
Another obstacle: despite working with melodramatic material, Mizoguchi cools it down, sometimes to the point of remoteness. For many of his films, the prototype was Japan’s shinpa drama, an early twentieth-century theatrical tradition that blended kabuki themes and situations (e.g., the conflict of love and duty) with Western-style dramaturgy. Shinpa plays tended to concentrate on the sufferings of women in a male-dominated society. Shinpa women are victimized, exploited, and condemned; when they sacrifice themselves for men, too often the men attack them, betray them, or dump them. Mizoguchi worked many variations on these plot elements. When the American Occupation demanded more liberal films from the industry, he simply let the oppressed woman win some victory in the end.
Whether the woman wins or loses, Mizoguchi refuses to beg for tears. Some directors, notably Sirk, amp up melodrama; others, like Preminger, bank the fires. Mizoguchi seems to try to extract the situation’s emotional essence, a purified anguish, that goes beyond sympathy and pity for the characters. In The Poppy (1935), here’s how he renders the moment at which a father and daughter learn that the daughter’s suitor has abandoned her. The core dramatic action is the daughter moving from the foreground to console her father, at which point they embrace.
Some climax! No close-ups, no fast cutting, no camera movement; people withdraw from us and leave us on the outside. All of which suggests that one dimension of Mizoguchi’s artistry consists of exploring how human emotions, notably the unhappier ones, can be expressed in vivid, sometimes surprisingly “cold” pictures.
Pictures tell the story
Everybody grants that Mizoguchi makes magnificent images. He has gone down in history as a pictorialist. But his pictorialism is of a peculiar kind. We tend to think of pictorialist filmmakers as, for instance, masters of landscape, like Ford in My Darling Clementine; or exponents of abstract patterning, like von Sternberg in Shanghai Express; or buccaneers of aggressive depth, like Welles in Citizen Kane.
On each of these possibilities Mizoguchi can match the masters. Here’s a landscape from Portrait of Madame Yuki (1950; this is the scene that made Sarris swoon), a geometrical shot from Hometown (1930), and a bold depth composition from Naniwa Elegy four years before Kane.
It’s not surprising that Mizoguchi relies on the image; in his youth he studied painting (interestingly, Western-style painting at that). But he is, I think, a more fervent pictorialist than his peers.
Most movie scenes consist of a story situation mapped onto the space; the style follows, emphasizes, or shapes the story’s presentation. Suppose, Mizoguchi seems to ask, that we start with an image and ask it to become a drama. That’s in a sense what seems to happen with the Poppy example above: a striking picture develops into a story through a suite of compositional changes. Or consider this, from Sansho the Bailiff. A scene starts with a bundle of brush in a village street. Gradually it becomes the site of action: two children peep out, one by one.
Our view isn’t impeded only by the brush. A man bursts eagerly into the frame, blocking the boy and girl, followed by another man. The camera tracks a bit around the foreground post. As the scene goes on passersby will intrude into the frame.
You can’t, I think, imagine many more ways to suppress our views of the kids. We strain to see past all these obstructions, and when the view finally clears and the children are visible and come forward briefly, they turn from us…and more people pass in the foreground.
This is actually an important moment in Sansho the Bailiff: The children, kidnapped from their mother, are about to become slaves. It could be rendered with all the stops out, as a scene of brutality or high tension, but instead Mizoguchi let the dialogue (after some delay) explain what’s happening. At first you might think that Zushio and Anju have escaped from their captors and are in hiding; the unfolding image initially permits that possibility. Eventually, though, the shot, expressing the children’s fear and shame as they shrink from not only the men but the camera, holds us in its own right.
Instead of an image that is a vehicle for the story, the story is gradually born out of the changing image. To some degree, this happens in many films, but not with the persistence and rigor we find in Mizogcuhi. He talked of wanting to hypnotize the viewer, and this is done, I think, as much by the minute changes in the pictures as by the dynamics of the drama.
This version of pictorialism employs several strategies. I’ll mention just three.
Now you see it, sort of
Kiyonaga Toru, Interior of a Bathhouse (1780s).
Filmmakers must study the film image and its potential for expression. This is our primary responsibility.
Traditional Japanese cinema is itself heavily pictorial, from the zigzag excitement of the 1920s swordplay films to the dynamic modernity of the city dramas and the monumental gravity of historical dramas. Directors, I’ve argued in various places, cultivated a “decorative” approach to technique. Composition, camerawork, cutting, and other tactics often created flashier compositions than we find in other national traditions. As early as 1922, Ikeda Yoshinobu was creating arabesques with a bedstead, framing the faces of grieving family members (Cuckoo).
The gridded zones of the Japanese house seems to have invited filmmakers to explore a sort of Advent-calendar style, with bodies framed in different apertures (The Abe Clan, 1938). The same idea could be applied to a bar’s Art Deco wall divider (First Steps Ashore, 1932).
I’ve also argued that this love of pocketed compositions may be an effort to echo similar impulses in Japanese graphic art. The Kinoyaga woodblock print above, with its partial views of women bathing and the little windows through which we see the male attendant watching, is a beautiful example. Perhaps filmmakers adapted this eye-beguiling tactic as a way of giving cinema some cultural credentials (if not a national identity).
Most directors don’t sustain such flashy compositions. The shots function mostly as long-shots or establishing shots, or as in the Cuckoo example, as a series of brief extracts from the larger scene. Mizoguchi drew upon this decorative tradition but let it be sustained through figures moving into and out of the apertures within the frame. He creates a game of vision, a sort of fluctuating pictorial vividness that conceals or reveals or teases us with information.
One of the most vivid examples comes in this famous scene from Sansho the Bailiff. Tamaki’s leg tendons are cut, and the other enslaved women are forced to witness it. As the struggling Tamaki is peeled away from the wall and the slavemaster walks to her offscreen, the other women become visible and an older master comes slightly forward in the central square Tamaki had occupied.
As she screams, the grid isolates each woman’s fearful turning away. As with the earlier Sansho scene, dialogue comes to “button up” the unfolding of the image: The old man tells the cringing women that all runaways will punished this way.
The impact of the act is amplified not by, say, cutting to different women’s reactions, but by letting us see them all, simultaneously, in a choreography of terror.
Mizoguchi finds an abundant variety of ways to play his game of vision. Not only are figures and faces secreted in various pigeonholes of the frame, but he can tease us with some that are merely shadows or partial figures (The Poppy; Tokyo March, 1929). Sometimes the key element, such as a character’s reaction, is obscured by a semi-transparent surface, as when the embarrassed model is caught in a corner of a screen in Utamaro and His Five Women (1946).
What other directors treated as piquant flourishes, imaginative ways to arouse our visual interest before moving in to closer views, Mizoguchi saw as a way to activate any cranny of the image and invest it with expression. But for that process to unfold, he needed time.
Intensify and prolong
From the brief surviving fragment of Tojin Okichi (1930).
During the course of filming a scene, if an increased psychological sympathy begins to develop, I cannot cut into this without regret. I try rather to intensify and prolong the scene as long as possible.
Mizoguchi is famous as an exponent of long-take shooting. His earliest surviving film, Song of Home (1925) displays the Hollywood-style editing that most Japanese filmmakers mastered at the period. At some point–he says it was while shooting Tojin Okichi (Okichi, Mistress of a Foreigner)–he began using a method he called “one scene, one cut.” (Here “cut” apparently refers not to a shot change but to a single take, like a “cut” of meat. Hollywood filmmakers talked the same way sometimes.) That would suggest that he took every scene in a single shot, but actually he didn’t. Most of his scenes are built out of several shots, and throughout his career he would have recourse to standard analytical and shot/reverse-shot cutting for many sequences. He wasn’t as strict about the plan-sequence as, say, the Miklós Jancsó of the 1960s and 1970s was.
Still, he definitely used longer takes than most filmmakers of his day. Most of his films we have after 1935 average between twenty-five and forty seconds in length, which means that some shots run minutes. Many of his long takes are made from static camera positions, as in the above examples. But he didn’t shrink from camera movements, either tracking shots or crane shots. Kristin and I discuss an example from Sisters of Gion in Film Art, and in his later films he enjoyed establishing a setting with a high-angle crane shot before moving in to details. He also enjoyed riding the crane and directed from it even if the shot was static.
Fixed frame or moving shot, Mizoguchi’s long takes can extract an arc of pictorial-dramatic intensity. That arc can have a clear-cut ABA pattern. In My Love Has Been Burning, the liberal feminist Eiko finds her weak lover Hayase drunk and despondent. He’s no longer the idealist she thought he was, but he defends himself as changing with the times.
Hayase says he’s got some money now and they can marry. When she doesn’t warm to the idea, he attacks her, and suddenly her face gets enlarged, upside down, when he slams her to the floor. This is the first high point of the scene.
They struggle out of frame, but Mizoguchi doesn’t follow them.
Immediately there’s a second assault on our vision: a screen abruptly crashes into the foreground.
After it settles into place, Eiko flees back into the frame, pausing by the doorway. She leaves, and Hayase totters to the same spot looking after her.
The shot has built up to one spike, the image of Eiko on her back, her face close to us, and then to a second, with the collapsing screen. At the end, the site of action returns to the beginning: a figure near the doorway, something else (Hayase, the screen) in the foreground. But in the course of this ABA pattern, the game of vision has concealed as much as it has revealed.
Throughout his career Mizoguchi experimented with the patterning of his long takes, often building them around advances to and away from the foreground, as in these examples. This tactic can be seen in a pure state in the most intense scene of the Occupation feminist film Victory of Women (1946). Here the characters rush the camera and shrink from it as the emotional pitch rises.
Tomo’s husband has just died, and she has already told her friend the lawyer Hiroko that she has no more milk for her baby. Tomo calls on Hiroko, who invites her to come in. The camera obediently tracks back as she enters and sits.
Hiroko, at first oblivious to the distraught Tomo, begins to question her. At first Tomo says that nothing has happened to her baby, and she slides away from Hiroko. She tells her that her husband died the day that they had met in the street. She edges closer to the camera.
Sobbing, she tells Hiroko that the baby is dead; he died sucking her breast. She falls out of the frame and as the camera pulls back Hiroko bends to comfort her. But she also asks Tomo to tell her exactly what happened.
Tomo confesses that staring at her crying baby, she hugged it so close that she may have killed it. As she rises, she cries, “My baby!” And she turns and staggers, like Ayako in Naniwa Elegy, to the most distant point of the set–as if hoping to escape both Hiroko and the camera.
Track in as Hiroko goes back to her, at the spot at which the shot’s action started. Once more the two women advance to the camera, with Hiroko nearly dragging Tomo back to the center. But when Hiroko suggests she go to the police, Tomo slides quickly away from her, back to us, and the camera abruptly pulls back to accommodate her. As when the paper wall crashes into the frame in My Love Has Been Burning, a spike in the drama is accompanied by a second burst into the foreground.
Hiroko rushes to embrace Tomo, assuring her that “You must not run from life, but face it!” Mizoguchi’s staging favors the doubt and fear on the face of Tomo, not the somewhat complacent Hiroko.
As Hiroko hurries off to dress for going out, Mizoguchi’s camera lingers on Tomo, not only pitiable but justifiably worried that she is condemned. As she bends and glances to and fro, Mizoguchi ends the seven-minute scene on an image of a woman with nowhere to turn. This is a terrifying final image: Is this what Hiroko meant by “facing life”?
Some of Mizoguchi’s earlier works go further still. Instead of a coming-and-going pattern, in which the characters confront the camera and then retreat, offer a going-and-going one. The most famous, about which I’ve written probably more than I should, comes in Naniwa Elegy, when Ayako, telling her boyfriend of her sexual infidelity, retreats from him, and from us.
A Western director–Wyler, say, as in The Little Foxes, or Huston–would have put the camera at exactly the opposite point, in the corner of the wall, so that Ayako would advance toward us and Nishimura’s reaction would be constantly visible in the background. It’s as if Mizoguchi anticipated such full disclosure in advance (before these men had even made their films!) and dismissed it as too easy. By suppressing characters’ expressions, he throws our attention onto Ayako’s voice and her posture, while also sustaining some suspense about how Nishimura will respond to her revelations.
Mizoguchi finds a huge variety of ways of turning images into drama, and he has left us a rich repertory of staging strategies–if we only look. Young filmmakers, are you looking?
Tanaka Kinuyo and Mizoguchi Kenji in Venice, early 1950s.
[The long take] allows me to work all the spectator’s perceptual capacities to the utmost.
Once Mizoguchi enhances the decorative frame with surfaces and holes bristling with possibilities, and once he sustains it in time through the long take, he can build his scenes out of slight changes in the image–changes that add nuance and expressive depth to the drama. We’ve seen this already in several passages, but I want now to stress how this sharpens our attention and engagement. The restraint of Mizoguchi’s handling (restraint within sumptuousness, I should say) trains us to watch for the tiniest shift in pictorial emphasis. This is the third strategy I want to mention.
In Lady of Musashino (1951), minor changes around the deathbed drive our eye to the profile of the dying Michiko.
Likewise, when Oishi in Genroku Chushingura reads the master’s poem, sent to his vassals after his suicide, he lowers the paper just a little at the climax, and the gesture is echoed in the men’s slumping forward even more. (This is a movie largely made of just-noticeable differences.)
The just-noticeable differences can be triggered by tiny changes in the avenues of our vision. In Street of Shame, the brothel owner, turned from us in the middle ground, first reveals Mickey and the delivery boy down the left corridor. When he shifts his head, Mizoguchi closes off that view and allows faces and bodies of the prostitutes to fill up the corridor on the right.
Bolder movements can yield even briefer glimpses. When Oharu reads the message from her dead lover, Mizoguchi gives us a “decoy” shot: Her mother stands guard on the left and in the distance we see the door through which the father is expected to come. But the scene’s real action is taking place behind the hanging kimono, where Oharu reacts painfully to the letter. Since we can’t see her, only her wavering voice and the trembling of the kimono convey her emotion. Suddenly she starts to thrash around, her mother leaps toward her, and a tussle ensues. The kimono is pulled down in a heap.
What’s all the fuss? What is Oharu doing? The answer is given to us in an almost subliminal detail, the knife that flashes through the lower right corner of the shot in only two frames on the 35mm print. Oharu races out of the shot, bent on suicide.
So the nuances that spring up may be protracted or simply glimpsed, but either way they become the product of the image giving birth, through its transformations, to the drama. The strategy is just as applicable to closer views as to long shots. In one scene of Woman of Rumor (1954), the keeper of an elegant brothel notices a young man getting cozy with her daughter. The tension is exacerbated by the fact that she hopes to nab Dr. Hatoba herself. As the two talk, Mizoguchi buries Hatsuko in the rear of the scene, her presence signaled by a shadow and her kimono sleeve poking out from a screen.
Mizoguchi cuts directly in and provides a medium-shot of Hatsuko peeking. This might seem safe and conventional, especially in the light of daring choices like those made in Naniwa Elegy. But Mizoguchi now wants to trigger the game of vision around the woman’s face and the edge of the screen. As she listens, he teases us with a little suite of changing expressions and minute gradations of partial blockage–a sort of pictorial vibrato.
As Hatsuko edges out to approach the couple, Mizoguchi switches our attention to small, nervous hand gestures.
Once installed behind the couple, Hatsuko starts the whole process again, from eye-catching sleeves to peekaboo eavesdropping.
Mizoguchi was a fairly pluralistic filmmaker, so the strategies I’ve itemized don’t exhaust everything we encounter in his movies. Sometimes he builds scenes in a fairly orthodox way, with traditional framing and cutting. But taken as a whole, his films offer a magnificent repertory of ways in which the image can, under pressure, deepen and enrich a dramatic situation. Unlike most of today’s filmmakers, he cares about rigor, nuance, and austerity–while at the same time working with scenes of intense emotion. Admire him, worship him, love him, or just respect him: film culture can’t live fully without him.
Thanks, over forty years of viewing, to the Japan Society of New York, the Kawakita Memorial Film Institute (formerly the Japan Film Library Council), Dan Talbot and José Lopez of New Yorker Films, and the Brussels Cinematek, especially Gabrielle Claes.
The MoMI series runs until 8 June. It begins on 16 May at the Harvard Film Archive and on 19 June at Pacific Film Archive. For Fandor’s Keyframe daily, David Hudson has a varied roundup of response to MoMI’s series.
Both Criterion and Masters of Cinema offer many Mizoguchi films on DVD, some on Blu-ray. See also Criterion’s Hulu Plus offerings. Digital Meme sells DVDs of some early Mizoguchis, with benshi accompaniment; the exasperatingly brief fragment of Tojin Okichi is on volume 2..
My quotation from Andrew Sarris comes from “Notes on the Auteur Theory in 1970,” in The Primal Screen (1973), 60-61.
Good clichés will never die as long as journalists need to crank out copy. The MoMI retrospective has revived the Kurosawa-Mizoguchi tug-of-war, this time among New York critics (here and here). Such sideswipe critiques and hosannas can’t really be backed up within the space limits of popular publishing. Moreover, I think that such quick assertions of taste block close consideration of the work. Once you’ve dismissed a filmmaker, you’re unlikely to probe further, and your readers will probably be even less curious. I defected years ago from the Kurosawa-Mizoguchi skirmishes.
The fact that every decade or so Mizoguchi is “rediscovered” through a retrospective indicates his elusive reputation. Among English-language scholars, the 1980s was the big period. Dudley Andrew wrote a still indispensable reference book on Mizoguchi in 1981, and Keiko McDonald offered a penetrating critical survey in 1984. Both volumes, now rare and costly, deserve to be made available in digital editions. Robert Cohen’s two-volume dissertation “Textual Poetics in the Films of Kenji Mizoguchi” (UCLA, 1983) was also significant. Since then, incredibly, we have had only one more overview in English, Mark Le Fanu’s Mizoguchi and Japan, along with an in-depth analysis of some 1930s films, Don Kirihara’s award-winning Patterns of Time. Sato Tadao’s monograph was published in Japanese in 1982, but it’s only recently been available in (a somewhat problematic) English translation (as Kenji Mizoguchi and the Art of Japanese Cinema). Two of my stills are drawn from this book. The French have been more consistently productive, with several studies over the years. A thorough account in Spanish is by the prolific Antonio Santos.
For some background on Western rankings of Mizoguchi, Kurosawa, and Ozu, see this interview with the late Hiroko Govaers. Hiroko was instrumental in bringing many classic Japanese films to Europe and the U.S.
Some of the material in today’s entry comes from Chapter 3, “Mizoguchi, or Modulation,” of my Figures Traced in Light: On Cinematic Staging. That offers a much fuller account of what I think Mizoguchi is up to, although today’s blog offers some points and examples not in the chapter. Offshoots of the book’s argument can be found in this online update, and in this blog entry, which compares Mizoguchi with his sort-of-rival Wyler. My oldest piece on the director, “Mizoguchi and the Evolution of Film Language,” in Stephen Heath and Patricia Mellencamp, eds., Cinema and Language (1983), 107–117, contrasts his work with Western practitioners of deep-space staging. Background on the “decorative” impulses in traditional Japanese cinema can be found in Essays 12 and 13 in my Poetics of Cinema, and in early portions of Ozu and the Poetics of Cinema.
P. S. 29 June: Thanks to Jeff Fort for correction of a title in the original blog post!
Sansho the Bailiff.