Kenji Mizoguchi stands among the greats of Japanese cinema, with his cinematic vision, characteristically marked by long takes and one-scene-one-shot sequences, rendering his films unique and deeply memorable. Over his illustrious career, Mizoguchi consistently presented narratives that shed light on the human experience, particularly focusing on the trials and tribulations faced by women in society. His films, marked by their emotional depth and evocative visuals, have resonated with audiences globally and continue to inspire filmmakers today. This list explores ten of his most compelling works, showcasing the genius of a director who, through his art, challenged conventions and pushed cinematic boundaries. Without further ado, let’s take a look at the ten best Kenji Mizoguchi films of all time.
10. Sisters of the Gion (1936)
“Sisters of the Gion” focuses on the lives of two geisha sisters, Omocha and Umekichi, who navigate the competitive and sometimes treacherous world of Kyoto’s entertainment districts. Omocha, the younger sister, explores innovative techniques to cater to the evolving tastes of her clientele, while Umekichi remains tied to tradition. Their contrasting approaches to life and love provide a compelling insight into the changing cultural landscape of 1930s Japan. The dynamic between the two sisters also mirrors the broader transition of Japanese society during this era.
Kenji Mizoguchi masterfully weaves the narrative, highlighting the societal challenges faced by women in a profession fraught with both allure and exploitation. His direction sheds light on the intricacies of geisha culture, emphasizing the fragile balance between personal desires and professional demands. Mizoguchi’s storytelling captures the essence of a time when tradition clashes with modernity, and this film stands as a testament to his keen observation of human nature.
9. Woman of Rumor (1954)
“Woman of Rumor” introduces audiences to Hatsuko, who runs a geisha house, and her daughter Yukiko, recently returned from Tokyo after a failed suicide attempt. The setting of the geisha house serves as a constant reminder of the challenging environment both mother and daughter operate within. The strained relationship between mother and daughter takes center stage, influenced by the societal judgments of their community and Hatsuko’s profession. As they navigate love, rejection, and societal pressures, the film unravels their intertwined destinies, shedding light on the dance of maintaining familial ties amidst external scrutiny.
Mizoguchi’s touch is evident in the way he crafts a layered, emotionally charged narrative. The juxtaposition of the vibrant geisha house setting with the personal dilemmas of the protagonists intensifies the film’s dramatic tension. “Woman of Rumor” delves into the complexities of maternal bonds, juxtaposed against societal judgments. It’s a clear representation of the director’s ability to craft stories centered around strong, multifaceted female characters, demonstrating his unparalleled skill in bringing raw, human emotions to the forefront. These factors ensure that “Woman of Rumor” is certainly one of the best Kenji Mizoguchi films of all time.
8. Miss Oyu (1951)
“Miss Oyu” tells the tale of Shinnosuke, a polite and respectful young man arranged to meet a prospective bride, Shizu, in line with traditional Japanese customs. Shinnosuke’s encounter with the two women becomes a turning point in his life, and unexpectedly, it’s Shizu’s widowed sister-in-law, Oyu, a woman of quiet elegance, with whom Shinnosuke is smitten. As the narrative unfolds, the film navigates the trio’s tricky relationships, filled with subtle glances and suppressed feelings, burdened by social conventions and unspoken affections that threaten to disrupt their lives. Each character grapples with their feelings, creating a tense atmosphere of longing and hesitancy.
Under Mizoguchi’s direction, “Miss Oyu” becomes a heartfelt exploration of love, desire, and the binding chains of cultural traditions. The film gracefully captures the nuances of restrained emotions and the sacrifices made in the name of love, highlighting the emotional toll of keeping true feelings hidden. His storytelling reveals the weight of societal judgments, and Mizoguchi’s approach underscores the complexities of human relationships set in a world where honor and tradition often supersede individual desires.
7. A Geisha (1953)
“A Geisha” takes a look at the world of post-war Gion district in Kyoto through the eyes of Eiko, a young woman who seeks to become a geisha. Under the tutelage of Miyoharu, an older geisha, Eiko learns not only the arts of the profession but also its underlying politics and moral challenges. As they navigate the complex web of their industry, both characters encounter the influence of societal changes and the increasing commercialization of their profession. Their mentor-protégé relationship is tested as they confront the harsh realities of their chosen careers, forcing them to make decisions that challenge their values and loyalties.
Mizoguchi’s exploration of the geisha world post-World War II offers a fresh perspective, highlighting the evolving nature of the profession. Amid the historical changes, the film reflects on how individual lives are impacted by wider societal shifts. His focus on the bond between Eiko and Miyoharu serves as a commentary on female resilience and solidarity in a male-dominated society, ensuring that this is one of the best Kenji Mizoguchi films. “A Geisha” remains a stellar example of storytelling prowess, illustrating his capacity to seamlessly blend personal stories with broader cultural contexts.
6. Street of Shame (1956)
Set in Tokyo’s bustling red-light district, amid the neon lights and the hushed whispers of clientele, “Street of Shame” provides an unflinching look at the lives of five prostitutes working in the Dreamland brothel. Each woman, from varied backgrounds and facing diverse challenges, has her story, her reasons for being there, and her aspirations. Their tales paint a complex picture of struggle, ambition, and resilience. Through their individual narratives, the film offers a window into a society grappling with the imminent outlawing of prostitution, shedding light on the economic and emotional factors that drive their choices.
Mizoguchi’s last film, “Street of Shame,” is a powerful commentary on the challenges and choices faced by women on the fringes of society, particularly in a rapidly changing post-war Japan. The director crafts a narrative that is both empathetic and critical, without resorting to judgment or stereotype, balancing the individual plights of the characters with the broader societal shifts. This film stands as a fitting finale to a career dedicated to capturing the nuanced experiences of women in society, reflecting Mizoguchi’s unwavering commitment to illuminating the often-overlooked stories of women.
5. The Story of the Last Chrysanthemum (1939)
Set in the theater world of late 19th-century Tokyo, “The Story of the Last Chrysanthemum” chronicles the life of Kikunosuke, a young actor struggling to emerge from the shadow of his renowned actor father. While his family praises his performances, Otoku, a loyal servant, offers him the honest criticism he desperately needs. As Kikunosuke grapples with the weight of tradition and legacy, he discovers the importance of forging his unique path. Choosing love and art over familial approval, Kikunosuke elopes with Otoku, which sets them on a challenging path fraught with societal judgment and personal tribulations.
Mizoguchi’s take on the world of Kabuki theater exposes the challenges artists face when navigating family legacy and genuine talent. The director skilfully brings out the tension between personal ambition and external pressures. The deep emotional connection between Kikunosuke and Otoku serves as the film’s beating heart, illuminating the sacrifices one makes for love and authenticity, making it one of the best Kenji Mizoguchi films.
4. The Crucified Lovers (1954)
Set in 17th-century Kyoto, “The Crucified Lovers” tells the tragic love story of a married paper merchant, Mohei, and his employer’s wife, Osan. When Osan borrows money without her husband’s knowledge to help her family, she and Mohei find themselves accused of embezzlement. Their attempts to navigate through the misunderstandings further complicate their situation, drawing them closer in their shared adversity. To protect her honor, Mohei takes the blame, leading them both to flee, sparking rumors and resulting in a forbidden romance. As they journey together, their bond deepens, illuminating the strength of human connection in the face of adversity.
Mizoguchi creates an interesting narrative, emphasizing the severe consequences of love in a society bound by rigid hierarchies and regulations. His portrayal of Mohei and Osan captures the essence of genuine love, highlighting the lengths individuals go to protect and stand by their loved ones. As the title suggests, the lovers face immense challenges, both from the world around them and the choices they make. The film stands as a testament to Mizoguchi’s ability to portray intimate human relationships against larger societal pressures.
3. The Life of Oharu (1952)
“The Life of Oharu” chronicles the tumultuous life of a woman named Oharu, starting from her youth as a lady-in-waiting at the Imperial Court. A passionate affair with a lower-class man results in her family’s exile. This unfortunate love becomes the catalyst for a life filled with hardships and societal disdain. From then on, Oharu faces a series of unfortunate events, from being sold into concubinage to ending up as a street beggar, as she grapples with her fall from grace. Each chapter of her life paints a picture of the challenges faced by women of her time.
Through the life of Oharu, Mizoguchi provides a deeply moving portrayal of a woman’s journey and struggles in a restrictive society. His careful direction portrays the weight of each decision Oharu makes, ensuring that her story remains all the more compelling. The film draws viewers into Oharu’s world, eliciting empathy and understanding for her plight. The powerful narrative stands as a reflection on the resilience of the human spirit amid adversity, standing as a testament to the enduring nature of hope even in the darkest of circumstances.
2. Ugetsu (1953)
“Ugetsu”, widely considered one of the best Kenji Mizoguchi films, revolves around two peasant couples in 16th-century Japan during a tumultuous time of civil war and societal upheaval. As the men, Genjuro and Tobei, become increasingly ambitious, pursuing dreams of wealth and glory, they get entangled in the supernatural and romantic. This fascination drags them into a web of intrigue and temptation, leading them away from their wives and homes. Genjuro becomes captivated by a mysterious noblewoman who seems too enchanting to be real, while Tobei, driven by his aspirations, seeks the life of a samurai, causing both men to confront the profound consequences of their desires and the potential loss of everything they hold dear.
In “Ugetsu,” Mizoguchi seamlessly blends the realms of the ethereal with the harsh, gritty realities of war-torn Japan, making viewers question what is genuine and what is merely a fleeting mirage. The tale serves as a cautionary story about unchecked ambition and desire, while also offering a deep dive into the otherworldly, highlighting the cultural folklore and legends of the era. It’s a film where the boundaries between reality and illusion blur, creating a haunting and unforgettable experience that lingers long after the credits roll.
1. Sansho the Bailiff (1954)
In “Sansho the Bailiff,” the story unfolds around Zushio, a compassionate governor in ancient Japan, who is sent into exile due to his unyielding beliefs in justice and humanity. His wife and children, attempting to join him, are tragically separated during their perilous journey. The son and daughter find themselves enslaved by the cruel bailiff Sansho on a remote estate, while their mother faces her challenges in a far-off place, sold into a life of hardship. As years go by, the siblings, despite their suffering, dream of reuniting with their parents and plotting an escape from Sansho’s oppressive clutches, holding onto the values their father once taught them.
“Sansho the Bailiff” stands as a masterwork in Mizoguchi’s body of work, capturing the devastating impacts of cruelty on the innocent, yet also highlighting the enduring power of the human spirit and the unstoppable will to persevere. The film navigates the raw emotions of despair, hope, and redemption amidst a backdrop of social injustice. Through this heart-wrenching tale, Mizoguchi offers an ageless commentary on the enduring battles between good and evil, showcasing the contrast between kindness and cruelty in a society where the lines are often blurred.
Summary
To summarise, here are the ten best Kenji Mizoguchi films of all time:
- Sisters of the Gion (1936)
- Woman of Rumor (1954)
- Miss Oyu (1951)
- A Geisha (1953)
- Street of Shame (1956)
- The Story of the Last Chrysanthemum (1939)
- The Crucified Lovers (1954)
- The Life of Oharu (1952)
- Ugetsu (1953)
- Sansho the Bailiff (1954)
