- published: 25 Nov 2013
- views: 22790
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Kenji Mizoguchi: The Life of a Film Director (Aru eiga-kantoku no shogai) is a 1975 Japanese documentary film on the life and works of director Kenji Mizoguchi, directed by Kaneto Shindo (Onibaba). It runs 150 minutes and can be found on the second disc of the Region 1 Criterion Collection release of Ugetsu (1953).
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Asian movies with subtitles!
Sansho the Bailiff
山椒大夫
El Intendente Sansho
L'intendant Sansho
Intendente Sansho
Epistatis Sansh
山椒大夫
Lääninherra Sansho
O Intendente Sansho
Legend of Bailiff Sansho
Epistatis Sansho
Sansho Dayu - Ein Leben ohne Freiheit
Director: Kenji Mizoguchi / 溝口 健二
Year: 1954
Duration: 124 min
The Sansho screenplay was written by Fuji Yahiro and was adapted from the legend and a 1915 short story, "Sansho the Steward," by Ogai Mori. Reputedly, Mizoguchi wanted Sansho to more closely follow the titular character, rather than the brother and sister who actually dominate the film. And while that would have been a more daring choice — the equivalent of focusing on the Big Bad Wolf rather than Little Red Riding Hood — the Daiei Studio's insistence on exploring the brother and sister tale of Zushio (Masahiko Kato) and Anju (Keiko Enami) allowed Mizoguchi to add layers of psychological depth and realism to what had always been little more than a Japanese fairy tale. That said, the screenplay is outstanding — even if a bit depressing. It reminded me, in its unending emotional declension, of Theo Angelopoulos's Trilogy: The Weeping Meadow.
The narrative is set in about the 10th or 11th century (its dates are never specified), and is not that complex, but how it is visually portrayed adds much depth to the spare tale.
Sansho opens with the siblings in flight with their mother, Tamaki (Kinuyo Tanaka), and an elderly servant, Ubatake (Chieko Naniwa), after six years in exile from the province of Mutsu, once governed by their father, Taira Masauji (Masao Shimizu). He was deposed because he opposed the way his peasants were being treated. The tale veers between the present flight of the family and six years earlier, when the father bestowed upon Zushio a family heirloom, a statuette of Kwannon, the Goddess of Mercy, and this advice: 'Without mercy, man is like a beast. Even if you are hard on yourself, be merciful to others. Men are created equal. Everyone is entitled to their happiness.'
The family is then offered refuge from a night in the cold — filled with bandits and slave traders — by a Shinto priestess (Kikue Mori). At first, it seems that the priestess is an angel of mercy, even offering the family a trip on a boat to visit their exiled patriarch. Instead, she betrays them to boatsmen who are slavers — the mother ends up on the boat, and becomes a courtesan on Sado Island, while the children, on another boat, are sold as slaves on Sansho the Bailiff's manor.
The old servant lady is knocked overboard and drowns. While that is a minor moment, it does highlight one of Mizoguchi's techniques. He fades away from the old lady just before she drowns. It's as if he has no interest in endings, only the means to them.
Bad critics often make a critical misinterpretation of Sansho the Bailiff at this moment. When we are finally introduced to Sansho (Shindô Eitarô) we see he is clearly cruel and abusive — an Oriental Simon Legree, but we also see him as a servile functionary to his boss, the Minister of the Right, the real owner of the property. Sansho, after all, is just a bailiff for the big man. Yet, many critics see him as both the ultimate evil in the film and as a corrupt character.
The latter interpretation can be taken as true in the sense that Sansho is ethically bankrupt on a personal level, but most critics do not use the word in that regard. Rather, they use it to imply he is an anomaly in the system. Yet, this is clearly not true. Sansho is just doing his job, one which allows him to indulge his sadism — it is the system itself that is corrupt.
Sansho, in fact, is such an efficient master of the manor that the Minister sends other government officials to see how he runs things so that his methods can be exported to other slave manors in the Empire. Thus, against the backdrop of the feudal system, Sansho is not corrupt — he's the embodiment of merciless capital efficiency. He is an early forerunner to the faceless 'company man.'
(http://www.altfg.com/blog/film-reviews/sansho-the-bailiff-by-kenji-mizoguchi/)
- published: 14 May 2014
- views: 44873
Full Movie
Subtitles:EN,FR,ES
JP:虞美人草,Gubijinso
EN:Poppy,Poppies,The Field Poppy.
FR:Les Coquelicots
ES:Las amapolas
監督:溝口健二
脚本:高柳春雄
潤色:伊藤大輔
原作:夏目漱石『虞美人草』
撮影:三木稔
音楽選曲:
酒井龍峯
高木孝一
編集:坂根田鶴子
美術考証:中村大三郎
衣裳:小笹庄治郎
製作:第一映画社
配給:松竹キネマ
公開:1935年:10月31日
上映時間:1時間15分
白黒
出演:
夏川大二郎...宗近一
月田一郎...小野清三
武田一義...甲野欣吾
大倉千代子...小夜子
二条あや子...宗近の妹・糸子
寺島貢...宗近の父
根岸東一郎...浅井
梅村蓉子...藤尾の母
三宅邦子...藤尾
岩田祐吉...井上孤堂
小泉嘉輔...家主
- published: 30 Aug 2012
- views: 50894
Miyamoto Musashi (1944) directed by Kenji Mizoguchi
出演：河原崎長十郎、中村翫右衛門、田中絹代、生島喜五郎
原作：菊池寛
脚本：川口松太郎
撮影：三木滋人
監督：溝口健二
- published: 30 Sep 2013
- views: 150294
製作：松竹映畫株式會社 - 京都撮影所 公開：昭和23年（1948年） 5月26日 監督：溝口健二 / 助監督：酒井辰雄、岡田光雄 / 脚本：依田義賢 / 原作：
- published: 08 Nov 2015
- views: 5610
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A Geisha
祇園囃子
Gion bayashi
Gion Festival Music
Una geisha
A Música de Gion
Los músicos de Gion
Gionin soittajat
Les musiciens de Gion ou La fête à Gion
Giorti sti Gion
Odswietne wystepy w Gion
Festa em Gion
Die Festmusik von Gion
Zwei Geishas
Director: Kenji Mizoguchi / 溝口 健二
Year: 1953
Duration: 90 min
"A geisha's lie is not a real lie. It's a cornerstone of our profession."
Geishas live in a world of lies. They lie to their clients (who lie back to them), get lied to by their Madams and lie to themselves. Everyday. Kenji Mizoguchi's 1953 film "Gion Bayashi" (also known as "A Geisha" or sometimes "Gion Music Festival") is perhaps the definitive (and nicely succinct at 84 minutes long) statement of the life of a geisha in early post-war Japan. Through the story of two separate geisha (an experienced old-school one and a young, but determined, debutante), the movie gradually paints the picture of a life that is but a step away from indentured servitude. The young geisha trainees are told that they represent the beauty of Japan to foreigners and that they are "living works of art" - truer than the young girls may think since they get bought, sold and used at the whims of their "patrons". Put on display like artwork in a gallery, the Madams of this world show off their geisha and can essentially commission new works for these art patrons. The times have changed since geisha were held in respected positions - the men now hold all the power.
The story opens with 16 year-old Eiko looking for Mistress Miyoharu (a geisha colleague of her recently deceased mother). Eiko's father has fallen on hard times and has left to find work elsewhere while she struggles to keep her uncle's hands off her. Though she doesn't have a guarantor to fund her training, Eiko begs Miyoharu to teach her the ways of the geisha. Struck by the girl's very determined approach, Miyoharu asks for a loan from Madam Okimi who is one of the Gion area's most powerful Madams. This sets them up well for the next year of intense training (which in shown in a montage of scenes of Eiko learning the shamisen, different forms of percussion, protocols, dance, etc. - it's no wonder there was a Geisha instructor listed in the crew's credits) until Eiko - now renamed Miyoei for her clients - is ready for her debut. At 17 she is a bit young, but she is confident and eager to begin meeting clients. However, she's still quite naive. She gets drunk her first night on sake (not realizing it could make you "feel that way") and still thinks that she will have some say in who her patron may be. She receives a rude awakening from a fellow student, though, who explains that a patron expects the girls to sleep with them. She knows this because she has already been sold to a 62 year-old man by her own mother who expects her to become a more accomplished geisha this way ("Everyone says I'll do well out of it...").
But Eiko is a post-war child (as Miyoharu calls her) and when told that businessman Kusuda wants to be her patron, she states that she will observe him and then decide if she likes him. What she doesn't realize is that her fate has already been decided - it was Kusuda who actually funded her initial training behind Okimi. He bought her before she had even started. Things come to a head when she rejects Kusuda's advances and bites his lip so hard that it sends him to the hospital. Even worse, though, is that the confusion the event creates causes Miyoharu to spurn her own suitor - a young man from the government who holds decision-making power that will affect a major investment from Kusuda. The geisha have now become pawns in a larger struggle for power and money among the men. Their wrath comes down on Okimi and she is ordered to fix things. Her angry and condescending words to Miyoharu (e.g. "How much longer are you going to embarrass me?") mirror the contempt she received from Kusuda's business partner. Okimi's power in the district enables her to shut down Miyoharu and Eiko from getting any work at all and they are now forced to make the choice between sticking to their principles and making ends meet and survive. Given the tough times around them (shown in the very first scene of the film with a woman walking through the streets almost desperately hawking her wares, sweets and crickets), is it even really much of a choice?
(http://jfilmpowwow.blogspot.com.br/2011/07/review-gion-bayashi-geisha.html#sthash.5gZemePl.dpuf)
- published: 12 May 2014
- views: 34100
A video blog dedicated to Classic films, Foreign films, and Classic Foreign Films.
KENJI MIZOGUCHI, A CINEMATIC RETROSPECT -
TO INTERACTIVE MENU: 3:11
TO INTRODUCTION: 0:15
TO PART ONE: 0:40
TO PART TWO: http://youtu.be/TreNM77J_lM
TO PART THREE: http://youtu.be/2qXgy-MDbnY
TO CONCLUSION: 03:59
EXCERPT FROM UGETSU: http://www.youtube.com/watch?v=TreNM77J_lM&t;=4m20s
EXCERPT FROM SANSHO THE BAILIFF: http://www.youtube.com/watch?v=2qXgy-MDbnY&t;=4m20s
TO THE TCM CLASSIC FILM UNION: http://www.tcm.com/fan/index.html
FOLLOW ME ON TWITTER: http://twitter.com/#!/bkthecinephile
"LIKE" ME ON FACEBOOK: http://www.fb.com/brandonkylethecinephile
- published: 23 Nov 2011
- views: 1758
La calle de la vergüenza narra la historia de una serie de prostitutas que trabajan en un burdel del barrio rojo de Tokio en la época en la que el Parlamento Japonés está debatiendo una ley que puede prohibir la prostitución.
Última de las películas del director japonés Kenji Mizoguchi, que había alcanzado un gran reconocimiento en Occidente, fundamentalmente por el éxito que había obtenido en el Festival de Venecia con películas anteriores, como los Cuentos de la luna pálida, la Vida de O-Haru, mujer galante y El intendente Sansho.
Título La calle de la vergüenza
Ficha técnica
Dirección:Kenji Mizoguchi
Producción:Masaichi Nagata
Guión:Masashige Narusawa
Música:Toshirô Mayuzumi
Fotografía:Kazuo Miyagawa
Reparto
Machiko Kyô
Aiko Mimasu
Ayako Wakao
Michiyo Kogure
Kumeko Urabe
Yasuko Kawakami
Hiroko Machida
Datos y cifras
País:Japón
Año:1956
Género:Drama
Duración:87 minutos
Masaichi Nagata
educacion:
Etnilumidad S.A.
www.etnilumidad.com
etnilumidadinternacional@gmail.com
(506)2510-2323/8818-0475
Siguenos en Twitter
https://twitter.com/#!/etnilumidad
Siguenos en Facebook
http://www.facebook.com/profile.php?id=100000324803984#!/pages/etnilumidadcom/150579178312980
- published: 07 May 2011
- views: 84268
"This final view of Ayako is the most powerful image in the film, and is often cited as one of the most absorbing images in Mizoguchi's oeuvre. The image of Ayako staring into the camera and walking off, into the unknown, leaves the final outcome of the film open to viewer interpretation. However, one cannot resist the thought that her future will ultimately be bleak." Jason Dow
"Mizoguchi has been dubbed Japan's first "feminist" director -- the women in his films are central, he sculpts their characters with deep empathy, and he allows them a full range of emotions which give them the breadth of complex humanity, not the one-sidedness of mere martyrs or objects of love. Additionally, he directs his leading actresses, especially Yamada Isuzu, stellar here as the truly unfortunate Ayako, to transcendent performances." Michael Price
- published: 14 May 2007
- views: 12925
Ohumi y Kenkichi son dos jóvenes que deben tomar una decisión importante en su vida. Ohumi está embarazada, y le ruega a Kenkichi que la lleve a Tokio con ella.
- published: 14 Apr 2015
- views: 857
Kenji Mizoguchi (溝口 健二 Mizoguchi Kenji; May 16, 1898 – August 24, 1956) was a Japanese film director and screenwriter. His film Ugetsu (1953) won the Silver Lion at the Venice Film Festival, and appeared in the Sight & Sound Critics' Top Ten Poll in 1962 and 1972. Mizoguchi is renowned for his mastery of the long take and mise-en-scène. According to writer Mark Le Fanu, "His films have an extraordinary force and purity. They shake and move the viewer by the power, refinement and compassion with which they confront human suffering."
Mizoguchi was born in Hongo, Tokyo, one of three children. His father was a roofing carpenter. The family was modestly middle-class until his father tried to make a living selling raincoats to soldiers during the Russo-Japanese war. The war ended too quickly for the investment to succeed; his family circumstances turned abject and they had to give his older sister up 'for adoption' and moved from Hongo to Asakusa, near to the theatre and brothel quarter. In effect his sister Susomo, or Suzu, was sold into geishadom - an event which profoundly affected Mizoguchi's outlook on life. Between this and his father's brutal treatment of his mother and sister, he maintained a fierce resistance against his father throughout his life.
This page contains text from Wikipedia, the Free Encyclopedia -
http://en.wikipedia.org/wiki/Kenji_Mizoguchi
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
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149:46Kenji Mizoguchi The Life of a Film Director 1975 Kaneto Shindo
Kenji Mizoguchi The Life of a Film Director 1975 Kaneto ShindoKenji Mizoguchi The Life of a Film Director 1975 Kaneto Shindo
Kenji Mizoguchi: The Life of a Film Director (Aru eiga-kantoku no shogai) is a 1975 Japanese documentary film on the life and works of director Kenji Mizoguchi, directed by Kaneto Shindo (Onibaba). It runs 150 minutes and can be found on the second disc of the Region 1 Criterion Collection release of Ugetsu (1953). -
124:36Sansho the Bailiff / 山椒大夫 (1954)
Sansho the Bailiff / 山椒大夫 (1954)Sansho the Bailiff / 山椒大夫 (1954)
Subscribe to our channel! Asian movies with subtitles! Sansho the Bailiff 山椒大夫 El Intendente Sansho L'intendant Sansho Intendente Sansho Epistatis Sansh 山椒大夫 Lääninherra Sansho O Intendente Sansho Legend of Bailiff Sansho Epistatis Sansho Sansho Dayu - Ein Leben ohne Freiheit Director: Kenji Mizoguchi / 溝口 健二 Year: 1954 Duration: 124 min The Sansho screenplay was written by Fuji Yahiro and was adapted from the legend and a 1915 short story, "Sansho the Steward," by Ogai Mori. Reputedly, Mizoguchi wanted Sansho to more closely follow the titular character, rather than the brother and sister who actually dominate the film. And while that would have been a more daring choice — the equivalent of focusing on the Big Bad Wolf rather than Little Red Riding Hood — the Daiei Studio's insistence on exploring the brother and sister tale of Zushio (Masahiko Kato) and Anju (Keiko Enami) allowed Mizoguchi to add layers of psychological depth and realism to what had always been little more than a Japanese fairy tale. That said, the screenplay is outstanding — even if a bit depressing. It reminded me, in its unending emotional declension, of Theo Angelopoulos's Trilogy: The Weeping Meadow. The narrative is set in about the 10th or 11th century (its dates are never specified), and is not that complex, but how it is visually portrayed adds much depth to the spare tale. Sansho opens with the siblings in flight with their mother, Tamaki (Kinuyo Tanaka), and an elderly servant, Ubatake (Chieko Naniwa), after six years in exile from the province of Mutsu, once governed by their father, Taira Masauji (Masao Shimizu). He was deposed because he opposed the way his peasants were being treated. The tale veers between the present flight of the family and six years earlier, when the father bestowed upon Zushio a family heirloom, a statuette of Kwannon, the Goddess of Mercy, and this advice: 'Without mercy, man is like a beast. Even if you are hard on yourself, be merciful to others. Men are created equal. Everyone is entitled to their happiness.' The family is then offered refuge from a night in the cold — filled with bandits and slave traders — by a Shinto priestess (Kikue Mori). At first, it seems that the priestess is an angel of mercy, even offering the family a trip on a boat to visit their exiled patriarch. Instead, she betrays them to boatsmen who are slavers — the mother ends up on the boat, and becomes a courtesan on Sado Island, while the children, on another boat, are sold as slaves on Sansho the Bailiff's manor. The old servant lady is knocked overboard and drowns. While that is a minor moment, it does highlight one of Mizoguchi's techniques. He fades away from the old lady just before she drowns. It's as if he has no interest in endings, only the means to them. Bad critics often make a critical misinterpretation of Sansho the Bailiff at this moment. When we are finally introduced to Sansho (Shindô Eitarô) we see he is clearly cruel and abusive — an Oriental Simon Legree, but we also see him as a servile functionary to his boss, the Minister of the Right, the real owner of the property. Sansho, after all, is just a bailiff for the big man. Yet, many critics see him as both the ultimate evil in the film and as a corrupt character. The latter interpretation can be taken as true in the sense that Sansho is ethically bankrupt on a personal level, but most critics do not use the word in that regard. Rather, they use it to imply he is an anomaly in the system. Yet, this is clearly not true. Sansho is just doing his job, one which allows him to indulge his sadism — it is the system itself that is corrupt. Sansho, in fact, is such an efficient master of the manor that the Minister sends other government officials to see how he runs things so that his methods can be exported to other slave manors in the Empire. Thus, against the backdrop of the feudal system, Sansho is not corrupt — he's the embodiment of merciless capital efficiency. He is an early forerunner to the faceless 'company man.' (http://www.altfg.com/blog/film-reviews/sansho-the-bailiff-by-kenji-mizoguchi/) -
68:12溝口健二 - 虞美人草/Kenji Mizoguchi - Poppy(1935)
溝口健二 - 虞美人草/Kenji Mizoguchi - Poppy(1935)溝口健二 - 虞美人草/Kenji Mizoguchi - Poppy(1935)
Full Movie Subtitles:EN,FR,ES JP:虞美人草,Gubijinso EN:Poppy,Poppies,The Field Poppy. FR:Les Coquelicots ES:Las amapolas 監督:溝口健二 脚本:高柳春雄 潤色:伊藤大輔 原作:夏目漱石『虞美人草』 撮影:三木稔 音楽選曲: 酒井龍峯 高木孝一 編集:坂根田鶴子 美術考証:中村大三郎 衣裳:小笹庄治郎 製作:第一映画社 配給:松竹キネマ 公開:1935年:10月31日 上映時間:1時間15分 白黒 出演: 夏川大二郎...宗近一 月田一郎...小野清三 武田一義...甲野欣吾 大倉千代子...小夜子 二条あや子...宗近の妹・糸子 寺島貢...宗近の父 根岸東一郎...浅井 梅村蓉子...藤尾の母 三宅邦子...藤尾 岩田祐吉...井上孤堂 小泉嘉輔...家主 -
55:35Miyamoto Musashi (1944) Kenji Mizoguchi [Eng Sub] 宮本武蔵 - 河原崎長十郎・中村翫右衛門
Miyamoto Musashi (1944) Kenji Mizoguchi [Eng Sub] 宮本武蔵 - 河原崎長十郎・中村翫右衛門Miyamoto Musashi (1944) Kenji Mizoguchi [Eng Sub] 宮本武蔵 - 河原崎長十郎・中村翫右衛門
Miyamoto Musashi (1944) directed by Kenji Mizoguchi 出演：河原崎長十郎、中村翫右衛門、田中絹代、生島喜五郎 原作：菊池寛 脚本：川口松太郎 撮影：三木滋人 監督：溝口健二 -
73:34夜の女たち（1948年）- 溝口健二 / Street Prostitutes - Kenji Mizoguchi
夜の女たち（1948年）- 溝口健二 / Street Prostitutes - Kenji Mizoguchi夜の女たち（1948年）- 溝口健二 / Street Prostitutes - Kenji Mizoguchi
製作：松竹映畫株式會社 - 京都撮影所 公開：昭和23年（1948年） 5月26日 監督：溝口健二 / 助監督：酒井辰雄、岡田光雄 / 脚本：依田義賢 / 原作： -
90:29A Geisha / 祇園囃子 (1953)
A Geisha / 祇園囃子 (1953)A Geisha / 祇園囃子 (1953)
Subscribe to our channel! Asian movies with subtitles! A Geisha 祇園囃子 Gion bayashi Gion Festival Music Una geisha A Música de Gion Los músicos de Gion Gionin soittajat Les musiciens de Gion ou La fête à Gion Giorti sti Gion Odswietne wystepy w Gion Festa em Gion Die Festmusik von Gion Zwei Geishas Director: Kenji Mizoguchi / 溝口 健二 Year: 1953 Duration: 90 min "A geisha's lie is not a real lie. It's a cornerstone of our profession." Geishas live in a world of lies. They lie to their clients (who lie back to them), get lied to by their Madams and lie to themselves. Everyday. Kenji Mizoguchi's 1953 film "Gion Bayashi" (also known as "A Geisha" or sometimes "Gion Music Festival") is perhaps the definitive (and nicely succinct at 84 minutes long) statement of the life of a geisha in early post-war Japan. Through the story of two separate geisha (an experienced old-school one and a young, but determined, debutante), the movie gradually paints the picture of a life that is but a step away from indentured servitude. The young geisha trainees are told that they represent the beauty of Japan to foreigners and that they are "living works of art" - truer than the young girls may think since they get bought, sold and used at the whims of their "patrons". Put on display like artwork in a gallery, the Madams of this world show off their geisha and can essentially commission new works for these art patrons. The times have changed since geisha were held in respected positions - the men now hold all the power. The story opens with 16 year-old Eiko looking for Mistress Miyoharu (a geisha colleague of her recently deceased mother). Eiko's father has fallen on hard times and has left to find work elsewhere while she struggles to keep her uncle's hands off her. Though she doesn't have a guarantor to fund her training, Eiko begs Miyoharu to teach her the ways of the geisha. Struck by the girl's very determined approach, Miyoharu asks for a loan from Madam Okimi who is one of the Gion area's most powerful Madams. This sets them up well for the next year of intense training (which in shown in a montage of scenes of Eiko learning the shamisen, different forms of percussion, protocols, dance, etc. - it's no wonder there was a Geisha instructor listed in the crew's credits) until Eiko - now renamed Miyoei for her clients - is ready for her debut. At 17 she is a bit young, but she is confident and eager to begin meeting clients. However, she's still quite naive. She gets drunk her first night on sake (not realizing it could make you "feel that way") and still thinks that she will have some say in who her patron may be. She receives a rude awakening from a fellow student, though, who explains that a patron expects the girls to sleep with them. She knows this because she has already been sold to a 62 year-old man by her own mother who expects her to become a more accomplished geisha this way ("Everyone says I'll do well out of it..."). But Eiko is a post-war child (as Miyoharu calls her) and when told that businessman Kusuda wants to be her patron, she states that she will observe him and then decide if she likes him. What she doesn't realize is that her fate has already been decided - it was Kusuda who actually funded her initial training behind Okimi. He bought her before she had even started. Things come to a head when she rejects Kusuda's advances and bites his lip so hard that it sends him to the hospital. Even worse, though, is that the confusion the event creates causes Miyoharu to spurn her own suitor - a young man from the government who holds decision-making power that will affect a major investment from Kusuda. The geisha have now become pawns in a larger struggle for power and money among the men. Their wrath comes down on Okimi and she is ordered to fix things. Her angry and condescending words to Miyoharu (e.g. "How much longer are you going to embarrass me?") mirror the contempt she received from Kusuda's business partner. Okimi's power in the district enables her to shut down Miyoharu and Eiko from getting any work at all and they are now forced to make the choice between sticking to their principles and making ends meet and survive. Given the tough times around them (shown in the very first scene of the film with a woman walking through the streets almost desperately hawking her wares, sweets and crickets), is it even really much of a choice? (http://jfilmpowwow.blogspot.com.br/2011/07/review-gion-bayashi-geisha.html#sthash.5gZemePl.dpuf) -
5:24KENJI MIZOGUCHI | BKTC 6.1
KENJI MIZOGUCHI | BKTC 6.1KENJI MIZOGUCHI | BKTC 6.1
A video blog dedicated to Classic films, Foreign films, and Classic Foreign Films. KENJI MIZOGUCHI, A CINEMATIC RETROSPECT - TO INTERACTIVE MENU: 3:11 TO INTRODUCTION: 0:15 TO PART ONE: 0:40 TO PART TWO: http://youtu.be/TreNM77J_lM TO PART THREE: http://youtu.be/2qXgy-MDbnY TO CONCLUSION: 03:59 EXCERPT FROM UGETSU: http://www.youtube.com/watch?v=TreNM77J_lM&t;=4m20s EXCERPT FROM SANSHO THE BAILIFF: http://www.youtube.com/watch?v=2qXgy-MDbnY&t;=4m20s TO THE TCM CLASSIC FILM UNION: http://www.tcm.com/fan/index.html FOLLOW ME ON TWITTER: http://twitter.com/#!/bkthecinephile "LIKE" ME ON FACEBOOK: http://www.fb.com/brandonkylethecinephile -
82:01La calle de la verguenza(Kenji Mizoguchi-1956)(EtnilumidadHD-2011)
La calle de la verguenza(Kenji Mizoguchi-1956)(EtnilumidadHD-2011)La calle de la verguenza(Kenji Mizoguchi-1956)(EtnilumidadHD-2011)
La calle de la vergüenza narra la historia de una serie de prostitutas que trabajan en un burdel del barrio rojo de Tokio en la época en la que el Parlamento Japonés está debatiendo una ley que puede prohibir la prostitución. Última de las películas del director japonés Kenji Mizoguchi, que había alcanzado un gran reconocimiento en Occidente, fundamentalmente por el éxito que había obtenido en el Festival de Venecia con películas anteriores, como los Cuentos de la luna pálida, la Vida de O-Haru, mujer galante y El intendente Sansho. Título La calle de la vergüenza Ficha técnica Dirección:Kenji Mizoguchi Producción:Masaichi Nagata Guión:Masashige Narusawa Música:Toshirô Mayuzumi Fotografía:Kazuo Miyagawa Reparto Machiko Kyô Aiko Mimasu Ayako Wakao Michiyo Kogure Kumeko Urabe Yasuko Kawakami Hiroko Machida Datos y cifras País:Japón Año:1956 Género:Drama Duración:87 minutos Masaichi Nagata educacion: Etnilumidad S.A. www.etnilumidad.com etnilumidadinternacional@gmail.com (506)2510-2323/8818-0475 Siguenos en Twitter https://twitter.com/#!/etnilumidad Siguenos en Facebook http://www.facebook.com/profile.php?id=100000324803984#!/pages/etnilumidadcom/150579178312980 -
1:56Osaka Elegy (1936) Kenji Mizoguchi ending
Osaka Elegy (1936) Kenji Mizoguchi endingOsaka Elegy (1936) Kenji Mizoguchi ending
"This final view of Ayako is the most powerful image in the film, and is often cited as one of the most absorbing images in Mizoguchi's oeuvre. The image of Ayako staring into the camera and walking off, into the unknown, leaves the final outcome of the film open to viewer interpretation. However, one cannot resist the thought that her future will ultimately be bleak." Jason Dow "Mizoguchi has been dubbed Japan's first "feminist" director -- the women in his films are central, he sculpts their characters with deep empathy, and he allows them a full range of emotions which give them the breadth of complex humanity, not the one-sidedness of mere martyrs or objects of love. Additionally, he directs his leading actresses, especially Yamada Isuzu, stellar here as the truly unfortunate Ayako, to transcendent performances." Michael Price -
97:37Chikamatsu Monogatari | Kenji Mizoguchi
Chikamatsu Monogatari | Kenji MizoguchiChikamatsu Monogatari | Kenji Mizoguchi
The Crucified Lovers -
88:54Kenji Mizoguchi - Aien kyo 1937 VOS (El Valle del Amor y la Tristeza)
Kenji Mizoguchi - Aien kyo 1937 VOS (El Valle del Amor y la Tristeza)Kenji Mizoguchi - Aien kyo 1937 VOS (El Valle del Amor y la Tristeza)
Ohumi y Kenkichi son dos jóvenes que deben tomar una decisión importante en su vida. Ohumi está embarazada, y le ruega a Kenkichi que la lleve a Tokio con ella. -
96:59Ugetsu monogatari |Kenji Mizoguchi (1953).
Ugetsu monogatari |Kenji Mizoguchi (1953).Ugetsu monogatari |Kenji Mizoguchi (1953).
- 1956 in film
- A Geisha
- A Woman of Osaka
- Actor
- Akasaka, Tokyo
- Akira Kurosawa
- Andrei Tarkovsky
- Artificial Eye
- Asakusa
- Asakusa, Tokyo
- Brothel
- Bushido
- Cahiers du cinéma
- Close-up
- Confucian
- Dudley Andrew
- Eugene O'Neill
- Family name
- Feminism
- Feminist
- Feudalism
- Film director
- Film editing
- Flame of My Love
- Folklore
- Geisha
- German Expressionism
- Hiroshi Mizutani
- Hongo
- Jacques Rivette
- Japan
- Japanese art
- Japanese cinema
- Japanese name
- Japanese people
- Jean-Luc Godard
- Jidai-geki
- John Ford
- Josef von Sternberg
- Kabuki
- Kaneto Shindō
- Kenji Mizoguchi
- Kimono
- Kinuyo Tanaka
- Kobe
- Kyoto
- Leo Tolstoy
- Leukemia
- Long take
- Marcel L'Herbier
- Masters of Cinema
- Middle-class
- Mise-en-scene
- Mise-en-scène
- Miss Oyu
- Miyamoto Musashi
- Morality tale
- Mori Ōgai
- Morioka
- Nikkatsu Corporation
- Noh
- Opera
- Orson Welles
- Osaka Elegy
- Oyuki, the Madonna
- Poppies (1936 film)
- Propaganda
- Rheumatoid arthritis
- Russo-Japanese war
- Samurai
- Sansho Dayu
- Sansho the Bailiff
- Screenwriter
- Set designer
- Shimpa
- Sight & Sound
- Sisters of the Gion
- Socialist
- Street of Shame
- Strike action
- Suffrage
- Tendency film
- The 47 Ronin
- The Crucified Lovers
- The Downfall of Osen
- The Life of an Actor
- The Life of Oharu
- The Song of Home
- The Victory of Women
- The Water Magician
- Tojin Okichi
- Tokyo
- Tokyo March
- Ugetsu
- Venice Film Festival
- Wikipedia Persondata
- William Wyler
- Women of the Night
- Yasujirō Ozu
- Yoshikata Yoda
- Yukata
'Kenji Mizoguchi' is featured as a movie character in the following productions:
Eiga joyû (1987)
Actors: Hiroaki Fujii (producer), Hisashi Igawa (actor), Kôji Ishizaka (actor), Kon Ichikawa (director), Kiichi Nakai (actor), Shigemitsu Ogi (actor), Bunta Sugawara (actor), Kôkichi Takada (actor), Kaneto Shindô (writer), Fujio Tokita (actor), Ken Uehara (actor), Kon Ichikawa (writer), Kyôko Kishida (actress), Tomoyuki Tanaka (producer), Sayuri Yoshinaga (actress),
Genres: Drama,Mizoguchi, Kenji Filmography
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2011, role: writer
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2006, role: actor , character name: Himself
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2005, role: actor , character name: Himself
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1957, role: writer
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1956, role: director
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1955, role: director
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1955, role: director
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1954, role: director
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1954, role: director
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1954, role: director
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1953, role: director
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1953, role: director
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1952, role: writer
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1952, role: director
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1952, role: producer
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1951, role: director
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1951, role: director
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1950, role: director
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1949, role: director
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1948, role: director
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1947, role: director
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1946, role: director
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1946, role: director
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1945, role: director
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1945, role: director
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1944, role: director
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1944, role: director
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1941, role: director
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1941, role: director
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1940, role: writer
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1940, role: director
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1939, role: director
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1938, role: director
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1938, role: director
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1937, role: writer
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1937, role: director
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1936, role: director
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1936, role: writer
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1936, role: writer
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1936, role: director
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1935, role: director
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1935, role: director
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1935, role: director
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1935, role: director
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1934, role: writer
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1934, role: director
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1934, role: director
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1933, role: director
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1933, role: writer
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1933, role: director
Mizoguchi, Kenji Filmography
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1999, role: producer
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Kenji Mizoguchi The Life of a Film Director 1975 Kaneto Shindo
Kenji Mizoguchi: The Life of a Film Director (Aru eiga-kantoku no shogai) is a 1975 Japanese documentary film on the life and works of director Kenji Mizoguchi, directed by Kaneto Shindo (Onibaba). It runs 150 minutes and can be found on the second disc of the Region 1 Criterion Collection release of Ugetsu (1953). -
Sansho the Bailiff / 山椒大夫 (1954)
Subscribe to our channel! Asian movies with subtitles! Sansho the Bailiff 山椒大夫 El Intendente Sansho L'intendant Sansho Intendente Sansho Epistatis Sansh 山椒大夫 Lääninherra Sansho O Intendente Sansho Legend of Bailiff Sansho Epistatis Sansho Sansho Dayu - Ein Leben ohne Freiheit Director: Kenji Mizoguchi / 溝口 健二 Year: 1954 Duration: 124 min The Sansho screenplay was written by Fuji Yahiro and was adapted from the legend and a 1915 short story, "Sansho the Steward," by Ogai Mori. Reputedly, Mizoguchi wanted Sansho to more closely follow the titular character, rather than the brother and sister who actually dominate the film. And while that would have been a more daring choice — the equivalent of focusing on the Big Bad Wolf rather than Little Red Riding Hood — the Daiei Studio's insisten... -
溝口健二 - 虞美人草/Kenji Mizoguchi - Poppy(1935)
Full Movie Subtitles:EN,FR,ES JP:虞美人草,Gubijinso EN:Poppy,Poppies,The Field Poppy. FR:Les Coquelicots ES:Las amapolas 監督:溝口健二 脚本:高柳春雄 潤色:伊藤大輔 原作:夏目漱石『虞美人草』 撮影:三木稔 音楽選曲: 酒井龍峯 高木孝一 編集:坂根田鶴子 美術考証:中村大三郎 衣裳:小笹庄治郎 製作:第一映画社 配給:松竹キネマ 公開:1935年:10月31日 上映時間:1時間15分 白黒 出演: 夏川大二郎...宗近一 月田一郎...小野清三 武田一義...甲野欣吾 大倉千代子...小夜子 二条あや子...宗近の妹・糸子 寺島貢...宗近の父 根岸東一郎...浅井 梅村蓉子...藤尾の母 三宅邦子...藤尾 岩田祐吉...井上孤堂 小泉嘉輔...家主 -
Miyamoto Musashi (1944) Kenji Mizoguchi [Eng Sub] 宮本武蔵 - 河原崎長十郎・中村翫右衛門
Miyamoto Musashi (1944) directed by Kenji Mizoguchi 出演：河原崎長十郎、中村翫右衛門、田中絹代、生島喜五郎 原作：菊池寛 脚本：川口松太郎 撮影：三木滋人 監督：溝口健二 -
夜の女たち（1948年）- 溝口健二 / Street Prostitutes - Kenji Mizoguchi
製作：松竹映畫株式會社 - 京都撮影所 公開：昭和23年（1948年） 5月26日 監督：溝口健二 / 助監督：酒井辰雄、岡田光雄 / 脚本：依田義賢 / 原作： -
A Geisha / 祇園囃子 (1953)
Subscribe to our channel! Asian movies with subtitles! A Geisha 祇園囃子 Gion bayashi Gion Festival Music Una geisha A Música de Gion Los músicos de Gion Gionin soittajat Les musiciens de Gion ou La fête à Gion Giorti sti Gion Odswietne wystepy w Gion Festa em Gion Die Festmusik von Gion Zwei Geishas Director: Kenji Mizoguchi / 溝口 健二 Year: 1953 Duration: 90 min "A geisha's lie is not a real lie. It's a cornerstone of our profession." Geishas live in a world of lies. They lie to their clients (who lie back to them), get lied to by their Madams and lie to themselves. Everyday. Kenji Mizoguchi's 1953 film "Gion Bayashi" (also known as "A Geisha" or sometimes "Gion Music Festival") is perhaps the definitive (and nicely succinct at 84 minutes long) statement of the life of a geisha in early po... -
KENJI MIZOGUCHI | BKTC 6.1
A video blog dedicated to Classic films, Foreign films, and Classic Foreign Films. KENJI MIZOGUCHI, A CINEMATIC RETROSPECT - TO INTERACTIVE MENU: 3:11 TO INTRODUCTION: 0:15 TO PART ONE: 0:40 TO PART TWO: http://youtu.be/TreNM77J_lM TO PART THREE: http://youtu.be/2qXgy-MDbnY TO CONCLUSION: 03:59 EXCERPT FROM UGETSU: http://www.youtube.com/watch?v=TreNM77J_lM&t;=4m20s EXCERPT FROM SANSHO THE BAILIFF: http://www.youtube.com/watch?v=2qXgy-MDbnY&t;=4m20s TO THE TCM CLASSIC FILM UNION: http://www.tcm.com/fan/index.html FOLLOW ME ON TWITTER: http://twitter.com/#!/bkthecinephile "LIKE" ME ON FACEBOOK: http://www.fb.com/brandonkylethecinephile -
La calle de la verguenza(Kenji Mizoguchi-1956)(EtnilumidadHD-2011)
La calle de la vergüenza narra la historia de una serie de prostitutas que trabajan en un burdel del barrio rojo de Tokio en la época en la que el Parlamento Japonés está debatiendo una ley que puede prohibir la prostitución. Última de las películas del director japonés Kenji Mizoguchi, que había alcanzado un gran reconocimiento en Occidente, fundamentalmente por el éxito que había obtenido en el Festival de Venecia con películas anteriores, como los Cuentos de la luna pálida, la Vida de O-Haru, mujer galante y El intendente Sansho. Título La calle de la vergüenza Ficha técnica Dirección:Kenji Mizoguchi Producción:Masaichi Nagata Guión:Masashige Narusawa Música:Toshirô Mayuzumi Fotografía:Kazuo Miyagawa Reparto Machiko Kyô Aiko Mimasu Ayako Wakao Michiyo Kogure Kum... -
Osaka Elegy (1936) Kenji Mizoguchi ending
"This final view of Ayako is the most powerful image in the film, and is often cited as one of the most absorbing images in Mizoguchi's oeuvre. The image of Ayako staring into the camera and walking off, into the unknown, leaves the final outcome of the film open to viewer interpretation. However, one cannot resist the thought that her future will ultimately be bleak." Jason Dow "Mizoguchi has been dubbed Japan's first "feminist" director -- the women in his films are central, he sculpts their characters with deep empathy, and he allows them a full range of emotions which give them the breadth of complex humanity, not the one-sidedness of mere martyrs or objects of love. Additionally, he directs his leading actresses, especially Yamada Isuzu, stellar here as the truly unfortunate Ayako,... -
Chikamatsu Monogatari | Kenji Mizoguchi
The Crucified Lovers -
Kenji Mizoguchi - Aien kyo 1937 VOS (El Valle del Amor y la Tristeza)
Ohumi y Kenkichi son dos jóvenes que deben tomar una decisión importante en su vida. Ohumi está embarazada, y le ruega a Kenkichi que la lleve a Tokio con ella. -
Ugetsu monogatari |Kenji Mizoguchi (1953).
Kenji Mizoguchi The Life of a Film Director 1975 Kaneto Shindo
- Order: Reorder
- Duration: 149:46
- Updated: 25 Nov 2013
- views: 22790
Kenji Mizoguchi: The Life of a Film Director (Aru eiga-kantoku no shogai) is a 1975 Japanese documentary film on the life and works of director Kenji Mizoguchi,...
Kenji Mizoguchi: The Life of a Film Director (Aru eiga-kantoku no shogai) is a 1975 Japanese documentary film on the life and works of director Kenji Mizoguchi, directed by Kaneto Shindo (Onibaba). It runs 150 minutes and can be found on the second disc of the Region 1 Criterion Collection release of Ugetsu (1953).
wn.com/Kenji Mizoguchi The Life Of A Film Director 1975 Kaneto Shindo
Kenji Mizoguchi: The Life of a Film Director (Aru eiga-kantoku no shogai) is a 1975 Japanese documentary film on the life and works of director Kenji Mizoguchi, directed by Kaneto Shindo (Onibaba). It runs 150 minutes and can be found on the second disc of the Region 1 Criterion Collection release of Ugetsu (1953).
- published: 25 Nov 2013
- views: 22790
Sansho the Bailiff / 山椒大夫 (1954)
- Order: Reorder
- Duration: 124:36
- Updated: 14 May 2014
- views: 44873
Subscribe to our channel!
Asian movies with subtitles!
Sansho the Bailiff
山椒大夫
El Intendente Sansho
L'intendant Sansho
Intendente Sansho
Epistatis Sansh
山椒大夫...
Subscribe to our channel!
Asian movies with subtitles!
Sansho the Bailiff
山椒大夫
El Intendente Sansho
L'intendant Sansho
Intendente Sansho
Epistatis Sansh
山椒大夫
Lääninherra Sansho
O Intendente Sansho
Legend of Bailiff Sansho
Epistatis Sansho
Sansho Dayu - Ein Leben ohne Freiheit
Director: Kenji Mizoguchi / 溝口 健二
Year: 1954
Duration: 124 min
The Sansho screenplay was written by Fuji Yahiro and was adapted from the legend and a 1915 short story, "Sansho the Steward," by Ogai Mori. Reputedly, Mizoguchi wanted Sansho to more closely follow the titular character, rather than the brother and sister who actually dominate the film. And while that would have been a more daring choice — the equivalent of focusing on the Big Bad Wolf rather than Little Red Riding Hood — the Daiei Studio's insistence on exploring the brother and sister tale of Zushio (Masahiko Kato) and Anju (Keiko Enami) allowed Mizoguchi to add layers of psychological depth and realism to what had always been little more than a Japanese fairy tale. That said, the screenplay is outstanding — even if a bit depressing. It reminded me, in its unending emotional declension, of Theo Angelopoulos's Trilogy: The Weeping Meadow.
The narrative is set in about the 10th or 11th century (its dates are never specified), and is not that complex, but how it is visually portrayed adds much depth to the spare tale.
Sansho opens with the siblings in flight with their mother, Tamaki (Kinuyo Tanaka), and an elderly servant, Ubatake (Chieko Naniwa), after six years in exile from the province of Mutsu, once governed by their father, Taira Masauji (Masao Shimizu). He was deposed because he opposed the way his peasants were being treated. The tale veers between the present flight of the family and six years earlier, when the father bestowed upon Zushio a family heirloom, a statuette of Kwannon, the Goddess of Mercy, and this advice: 'Without mercy, man is like a beast. Even if you are hard on yourself, be merciful to others. Men are created equal. Everyone is entitled to their happiness.'
The family is then offered refuge from a night in the cold — filled with bandits and slave traders — by a Shinto priestess (Kikue Mori). At first, it seems that the priestess is an angel of mercy, even offering the family a trip on a boat to visit their exiled patriarch. Instead, she betrays them to boatsmen who are slavers — the mother ends up on the boat, and becomes a courtesan on Sado Island, while the children, on another boat, are sold as slaves on Sansho the Bailiff's manor.
The old servant lady is knocked overboard and drowns. While that is a minor moment, it does highlight one of Mizoguchi's techniques. He fades away from the old lady just before she drowns. It's as if he has no interest in endings, only the means to them.
Bad critics often make a critical misinterpretation of Sansho the Bailiff at this moment. When we are finally introduced to Sansho (Shindô Eitarô) we see he is clearly cruel and abusive — an Oriental Simon Legree, but we also see him as a servile functionary to his boss, the Minister of the Right, the real owner of the property. Sansho, after all, is just a bailiff for the big man. Yet, many critics see him as both the ultimate evil in the film and as a corrupt character.
The latter interpretation can be taken as true in the sense that Sansho is ethically bankrupt on a personal level, but most critics do not use the word in that regard. Rather, they use it to imply he is an anomaly in the system. Yet, this is clearly not true. Sansho is just doing his job, one which allows him to indulge his sadism — it is the system itself that is corrupt.
Sansho, in fact, is such an efficient master of the manor that the Minister sends other government officials to see how he runs things so that his methods can be exported to other slave manors in the Empire. Thus, against the backdrop of the feudal system, Sansho is not corrupt — he's the embodiment of merciless capital efficiency. He is an early forerunner to the faceless 'company man.'
(http://www.altfg.com/blog/film-reviews/sansho-the-bailiff-by-kenji-mizoguchi/)
wn.com/Sansho The Bailiff 山椒大夫 (1954)
Subscribe to our channel!
Asian movies with subtitles!
Sansho the Bailiff
山椒大夫
El Intendente Sansho
L'intendant Sansho
Intendente Sansho
Epistatis Sansh
山椒大夫
Lääninherra Sansho
O Intendente Sansho
Legend of Bailiff Sansho
Epistatis Sansho
Sansho Dayu - Ein Leben ohne Freiheit
Director: Kenji Mizoguchi / 溝口 健二
Year: 1954
Duration: 124 min
The Sansho screenplay was written by Fuji Yahiro and was adapted from the legend and a 1915 short story, "Sansho the Steward," by Ogai Mori. Reputedly, Mizoguchi wanted Sansho to more closely follow the titular character, rather than the brother and sister who actually dominate the film. And while that would have been a more daring choice — the equivalent of focusing on the Big Bad Wolf rather than Little Red Riding Hood — the Daiei Studio's insistence on exploring the brother and sister tale of Zushio (Masahiko Kato) and Anju (Keiko Enami) allowed Mizoguchi to add layers of psychological depth and realism to what had always been little more than a Japanese fairy tale. That said, the screenplay is outstanding — even if a bit depressing. It reminded me, in its unending emotional declension, of Theo Angelopoulos's Trilogy: The Weeping Meadow.
The narrative is set in about the 10th or 11th century (its dates are never specified), and is not that complex, but how it is visually portrayed adds much depth to the spare tale.
Sansho opens with the siblings in flight with their mother, Tamaki (Kinuyo Tanaka), and an elderly servant, Ubatake (Chieko Naniwa), after six years in exile from the province of Mutsu, once governed by their father, Taira Masauji (Masao Shimizu). He was deposed because he opposed the way his peasants were being treated. The tale veers between the present flight of the family and six years earlier, when the father bestowed upon Zushio a family heirloom, a statuette of Kwannon, the Goddess of Mercy, and this advice: 'Without mercy, man is like a beast. Even if you are hard on yourself, be merciful to others. Men are created equal. Everyone is entitled to their happiness.'
The family is then offered refuge from a night in the cold — filled with bandits and slave traders — by a Shinto priestess (Kikue Mori). At first, it seems that the priestess is an angel of mercy, even offering the family a trip on a boat to visit their exiled patriarch. Instead, she betrays them to boatsmen who are slavers — the mother ends up on the boat, and becomes a courtesan on Sado Island, while the children, on another boat, are sold as slaves on Sansho the Bailiff's manor.
The old servant lady is knocked overboard and drowns. While that is a minor moment, it does highlight one of Mizoguchi's techniques. He fades away from the old lady just before she drowns. It's as if he has no interest in endings, only the means to them.
Bad critics often make a critical misinterpretation of Sansho the Bailiff at this moment. When we are finally introduced to Sansho (Shindô Eitarô) we see he is clearly cruel and abusive — an Oriental Simon Legree, but we also see him as a servile functionary to his boss, the Minister of the Right, the real owner of the property. Sansho, after all, is just a bailiff for the big man. Yet, many critics see him as both the ultimate evil in the film and as a corrupt character.
The latter interpretation can be taken as true in the sense that Sansho is ethically bankrupt on a personal level, but most critics do not use the word in that regard. Rather, they use it to imply he is an anomaly in the system. Yet, this is clearly not true. Sansho is just doing his job, one which allows him to indulge his sadism — it is the system itself that is corrupt.
Sansho, in fact, is such an efficient master of the manor that the Minister sends other government officials to see how he runs things so that his methods can be exported to other slave manors in the Empire. Thus, against the backdrop of the feudal system, Sansho is not corrupt — he's the embodiment of merciless capital efficiency. He is an early forerunner to the faceless 'company man.'
(http://www.altfg.com/blog/film-reviews/sansho-the-bailiff-by-kenji-mizoguchi/)
- published: 14 May 2014
- views: 44873
溝口健二 - 虞美人草/Kenji Mizoguchi - Poppy(1935)
- Order: Reorder
- Duration: 68:12
- Updated: 30 Aug 2012
- views: 50894
Full Movie
Subtitles:EN,FR,ES
JP:虞美人草,Gubijinso
EN:Poppy,Poppies,The Field Poppy.
FR:Les Coquelicots
ES:Las amapolas
監督:溝口健二
脚本:高柳春雄
潤色:伊藤大輔
原作:夏目漱石『虞美人草』
撮影:三...
Full Movie
Subtitles:EN,FR,ES
JP:虞美人草,Gubijinso
EN:Poppy,Poppies,The Field Poppy.
FR:Les Coquelicots
ES:Las amapolas
監督:溝口健二
脚本:高柳春雄
潤色:伊藤大輔
原作:夏目漱石『虞美人草』
撮影:三木稔
音楽選曲:
酒井龍峯
高木孝一
編集:坂根田鶴子
美術考証:中村大三郎
衣裳:小笹庄治郎
製作:第一映画社
配給:松竹キネマ
公開:1935年:10月31日
上映時間:1時間15分
白黒
出演:
夏川大二郎...宗近一
月田一郎...小野清三
武田一義...甲野欣吾
大倉千代子...小夜子
二条あや子...宗近の妹・糸子
寺島貢...宗近の父
根岸東一郎...浅井
梅村蓉子...藤尾の母
三宅邦子...藤尾
岩田祐吉...井上孤堂
小泉嘉輔...家主
wn.com/溝口健二 虞美人草 Kenji Mizoguchi Poppy(1935)
Full Movie
Subtitles:EN,FR,ES
JP:虞美人草,Gubijinso
EN:Poppy,Poppies,The Field Poppy.
FR:Les Coquelicots
ES:Las amapolas
監督:溝口健二
脚本:高柳春雄
潤色:伊藤大輔
原作:夏目漱石『虞美人草』
撮影:三木稔
音楽選曲:
酒井龍峯
高木孝一
編集:坂根田鶴子
美術考証:中村大三郎
衣裳:小笹庄治郎
製作:第一映画社
配給:松竹キネマ
公開:1935年:10月31日
上映時間:1時間15分
白黒
出演:
夏川大二郎...宗近一
月田一郎...小野清三
武田一義...甲野欣吾
大倉千代子...小夜子
二条あや子...宗近の妹・糸子
寺島貢...宗近の父
根岸東一郎...浅井
梅村蓉子...藤尾の母
三宅邦子...藤尾
岩田祐吉...井上孤堂
小泉嘉輔...家主
- published: 30 Aug 2012
- views: 50894
Miyamoto Musashi (1944) Kenji Mizoguchi [Eng Sub] 宮本武蔵 - 河原崎長十郎・中村翫右衛門
- Order: Reorder
- Duration: 55:35
- Updated: 30 Sep 2013
- views: 150294
Miyamoto Musashi (1944) directed by Kenji Mizoguchi
出演：河原崎長十郎、中村翫右衛門、田中絹代、生島喜五郎
原作：菊池寛
脚本：川口松太郎
撮影：三木滋人
監督：溝口健二
Miyamoto Musashi (1944) directed by Kenji Mizoguchi
出演：河原崎長十郎、中村翫右衛門、田中絹代、生島喜五郎
原作：菊池寛
脚本：川口松太郎
撮影：三木滋人
監督：溝口健二
wn.com/Miyamoto Musashi (1944) Kenji Mizoguchi Eng Sub 宮本武蔵 河原崎長十郎・中村翫右衛門
Miyamoto Musashi (1944) directed by Kenji Mizoguchi
出演：河原崎長十郎、中村翫右衛門、田中絹代、生島喜五郎
原作：菊池寛
脚本：川口松太郎
撮影：三木滋人
監督：溝口健二
- published: 30 Sep 2013
- views: 150294
夜の女たち（1948年）- 溝口健二 / Street Prostitutes - Kenji Mizoguchi
- Order: Reorder
- Duration: 73:34
- Updated: 08 Nov 2015
- views: 5610
製作：松竹映畫株式會社 - 京都撮影所 公開：昭和23年（1948年） 5月26日 監督：溝口健二 / 助監督：酒井辰雄、岡田光雄 / 脚本：依田義賢 / 原作：
製作：松竹映畫株式會社 - 京都撮影所 公開：昭和23年（1948年） 5月26日 監督：溝口健二 / 助監督：酒井辰雄、岡田光雄 / 脚本：依田義賢 / 原作：
wn.com/夜の女たち（1948年） 溝口健二 Street Prostitutes Kenji Mizoguchi
製作：松竹映畫株式會社 - 京都撮影所 公開：昭和23年（1948年） 5月26日 監督：溝口健二 / 助監督：酒井辰雄、岡田光雄 / 脚本：依田義賢 / 原作：
- published: 08 Nov 2015
- views: 5610
A Geisha / 祇園囃子 (1953)
- Order: Reorder
- Duration: 90:29
- Updated: 12 May 2014
- views: 34100
Subscribe to our channel!
Asian movies with subtitles!
A Geisha
祇園囃子
Gion bayashi
Gion Festival Music
Una geisha
A Música de Gion
Los músicos de Gion
Gionin s...
Subscribe to our channel!
Asian movies with subtitles!
A Geisha
祇園囃子
Gion bayashi
Gion Festival Music
Una geisha
A Música de Gion
Los músicos de Gion
Gionin soittajat
Les musiciens de Gion ou La fête à Gion
Giorti sti Gion
Odswietne wystepy w Gion
Festa em Gion
Die Festmusik von Gion
Zwei Geishas
Director: Kenji Mizoguchi / 溝口 健二
Year: 1953
Duration: 90 min
"A geisha's lie is not a real lie. It's a cornerstone of our profession."
Geishas live in a world of lies. They lie to their clients (who lie back to them), get lied to by their Madams and lie to themselves. Everyday. Kenji Mizoguchi's 1953 film "Gion Bayashi" (also known as "A Geisha" or sometimes "Gion Music Festival") is perhaps the definitive (and nicely succinct at 84 minutes long) statement of the life of a geisha in early post-war Japan. Through the story of two separate geisha (an experienced old-school one and a young, but determined, debutante), the movie gradually paints the picture of a life that is but a step away from indentured servitude. The young geisha trainees are told that they represent the beauty of Japan to foreigners and that they are "living works of art" - truer than the young girls may think since they get bought, sold and used at the whims of their "patrons". Put on display like artwork in a gallery, the Madams of this world show off their geisha and can essentially commission new works for these art patrons. The times have changed since geisha were held in respected positions - the men now hold all the power.
The story opens with 16 year-old Eiko looking for Mistress Miyoharu (a geisha colleague of her recently deceased mother). Eiko's father has fallen on hard times and has left to find work elsewhere while she struggles to keep her uncle's hands off her. Though she doesn't have a guarantor to fund her training, Eiko begs Miyoharu to teach her the ways of the geisha. Struck by the girl's very determined approach, Miyoharu asks for a loan from Madam Okimi who is one of the Gion area's most powerful Madams. This sets them up well for the next year of intense training (which in shown in a montage of scenes of Eiko learning the shamisen, different forms of percussion, protocols, dance, etc. - it's no wonder there was a Geisha instructor listed in the crew's credits) until Eiko - now renamed Miyoei for her clients - is ready for her debut. At 17 she is a bit young, but she is confident and eager to begin meeting clients. However, she's still quite naive. She gets drunk her first night on sake (not realizing it could make you "feel that way") and still thinks that she will have some say in who her patron may be. She receives a rude awakening from a fellow student, though, who explains that a patron expects the girls to sleep with them. She knows this because she has already been sold to a 62 year-old man by her own mother who expects her to become a more accomplished geisha this way ("Everyone says I'll do well out of it...").
But Eiko is a post-war child (as Miyoharu calls her) and when told that businessman Kusuda wants to be her patron, she states that she will observe him and then decide if she likes him. What she doesn't realize is that her fate has already been decided - it was Kusuda who actually funded her initial training behind Okimi. He bought her before she had even started. Things come to a head when she rejects Kusuda's advances and bites his lip so hard that it sends him to the hospital. Even worse, though, is that the confusion the event creates causes Miyoharu to spurn her own suitor - a young man from the government who holds decision-making power that will affect a major investment from Kusuda. The geisha have now become pawns in a larger struggle for power and money among the men. Their wrath comes down on Okimi and she is ordered to fix things. Her angry and condescending words to Miyoharu (e.g. "How much longer are you going to embarrass me?") mirror the contempt she received from Kusuda's business partner. Okimi's power in the district enables her to shut down Miyoharu and Eiko from getting any work at all and they are now forced to make the choice between sticking to their principles and making ends meet and survive. Given the tough times around them (shown in the very first scene of the film with a woman walking through the streets almost desperately hawking her wares, sweets and crickets), is it even really much of a choice?
(http://jfilmpowwow.blogspot.com.br/2011/07/review-gion-bayashi-geisha.html#sthash.5gZemePl.dpuf)
wn.com/A Geisha 祇園囃子 (1953)
Subscribe to our channel!
Asian movies with subtitles!
A Geisha
祇園囃子
Gion bayashi
Gion Festival Music
Una geisha
A Música de Gion
Los músicos de Gion
Gionin soittajat
Les musiciens de Gion ou La fête à Gion
Giorti sti Gion
Odswietne wystepy w Gion
Festa em Gion
Die Festmusik von Gion
Zwei Geishas
Director: Kenji Mizoguchi / 溝口 健二
Year: 1953
Duration: 90 min
"A geisha's lie is not a real lie. It's a cornerstone of our profession."
Geishas live in a world of lies. They lie to their clients (who lie back to them), get lied to by their Madams and lie to themselves. Everyday. Kenji Mizoguchi's 1953 film "Gion Bayashi" (also known as "A Geisha" or sometimes "Gion Music Festival") is perhaps the definitive (and nicely succinct at 84 minutes long) statement of the life of a geisha in early post-war Japan. Through the story of two separate geisha (an experienced old-school one and a young, but determined, debutante), the movie gradually paints the picture of a life that is but a step away from indentured servitude. The young geisha trainees are told that they represent the beauty of Japan to foreigners and that they are "living works of art" - truer than the young girls may think since they get bought, sold and used at the whims of their "patrons". Put on display like artwork in a gallery, the Madams of this world show off their geisha and can essentially commission new works for these art patrons. The times have changed since geisha were held in respected positions - the men now hold all the power.
The story opens with 16 year-old Eiko looking for Mistress Miyoharu (a geisha colleague of her recently deceased mother). Eiko's father has fallen on hard times and has left to find work elsewhere while she struggles to keep her uncle's hands off her. Though she doesn't have a guarantor to fund her training, Eiko begs Miyoharu to teach her the ways of the geisha. Struck by the girl's very determined approach, Miyoharu asks for a loan from Madam Okimi who is one of the Gion area's most powerful Madams. This sets them up well for the next year of intense training (which in shown in a montage of scenes of Eiko learning the shamisen, different forms of percussion, protocols, dance, etc. - it's no wonder there was a Geisha instructor listed in the crew's credits) until Eiko - now renamed Miyoei for her clients - is ready for her debut. At 17 she is a bit young, but she is confident and eager to begin meeting clients. However, she's still quite naive. She gets drunk her first night on sake (not realizing it could make you "feel that way") and still thinks that she will have some say in who her patron may be. She receives a rude awakening from a fellow student, though, who explains that a patron expects the girls to sleep with them. She knows this because she has already been sold to a 62 year-old man by her own mother who expects her to become a more accomplished geisha this way ("Everyone says I'll do well out of it...").
But Eiko is a post-war child (as Miyoharu calls her) and when told that businessman Kusuda wants to be her patron, she states that she will observe him and then decide if she likes him. What she doesn't realize is that her fate has already been decided - it was Kusuda who actually funded her initial training behind Okimi. He bought her before she had even started. Things come to a head when she rejects Kusuda's advances and bites his lip so hard that it sends him to the hospital. Even worse, though, is that the confusion the event creates causes Miyoharu to spurn her own suitor - a young man from the government who holds decision-making power that will affect a major investment from Kusuda. The geisha have now become pawns in a larger struggle for power and money among the men. Their wrath comes down on Okimi and she is ordered to fix things. Her angry and condescending words to Miyoharu (e.g. "How much longer are you going to embarrass me?") mirror the contempt she received from Kusuda's business partner. Okimi's power in the district enables her to shut down Miyoharu and Eiko from getting any work at all and they are now forced to make the choice between sticking to their principles and making ends meet and survive. Given the tough times around them (shown in the very first scene of the film with a woman walking through the streets almost desperately hawking her wares, sweets and crickets), is it even really much of a choice?
(http://jfilmpowwow.blogspot.com.br/2011/07/review-gion-bayashi-geisha.html#sthash.5gZemePl.dpuf)
- published: 12 May 2014
- views: 34100
KENJI MIZOGUCHI | BKTC 6.1
- Order: Reorder
- Duration: 5:24
- Updated: 23 Nov 2011
- views: 1758
A video blog dedicated to Classic films, Foreign films, and Classic Foreign Films.
KENJI MIZOGUCHI, A CINEMATIC RETROSPECT -
TO INTERACTIVE MENU: 3:11
...
A video blog dedicated to Classic films, Foreign films, and Classic Foreign Films.
KENJI MIZOGUCHI, A CINEMATIC RETROSPECT -
TO INTERACTIVE MENU: 3:11
TO INTRODUCTION: 0:15
TO PART ONE: 0:40
TO PART TWO: http://youtu.be/TreNM77J_lM
TO PART THREE: http://youtu.be/2qXgy-MDbnY
TO CONCLUSION: 03:59
EXCERPT FROM UGETSU: http://www.youtube.com/watch?v=TreNM77J_lM&t;=4m20s
EXCERPT FROM SANSHO THE BAILIFF: http://www.youtube.com/watch?v=2qXgy-MDbnY&t;=4m20s
TO THE TCM CLASSIC FILM UNION: http://www.tcm.com/fan/index.html
FOLLOW ME ON TWITTER: http://twitter.com/#!/bkthecinephile
"LIKE" ME ON FACEBOOK: http://www.fb.com/brandonkylethecinephile
wn.com/Kenji Mizoguchi | Bktc 6.1
A video blog dedicated to Classic films, Foreign films, and Classic Foreign Films.
KENJI MIZOGUCHI, A CINEMATIC RETROSPECT -
TO INTERACTIVE MENU: 3:11
TO INTRODUCTION: 0:15
TO PART ONE: 0:40
TO PART TWO: http://youtu.be/TreNM77J_lM
TO PART THREE: http://youtu.be/2qXgy-MDbnY
TO CONCLUSION: 03:59
EXCERPT FROM UGETSU: http://www.youtube.com/watch?v=TreNM77J_lM&t;=4m20s
EXCERPT FROM SANSHO THE BAILIFF: http://www.youtube.com/watch?v=2qXgy-MDbnY&t;=4m20s
TO THE TCM CLASSIC FILM UNION: http://www.tcm.com/fan/index.html
FOLLOW ME ON TWITTER: http://twitter.com/#!/bkthecinephile
"LIKE" ME ON FACEBOOK: http://www.fb.com/brandonkylethecinephile
- published: 23 Nov 2011
- views: 1758
La calle de la verguenza(Kenji Mizoguchi-1956)(EtnilumidadHD-2011)
- Order: Reorder
- Duration: 82:01
- Updated: 07 May 2011
- views: 84268
La calle de la vergüenza narra la historia de una serie de prostitutas que trabajan en un burdel del barrio rojo de Tokio en la época en la que el Parlamento Ja...
La calle de la vergüenza narra la historia de una serie de prostitutas que trabajan en un burdel del barrio rojo de Tokio en la época en la que el Parlamento Japonés está debatiendo una ley que puede prohibir la prostitución.
Última de las películas del director japonés Kenji Mizoguchi, que había alcanzado un gran reconocimiento en Occidente, fundamentalmente por el éxito que había obtenido en el Festival de Venecia con películas anteriores, como los Cuentos de la luna pálida, la Vida de O-Haru, mujer galante y El intendente Sansho.
Título La calle de la vergüenza
Ficha técnica
Dirección:Kenji Mizoguchi
Producción:Masaichi Nagata
Guión:Masashige Narusawa
Música:Toshirô Mayuzumi
Fotografía:Kazuo Miyagawa
Reparto
Machiko Kyô
Aiko Mimasu
Ayako Wakao
Michiyo Kogure
Kumeko Urabe
Yasuko Kawakami
Hiroko Machida
Datos y cifras
País:Japón
Año:1956
Género:Drama
Duración:87 minutos
Masaichi Nagata
educacion:
Etnilumidad S.A.
www.etnilumidad.com
etnilumidadinternacional@gmail.com
(506)2510-2323/8818-0475
Siguenos en Twitter
https://twitter.com/#!/etnilumidad
Siguenos en Facebook
http://www.facebook.com/profile.php?id=100000324803984#!/pages/etnilumidadcom/150579178312980
wn.com/La Calle De La Verguenza(Kenji Mizoguchi 1956)(Etnilumidadhd 2011)
La calle de la vergüenza narra la historia de una serie de prostitutas que trabajan en un burdel del barrio rojo de Tokio en la época en la que el Parlamento Japonés está debatiendo una ley que puede prohibir la prostitución.
Última de las películas del director japonés Kenji Mizoguchi, que había alcanzado un gran reconocimiento en Occidente, fundamentalmente por el éxito que había obtenido en el Festival de Venecia con películas anteriores, como los Cuentos de la luna pálida, la Vida de O-Haru, mujer galante y El intendente Sansho.
Título La calle de la vergüenza
Ficha técnica
Dirección:Kenji Mizoguchi
Producción:Masaichi Nagata
Guión:Masashige Narusawa
Música:Toshirô Mayuzumi
Fotografía:Kazuo Miyagawa
Reparto
Machiko Kyô
Aiko Mimasu
Ayako Wakao
Michiyo Kogure
Kumeko Urabe
Yasuko Kawakami
Hiroko Machida
Datos y cifras
País:Japón
Año:1956
Género:Drama
Duración:87 minutos
Masaichi Nagata
educacion:
Etnilumidad S.A.
www.etnilumidad.com
etnilumidadinternacional@gmail.com
(506)2510-2323/8818-0475
Siguenos en Twitter
https://twitter.com/#!/etnilumidad
Siguenos en Facebook
http://www.facebook.com/profile.php?id=100000324803984#!/pages/etnilumidadcom/150579178312980
- published: 07 May 2011
- views: 84268
Osaka Elegy (1936) Kenji Mizoguchi ending
- Order: Reorder
- Duration: 1:56
- Updated: 14 May 2007
- views: 12925
"This final view of Ayako is the most powerful image in the film, and is often cited as one of the most absorbing images in Mizoguchi's oeuvre. The image of Aya...
"This final view of Ayako is the most powerful image in the film, and is often cited as one of the most absorbing images in Mizoguchi's oeuvre. The image of Ayako staring into the camera and walking off, into the unknown, leaves the final outcome of the film open to viewer interpretation. However, one cannot resist the thought that her future will ultimately be bleak." Jason Dow
"Mizoguchi has been dubbed Japan's first "feminist" director -- the women in his films are central, he sculpts their characters with deep empathy, and he allows them a full range of emotions which give them the breadth of complex humanity, not the one-sidedness of mere martyrs or objects of love. Additionally, he directs his leading actresses, especially Yamada Isuzu, stellar here as the truly unfortunate Ayako, to transcendent performances." Michael Price
wn.com/Osaka Elegy (1936) Kenji Mizoguchi Ending
"This final view of Ayako is the most powerful image in the film, and is often cited as one of the most absorbing images in Mizoguchi's oeuvre. The image of Ayako staring into the camera and walking off, into the unknown, leaves the final outcome of the film open to viewer interpretation. However, one cannot resist the thought that her future will ultimately be bleak." Jason Dow
"Mizoguchi has been dubbed Japan's first "feminist" director -- the women in his films are central, he sculpts their characters with deep empathy, and he allows them a full range of emotions which give them the breadth of complex humanity, not the one-sidedness of mere martyrs or objects of love. Additionally, he directs his leading actresses, especially Yamada Isuzu, stellar here as the truly unfortunate Ayako, to transcendent performances." Michael Price
- published: 14 May 2007
- views: 12925
Chikamatsu Monogatari | Kenji Mizoguchi
- Order: Reorder
- Duration: 97:37
- Updated: 17 Nov 2015
- views: 952
Kenji Mizoguchi - Aien kyo 1937 VOS (El Valle del Amor y la Tristeza)
- Order: Reorder
- Duration: 88:54
- Updated: 14 Apr 2015
- views: 857
Ohumi y Kenkichi son dos jóvenes que deben tomar una decisión importante en su vida. Ohumi está embarazada, y le ruega a Kenkichi que la lleve a Tokio con ella....
Ohumi y Kenkichi son dos jóvenes que deben tomar una decisión importante en su vida. Ohumi está embarazada, y le ruega a Kenkichi que la lleve a Tokio con ella.
wn.com/Kenji Mizoguchi Aien Kyo 1937 Vos (El Valle Del Amor Y La Tristeza)
Ohumi y Kenkichi son dos jóvenes que deben tomar una decisión importante en su vida. Ohumi está embarazada, y le ruega a Kenkichi que la lleve a Tokio con ella.
- published: 14 Apr 2015
- views: 857
Ugetsu monogatari |Kenji Mizoguchi (1953).
- Order: Reorder
- Duration: 96:59
- Updated: 17 Nov 2015
- views: 398
- published: 17 Nov 2015
- views: 398
-
-
溝口健二 - マリアのお雪/Kenji Mizoguchi - Oyuki the Virgin, Maria no Oyuki(1935)
Full Movie Subtitles:EN,FR,ES JP:マリアのお雪 Maria no Oyuki EN:Oyuki the Virgin FR:Oyuki la Vierge ES:Oyuki la virgen 監督:溝口健二 製作:第一映画社 配給:松竹 公開1935年5月30日 制作国:日本 上映時間:1時間16分 白黒 原作:川口松太郎『乗合馬車』(原案:モーパッサン『脂肪の塊』) 脚本:高島達之助 音楽:高木孝一 指揮: 酒井龍峯 金馬雄作 編集:石本統吉 撮影:三木稔 美術:西七郎 衣装:小笹庄治郎 出演: 山田五十鈴...お雪 原駒子...おきん 夏川大二郎...朝倉晋吾 中野英治...佐土原健介 歌川絹枝...おちえ 大泉慶治...宮地與右衛門 根岸東一郎...権田惣兵衛 滝沢静子...お勢 小泉嘉輔...儀助 鳥居正...官軍大佐 芝田新...横井慶四郎 梅村蓉子...通子
Waga koi wa moenu - Kenji Mizoguchi, 1949VOS
- Order: Reorder
- Duration: 84:04
- Updated: 06 Apr 2016
- views: 50
溝口健二 - マリアのお雪/Kenji Mizoguchi - Oyuki the Virgin, Maria no Oyuki(1935)
- Order: Reorder
- Duration: 75:47
- Updated: 29 Aug 2012
- views: 19747
Full Movie
Subtitles:EN,FR,ES
JP:マリアのお雪 Maria no Oyuki
EN:Oyuki the Virgin
FR:Oyuki la Vierge
ES:Oyuki la virgen
監督:溝口健二
製作:第一映画社
配給:松竹
公開1935年5月30日
制作国:日本
上映時間...
Full Movie
Subtitles:EN,FR,ES
JP:マリアのお雪 Maria no Oyuki
EN:Oyuki the Virgin
FR:Oyuki la Vierge
ES:Oyuki la virgen
監督:溝口健二
製作:第一映画社
配給:松竹
公開1935年5月30日
制作国:日本
上映時間:1時間16分
白黒
原作:川口松太郎『乗合馬車』(原案:モーパッサン『脂肪の塊』)
脚本:高島達之助
音楽:高木孝一
指揮:
酒井龍峯
金馬雄作
編集:石本統吉
撮影:三木稔
美術:西七郎
衣装:小笹庄治郎
出演:
山田五十鈴...お雪
原駒子...おきん
夏川大二郎...朝倉晋吾
中野英治...佐土原健介
歌川絹枝...おちえ
大泉慶治...宮地與右衛門
根岸東一郎...権田惣兵衛
滝沢静子...お勢
小泉嘉輔...儀助
鳥居正...官軍大佐
芝田新...横井慶四郎
梅村蓉子...通子
wn.com/溝口健二 マリアのお雪 Kenji Mizoguchi Oyuki The Virgin, Maria No Oyuki(1935)
Full Movie
Subtitles:EN,FR,ES
JP:マリアのお雪 Maria no Oyuki
EN:Oyuki the Virgin
FR:Oyuki la Vierge
ES:Oyuki la virgen
監督:溝口健二
製作:第一映画社
配給:松竹
公開1935年5月30日
制作国:日本
上映時間:1時間16分
白黒
原作:川口松太郎『乗合馬車』(原案:モーパッサン『脂肪の塊』)
脚本:高島達之助
音楽:高木孝一
指揮:
酒井龍峯
金馬雄作
編集:石本統吉
撮影:三木稔
美術:西七郎
衣装:小笹庄治郎
出演:
山田五十鈴...お雪
原駒子...おきん
夏川大二郎...朝倉晋吾
中野英治...佐土原健介
歌川絹枝...おちえ
大泉慶治...宮地與右衛門
根岸東一郎...権田惣兵衛
滝沢静子...お勢
小泉嘉輔...儀助
鳥居正...官軍大佐
芝田新...横井慶四郎
梅村蓉子...通子
- published: 29 Aug 2012
- views: 19747
-
書籍『溝口健二著作集』予告編(PV)The Complete Writings of Kenji Mizoguchi
2013年 刊行！ 書籍『溝口健二著作集』The BOOKS promotion movie "The Complete Writings of Kenji Mizoguchi". 溝口健二・著 佐相勉・編 / 発行 オムロ 発売 キネマ旬報社 2,800円＋税 http://www.kinejun.com/book/detail/tabid/89/pdid/978-4-87376-422-1/Default.aspx http://www.amazon.co.jp/%E6%BA%9D%E5%8F%A3%E5%81%A5%E4%BA%8C%E8%91%97%E4%BD%9C%E9%9B%86-%E6%BA%9D%E5%8F%A3-%E5%81%A5%E4%BA%8C/dp/487376422X 溝口健二はエッセイや対談などをはじめとする文章(ことば)を数多く遺していた。 歴史に埋もれようとしていた言葉たちが甦る。 佐相勉（溝口研究の第一人者）が、長年収集して築き上げた渾身の一冊。 巻末には佐相勉による血が迸るような溝口解説。 『溝口健二著作集』解説 http://www.omuro.co.jp/special/index.html#mizoguchi 本動画は、オムロの西田宣善さんの依頼で、辻豊史が構成・編集したものであり、キネマ旬報社の制作物ではありません。 ※パブリックドメイン(public domain)の溝口健二監督29作品をコラージュしたプロモーションビデオです。 ===== 佐相勉インタビュー http://outsideintokyo.jp/j/interview/sasoutsutomu/index.html 有限会社 オムロ http://www.omuro.co.jp/ 西田宣善ツイッター https://twitter.com/nish... -
-
-
Yusaku Mizoguchi Director Interview
A film "Noise" Director Yusaku Mizoguchi was interviewed by host and audience after the screening of the film at the Los Angeles International Short Film Festival. -
SANSHO THE BAILIFF (1954) -- Self-sacrifice
***SPOILER ALERT*** Do not watch this video if you wish to avoid crucial plot details being disclosed. Self-sacrifice, particularly female self-sacrifice, is a recurrent theme in Mizoguchi's oeuvre. His explorations of abnegation and servitude within an unyielding patriarchy have produced a vast array of memorable and sympathetic heroines, and Sansho the Bailiff's Anju - with her extraordinary benevolence - belongs firmly within this lineage. Following her father's early demise, it is she who serves as the film's most significant proponent of "mercy", and her role as a weaver in the eponymous antagonist's barbarous labour camp maintains a decidedly figurative purpose: her life's goal is to unify the remnants of her broken family. Her suicide scene, which allows her brother to escape th... -
Les Sept Femmes de Mizoguchi
Film en hommage au célèbre réalisateur japonais Kenji Mizoguchi. Ecrit et réalisé par Adeline Jacquet, Avec l'aide de Vincent Yeh. Extraits de films Et dance sur le morceau "Cosmic Love" de Florence + The Machine. Enjoy ! -
The Loyal 47 Ronin: Part 1 / 元禄忠臣蔵 前篇 (1941)
Subscribe to our channel! Asian movies with subtitles! Genroku Chûshingura 47 Samurai Loyal 47 of the Genroku Era Los leales 47 Ronin A Vingança dos 47 Ronin La venganza de los cuarenta y siete samuráis La vengeance des 47 rônins Les 47 ronins I 47 ronin ribelli The Treasury of Loyal Retainers of the Genroku era 元禄忠臣蔵 前篇 Director: Kenji Mizoguchi / 溝口 健二 Year: 1941 Duration: 107 min Mizoguchi is best remembered for his historical and poetic epics. Films like Sansho the Bailiff and Ugetsu have helped shaped his image as a filmmaker whose talents lie in that of his virtuoso camera movements. This wasn't always the case, though, as for my money, his best work is the less expressive social dramas like Gion bayashi and Sisters of the Gion. By 1940, he was better known for the latter, though... -
Japanese Film and Culture Review Part 1: Ozu, Kurosawa and Mizoguchi
Japanese Film and Culture Review Part 1: Ozu, Kurosawa and Mizoguchi My first part of the class reviewed movies by Yasujiro Ozu, Akira Kurosawa and Kenji Mizoguchi Movies Reviewed: Drunken Angel Rashomon An Autumn Afternoon Ugetsu -
Christopher Nolan on "Following" - Conversations Inside The Criterion Collection
Click here to subscribe to VICE: http://bit.ly/Subscribe-to-VICE Always interested in crime and justice, Christopher Nolan’s first film (a whole seven years before he made Batman Begins) is a curious black and white head-scratcher about a writer who, obsessed with following people, subsequently gets caught up in a life of crime. In this interview, Nolan explains his key to success and ends up revealing many of the DIY filmmaking techniques he used to make Following. More on 'Following' here: http://www.criterion.com/films/28030-following Check out our full video catalog: http://bit.ly/VICE-Videos Videos, daily editorial and more: http://vice.com Like VICE on Facebook: http://fb.com/vice Follow VICE on Twitter: http://twitter.com/vice Read our tumblr: http://vicemag.tumblr.com Follow us... -
The Burmese Harp (Kon Ichikawa) - Interview with Rentarô Mikuni
Rentarō Mikuni parla de "L'Arpa Birmana", film diretto da Kon Ichikawa nel 1956. Sottotitoli disponibili: inglese. -
Extrait de "Vincent Nordon, Marguerite Duras, Kenji Mizoguchi et le Japon" (2011) de Gérard Courant
Un extrait de l'épisode des "Carnets filmés" de Gérard Courant, intitulé "Vincent Nordon, Marguerite Duras, Kenji Mizoguchi et le Japon" filmé le 28 février 2011 à Dijon (France). Vincent Nordon, Marguerite Duras, Kenji Mizoguchi et le Japon" est la quatrième rencontre entre Gérard Courant et le cinéaste et écrivain Vincent Nordon qui fait suite à une première, "intitulée Vincent Nordon raconte Straub, Huillet, Pialat et Cinématon", filmée à Paris le 18 janvier 2001, à une deuxième, "Vincent Nordon vous salue bien", le 31 octobre 2010 et à une troisième, "Vincent Nordon, Roland Barthes et Ça/Cinéma", le 23 décembre 2010, toutes deux filmées à Selongey, en Bourgogne, où le cinéaste s'est retiré de la vie parisienne en 2005 dans le village de sa naissance. Dans ce quatrième opus, divisé en ...
書籍『溝口健二著作集』予告編(PV)The Complete Writings of Kenji Mizoguchi
- Order: Reorder
- Duration: 10:07
- Updated: 28 Jul 2013
- views: 4631
2013年 刊行！ 書籍『溝口健二著作集』The BOOKS promotion movie "The Complete Writings of Kenji Mizoguchi".
溝口健二・著 佐相勉・編 / 発行 オムロ 発売 キネマ旬報社 2,800円＋税
http://www.kinejun.com/boo...
2013年 刊行！ 書籍『溝口健二著作集』The BOOKS promotion movie "The Complete Writings of Kenji Mizoguchi".
溝口健二・著 佐相勉・編 / 発行 オムロ 発売 キネマ旬報社 2,800円＋税
http://www.kinejun.com/book/detail/tabid/89/pdid/978-4-87376-422-1/Default.aspx
http://www.amazon.co.jp/%E6%BA%9D%E5%8F%A3%E5%81%A5%E4%BA%8C%E8%91%97%E4%BD%9C%E9%9B%86-%E6%BA%9D%E5%8F%A3-%E5%81%A5%E4%BA%8C/dp/487376422X
溝口健二はエッセイや対談などをはじめとする文章(ことば)を数多く遺していた。
歴史に埋もれようとしていた言葉たちが甦る。
佐相勉（溝口研究の第一人者）が、長年収集して築き上げた渾身の一冊。
巻末には佐相勉による血が迸るような溝口解説。
『溝口健二著作集』解説
http://www.omuro.co.jp/special/index.html#mizoguchi
本動画は、オムロの西田宣善さんの依頼で、辻豊史が構成・編集したものであり、キネマ旬報社の制作物ではありません。
※パブリックドメイン(public domain)の溝口健二監督29作品をコラージュしたプロモーションビデオです。
=====
佐相勉インタビュー
http://outsideintokyo.jp/j/interview/sasoutsutomu/index.html
有限会社 オムロ
http://www.omuro.co.jp/
西田宣善ツイッター
https://twitter.com/nishidanobuyosh
=====
■溝口健二鑑賞の手引き
フィルモグラフィー
http://www.kadokawa-pictures.jp/mizoken/filmography/index.html
DVD販売 (名作が入手できます)
http://www.kadokawa-pictures.jp/mizoken/dvd/
現存34作品はこのリストから判ります
http://www.momat.go.jp/FC/NFC_Calendar/2006-11-12/kaisetsu.html
『元禄忠臣蔵』
この作品は、企画としては戦時高揚映画の面もありますが、仕上がりは全く異なります。
真山青果の原作通り、討ち入りのシーンがありませんが、歌舞伎の「元禄忠臣蔵」が討ち入りがないことで感動するように映画も感動します。
台詞が聴きにくい、歌舞伎などの知識がなくストーリーが判りにくい場合は以下のガイドが参考になります。(サイト「日のあたらない邦画劇場」より)
http://home.f05.itscom.net/kota2/jmov/2011_01/110103.html
http://home.f05.itscom.net/kota2/jmov/2011_01/110105.html
溝口健二作品データベース
http://www.jmdb.ne.jp/person/p0107320.htm
===
本PVで使用した作品 ( 監督・溝口健二 )
ふるさとの歌
朝日は輝く
東京行進曲
滝の白糸 （瀧の白糸）
折鶴お千
マリヤのお雪 （マリアのお雪）
浪華悲歌
祇園の姉妹
愛怨峡
残菊物語
元禄忠臣蔵 前篇
元禄忠臣蔵 後篇
宮本武蔵
名刀美女丸
歌麿をめぐる五人の女
夜の女たち
わが恋は燃えぬ
雪夫人絵図
お遊さま
武蔵野夫人
西鶴一代女
祇園囃子
雨月物語
wn.com/書籍『溝口健二著作集』予告編(Pv)The Complete Writings Of Kenji Mizoguchi
2013年 刊行！ 書籍『溝口健二著作集』The BOOKS promotion movie "The Complete Writings of Kenji Mizoguchi".
溝口健二・著 佐相勉・編 / 発行 オムロ 発売 キネマ旬報社 2,800円＋税
http://www.kinejun.com/book/detail/tabid/89/pdid/978-4-87376-422-1/Default.aspx
http://www.amazon.co.jp/%E6%BA%9D%E5%8F%A3%E5%81%A5%E4%BA%8C%E8%91%97%E4%BD%9C%E9%9B%86-%E6%BA%9D%E5%8F%A3-%E5%81%A5%E4%BA%8C/dp/487376422X
溝口健二はエッセイや対談などをはじめとする文章(ことば)を数多く遺していた。
歴史に埋もれようとしていた言葉たちが甦る。
佐相勉（溝口研究の第一人者）が、長年収集して築き上げた渾身の一冊。
巻末には佐相勉による血が迸るような溝口解説。
『溝口健二著作集』解説
http://www.omuro.co.jp/special/index.html#mizoguchi
本動画は、オムロの西田宣善さんの依頼で、辻豊史が構成・編集したものであり、キネマ旬報社の制作物ではありません。
※パブリックドメイン(public domain)の溝口健二監督29作品をコラージュしたプロモーションビデオです。
=====
佐相勉インタビュー
http://outsideintokyo.jp/j/interview/sasoutsutomu/index.html
有限会社 オムロ
http://www.omuro.co.jp/
西田宣善ツイッター
https://twitter.com/nishidanobuyosh
=====
■溝口健二鑑賞の手引き
フィルモグラフィー
http://www.kadokawa-pictures.jp/mizoken/filmography/index.html
DVD販売 (名作が入手できます)
http://www.kadokawa-pictures.jp/mizoken/dvd/
現存34作品はこのリストから判ります
http://www.momat.go.jp/FC/NFC_Calendar/2006-11-12/kaisetsu.html
『元禄忠臣蔵』
この作品は、企画としては戦時高揚映画の面もありますが、仕上がりは全く異なります。
真山青果の原作通り、討ち入りのシーンがありませんが、歌舞伎の「元禄忠臣蔵」が討ち入りがないことで感動するように映画も感動します。
台詞が聴きにくい、歌舞伎などの知識がなくストーリーが判りにくい場合は以下のガイドが参考になります。(サイト「日のあたらない邦画劇場」より)
http://home.f05.itscom.net/kota2/jmov/2011_01/110103.html
http://home.f05.itscom.net/kota2/jmov/2011_01/110105.html
溝口健二作品データベース
http://www.jmdb.ne.jp/person/p0107320.htm
===
本PVで使用した作品 ( 監督・溝口健二 )
ふるさとの歌
朝日は輝く
東京行進曲
滝の白糸 （瀧の白糸）
折鶴お千
マリヤのお雪 （マリアのお雪）
浪華悲歌
祇園の姉妹
愛怨峡
残菊物語
元禄忠臣蔵 前篇
元禄忠臣蔵 後篇
宮本武蔵
名刀美女丸
歌麿をめぐる五人の女
夜の女たち
わが恋は燃えぬ
雪夫人絵図
お遊さま
武蔵野夫人
西鶴一代女
祇園囃子
雨月物語
- published: 28 Jul 2013
- views: 4631
Intervista a Kaneto Shindô su Kenji Mizoguchi
- Order: Reorder
- Duration: 13:35
- Updated: 22 Nov 2012
- views: 683
Kenji Mizoguchi: The Life of a Film Director (clip)
- Order: Reorder
- Duration: 1:43
- Updated: 20 Apr 2014
- views: 291
Yusaku Mizoguchi Director Interview
- Order: Reorder
- Duration: 5:07
- Updated: 13 Sep 2006
- views: 581
A film "Noise" Director Yusaku Mizoguchi was interviewed by host and audience after the screening of the film at the Los Angeles International Short Film Festiv...
A film "Noise" Director Yusaku Mizoguchi was interviewed by host and audience after the screening of the film at the Los Angeles International Short Film Festival.
wn.com/Yusaku Mizoguchi Director Interview
A film "Noise" Director Yusaku Mizoguchi was interviewed by host and audience after the screening of the film at the Los Angeles International Short Film Festival.
- published: 13 Sep 2006
- views: 581
SANSHO THE BAILIFF (1954) -- Self-sacrifice
- Order: Reorder
- Duration: 1:49
- Updated: 28 Dec 2010
- views: 5265
***SPOILER ALERT***
Do not watch this video if you wish to avoid crucial plot details being disclosed.
Self-sacrifice, particularly female self-sacrifice, i...
***SPOILER ALERT***
Do not watch this video if you wish to avoid crucial plot details being disclosed.
Self-sacrifice, particularly female self-sacrifice, is a recurrent theme in Mizoguchi's oeuvre. His explorations of abnegation and servitude within an unyielding patriarchy have produced a vast array of memorable and sympathetic heroines, and Sansho the Bailiff's Anju - with her extraordinary benevolence - belongs firmly within this lineage. Following her father's early demise, it is she who serves as the film's most significant proponent of "mercy", and her role as a weaver in the eponymous antagonist's barbarous labour camp maintains a decidedly figurative purpose: her life's goal is to unify the remnants of her broken family. Her suicide scene, which allows her brother to escape their virtual prison, is filmed with the utmost respect by a director who mourns the supposed necessity of the act whilst venerating the character's ascendence into a spiritual realm (note the explicit link that's drawn between Anju's death and the Buddhist iconography that will come to safeguard her brother).
http://reehanmiah.wordpress.com
wn.com/Sansho The Bailiff (1954) Self Sacrifice
***SPOILER ALERT***
Do not watch this video if you wish to avoid crucial plot details being disclosed.
Self-sacrifice, particularly female self-sacrifice, is a recurrent theme in Mizoguchi's oeuvre. His explorations of abnegation and servitude within an unyielding patriarchy have produced a vast array of memorable and sympathetic heroines, and Sansho the Bailiff's Anju - with her extraordinary benevolence - belongs firmly within this lineage. Following her father's early demise, it is she who serves as the film's most significant proponent of "mercy", and her role as a weaver in the eponymous antagonist's barbarous labour camp maintains a decidedly figurative purpose: her life's goal is to unify the remnants of her broken family. Her suicide scene, which allows her brother to escape their virtual prison, is filmed with the utmost respect by a director who mourns the supposed necessity of the act whilst venerating the character's ascendence into a spiritual realm (note the explicit link that's drawn between Anju's death and the Buddhist iconography that will come to safeguard her brother).
http://reehanmiah.wordpress.com
- published: 28 Dec 2010
- views: 5265
Les Sept Femmes de Mizoguchi
- Order: Reorder
- Duration: 7:55
- Updated: 06 Apr 2014
- views: 273
Film en hommage au célèbre réalisateur japonais Kenji Mizoguchi.
Ecrit et réalisé par Adeline Jacquet,
Avec l'aide de Vincent Yeh.
Extraits de films
Et danc...
Film en hommage au célèbre réalisateur japonais Kenji Mizoguchi.
Ecrit et réalisé par Adeline Jacquet,
Avec l'aide de Vincent Yeh.
Extraits de films
Et dance sur le morceau "Cosmic Love"
de Florence + The Machine.
Enjoy !
wn.com/Les Sept Femmes De Mizoguchi
Film en hommage au célèbre réalisateur japonais Kenji Mizoguchi.
Ecrit et réalisé par Adeline Jacquet,
Avec l'aide de Vincent Yeh.
Extraits de films
Et dance sur le morceau "Cosmic Love"
de Florence + The Machine.
Enjoy !
- published: 06 Apr 2014
- views: 273
The Loyal 47 Ronin: Part 1 / 元禄忠臣蔵 前篇 (1941)
- Order: Reorder
- Duration: 107:28
- Updated: 14 May 2014
- views: 65367
Subscribe to our channel!
Asian movies with subtitles!
Genroku Chûshingura
47 Samurai
Loyal 47 of the Genroku Era
Los leales 47 Ronin
A Vingança dos 47 Ronin
L...
Subscribe to our channel!
Asian movies with subtitles!
Genroku Chûshingura
47 Samurai
Loyal 47 of the Genroku Era
Los leales 47 Ronin
A Vingança dos 47 Ronin
La venganza de los cuarenta y siete samuráis
La vengeance des 47 rônins
Les 47 ronins
I 47 ronin ribelli
The Treasury of Loyal Retainers of the Genroku era
元禄忠臣蔵 前篇
Director: Kenji Mizoguchi / 溝口 健二
Year: 1941
Duration: 107 min
Mizoguchi is best remembered for his historical and poetic epics. Films like Sansho the Bailiff and Ugetsu have helped shaped his image as a filmmaker whose talents lie in that of his virtuoso camera movements. This wasn't always the case, though, as for my money, his best work is the less expressive social dramas like Gion bayashi and Sisters of the Gion. By 1940, he was better known for the latter, though the release of Story of Last Chrysanthemums in 1939 was an excellent showcase for his talent with the camera. His next film, this two part epic, seems to have been the most visible shift in his style, taking a well known tale in Japan and making it unrecognizable through his distinct personal vision. It's an impressive film from a technical standpoint, but it's lacking in other fields.
Lord Asano seeks Lord Kira of the Shogun court for advice, but because Asano isn't aware that he's suppose to bribe Kira beforehand, he isn't given substantial advice. Upset by Kira's dismissive attitude, he attacks him, which ends up with Kira being wounded. The attempt at murder, especially against such a high-ranking official as Kira, within the court is punishable by an order to commit suicide. Asano's retainers, following the protocol of bushido and general loyalty, attempt to seek vengeance against Kira. They are surprised to find that their cause is actually supported and condoned within the system, even as those supporting individuals cannot publicly express this.
There is an awhile lot of subtext in this story, and it would be wise for one to familiarize themselves with the story of the 47 Ronin. Additionally, the film's production could also use some context. The intentions of adapting the story was definitely nationalistic, even as the end product might not have shown such a stance (more on this later) and while part one lost an enormous amount of money, the Shochiku company was pressured by the military to distribute part two. This was brought on by Shochiku's notable lack of national policy films at the time. This seems like a lot of red tape I'm going through without even getting to the meat of the film, but it's important. While Seika Mayama's adaptation of the story (which Mizouchi's films is based on) is fairly revisionist, it was still seen as a suitable source of national pride.
The film was intended to evoke bushido, "the way of the warrior" in the public and thus, remind them of their country's military that they needed to support. One can't blame Mizoguchi for wanting to ignore the military's intentions for the film, but his disinterest doesn't exactly subvert the theme of loyalty. As is the case, this film is technically dazzling but ideologically, at its best, it's convoluted. One could argue it's downright detestable, but that might be going too far. Shochiku had to make this movie or the military would have shut them down. It's odd, though, because the film itself almost made the company go out of business with all the money it lost. A fascinating film, none the less, that's a must for any Mizoguchi fan, but not one that should be a priority for anyone trying to familiarize themselves with the director.
(http://cinematalk.wordpress.com/2013/02/04/genroku-chushingura-the-47-ronin-1941/)
wn.com/The Loyal 47 Ronin Part 1 元禄忠臣蔵 前篇 (1941)
Subscribe to our channel!
Asian movies with subtitles!
Genroku Chûshingura
47 Samurai
Loyal 47 of the Genroku Era
Los leales 47 Ronin
A Vingança dos 47 Ronin
La venganza de los cuarenta y siete samuráis
La vengeance des 47 rônins
Les 47 ronins
I 47 ronin ribelli
The Treasury of Loyal Retainers of the Genroku era
元禄忠臣蔵 前篇
Director: Kenji Mizoguchi / 溝口 健二
Year: 1941
Duration: 107 min
Mizoguchi is best remembered for his historical and poetic epics. Films like Sansho the Bailiff and Ugetsu have helped shaped his image as a filmmaker whose talents lie in that of his virtuoso camera movements. This wasn't always the case, though, as for my money, his best work is the less expressive social dramas like Gion bayashi and Sisters of the Gion. By 1940, he was better known for the latter, though the release of Story of Last Chrysanthemums in 1939 was an excellent showcase for his talent with the camera. His next film, this two part epic, seems to have been the most visible shift in his style, taking a well known tale in Japan and making it unrecognizable through his distinct personal vision. It's an impressive film from a technical standpoint, but it's lacking in other fields.
Lord Asano seeks Lord Kira of the Shogun court for advice, but because Asano isn't aware that he's suppose to bribe Kira beforehand, he isn't given substantial advice. Upset by Kira's dismissive attitude, he attacks him, which ends up with Kira being wounded. The attempt at murder, especially against such a high-ranking official as Kira, within the court is punishable by an order to commit suicide. Asano's retainers, following the protocol of bushido and general loyalty, attempt to seek vengeance against Kira. They are surprised to find that their cause is actually supported and condoned within the system, even as those supporting individuals cannot publicly express this.
There is an awhile lot of subtext in this story, and it would be wise for one to familiarize themselves with the story of the 47 Ronin. Additionally, the film's production could also use some context. The intentions of adapting the story was definitely nationalistic, even as the end product might not have shown such a stance (more on this later) and while part one lost an enormous amount of money, the Shochiku company was pressured by the military to distribute part two. This was brought on by Shochiku's notable lack of national policy films at the time. This seems like a lot of red tape I'm going through without even getting to the meat of the film, but it's important. While Seika Mayama's adaptation of the story (which Mizouchi's films is based on) is fairly revisionist, it was still seen as a suitable source of national pride.
The film was intended to evoke bushido, "the way of the warrior" in the public and thus, remind them of their country's military that they needed to support. One can't blame Mizoguchi for wanting to ignore the military's intentions for the film, but his disinterest doesn't exactly subvert the theme of loyalty. As is the case, this film is technically dazzling but ideologically, at its best, it's convoluted. One could argue it's downright detestable, but that might be going too far. Shochiku had to make this movie or the military would have shut them down. It's odd, though, because the film itself almost made the company go out of business with all the money it lost. A fascinating film, none the less, that's a must for any Mizoguchi fan, but not one that should be a priority for anyone trying to familiarize themselves with the director.
(http://cinematalk.wordpress.com/2013/02/04/genroku-chushingura-the-47-ronin-1941/)
- published: 14 May 2014
- views: 65367
Japanese Film and Culture Review Part 1: Ozu, Kurosawa and Mizoguchi
- Order: Reorder
- Duration: 8:40
- Updated: 27 Dec 2009
- views: 2532
Japanese Film and Culture Review
Part 1: Ozu, Kurosawa and Mizoguchi
My first part of the class reviewed movies by Yasujiro Ozu, Akira Kurosawa and Kenji...
Japanese Film and Culture Review
Part 1: Ozu, Kurosawa and Mizoguchi
My first part of the class reviewed movies by Yasujiro Ozu, Akira Kurosawa and Kenji Mizoguchi
Movies Reviewed:
Drunken Angel
Rashomon
An Autumn Afternoon
Ugetsu
wn.com/Japanese Film And Culture Review Part 1 Ozu, Kurosawa And Mizoguchi
Japanese Film and Culture Review
Part 1: Ozu, Kurosawa and Mizoguchi
My first part of the class reviewed movies by Yasujiro Ozu, Akira Kurosawa and Kenji Mizoguchi
Movies Reviewed:
Drunken Angel
Rashomon
An Autumn Afternoon
Ugetsu
- published: 27 Dec 2009
- views: 2532
Christopher Nolan on "Following" - Conversations Inside The Criterion Collection
- Order: Reorder
- Duration: 26:30
- Updated: 24 Aug 2014
- views: 233781
Click here to subscribe to VICE: http://bit.ly/Subscribe-to-VICE
Always interested in crime and justice, Christopher Nolan’s first film (a whole seven years be...
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Always interested in crime and justice, Christopher Nolan’s first film (a whole seven years before he made Batman Begins) is a curious black and white head-scratcher about a writer who, obsessed with following people, subsequently gets caught up in a life of crime.
In this interview, Nolan explains his key to success and ends up revealing many of the DIY filmmaking techniques he used to make Following.
More on 'Following' here: http://www.criterion.com/films/28030-following
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wn.com/Christopher Nolan On Following Conversations Inside The Criterion Collection
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Always interested in crime and justice, Christopher Nolan’s first film (a whole seven years before he made Batman Begins) is a curious black and white head-scratcher about a writer who, obsessed with following people, subsequently gets caught up in a life of crime.
In this interview, Nolan explains his key to success and ends up revealing many of the DIY filmmaking techniques he used to make Following.
More on 'Following' here: http://www.criterion.com/films/28030-following
Check out our full video catalog: http://bit.ly/VICE-Videos
Videos, daily editorial and more: http://vice.com
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- published: 24 Aug 2014
- views: 233781
The Burmese Harp (Kon Ichikawa) - Interview with Rentarô Mikuni
- Order: Reorder
- Duration: 11:49
- Updated: 02 Jul 2015
- views: 1050
Rentarō Mikuni parla de "L'Arpa Birmana", film diretto da Kon Ichikawa nel 1956.
Sottotitoli disponibili: inglese.
Rentarō Mikuni parla de "L'Arpa Birmana", film diretto da Kon Ichikawa nel 1956.
Sottotitoli disponibili: inglese.
wn.com/The Burmese Harp (Kon Ichikawa) Interview With Rentarô Mikuni
Rentarō Mikuni parla de "L'Arpa Birmana", film diretto da Kon Ichikawa nel 1956.
Sottotitoli disponibili: inglese.
- published: 02 Jul 2015
- views: 1050
Extrait de "Vincent Nordon, Marguerite Duras, Kenji Mizoguchi et le Japon" (2011) de Gérard Courant
- Order: Reorder
- Duration: 11:58
- Updated: 18 May 2013
- views: 467
Un extrait de l'épisode des "Carnets filmés" de Gérard Courant, intitulé "Vincent Nordon, Marguerite Duras, Kenji Mizoguchi et le Japon" filmé le 28 février 201...
Un extrait de l'épisode des "Carnets filmés" de Gérard Courant, intitulé "Vincent Nordon, Marguerite Duras, Kenji Mizoguchi et le Japon" filmé le 28 février 2011 à Dijon (France).
Vincent Nordon, Marguerite Duras, Kenji Mizoguchi et le Japon" est la quatrième rencontre entre Gérard Courant et le cinéaste et écrivain Vincent Nordon qui fait suite à une première, "intitulée Vincent Nordon raconte Straub, Huillet, Pialat et Cinématon", filmée à Paris le 18 janvier 2001, à une deuxième, "Vincent Nordon vous salue bien", le 31 octobre 2010 et à une troisième, "Vincent Nordon, Roland Barthes et Ça/Cinéma", le 23 décembre 2010, toutes deux filmées à Selongey, en Bourgogne, où le cinéaste s'est retiré de la vie parisienne en 2005 dans le village de sa naissance.
Dans ce quatrième opus, divisé en trois parties, Vincent Nordon raconte d'abord comment il a pu se faire donner une somme importante d'argent par l'un des héritiers de la société SEB pour financer la société de production Cinéma 9 de François et Pierre Barat qui produisit quelques fleurons du cinéma indépendant français des années 1970, notamment "Son nom de Venise dans Calcutta désert" de Marguerite Duras et "Zoo zéro" d'Alain Fleischer.
La plus grande partie de cet entretien avec Vincent Nordon concerne Kenji Mizoguchi, le maître du cinéma japonais considéré par Vincent Nordon comme un grand cinéaste politique.
Dans une troisième partie, Vincent Nordon, qui a vécu plusieurs années au Japon avec sa femme japonaise Tomoko, nous raconte la vie au pays du soleil levant et l'importance que ce pays a eu dans son existence.
Cet entretien est le premier à ne pas avoir été filmé chez le cinéaste et écrivain. L'enregistrement a eu lieu au café La Grande Taverne, à deux pas de l'hôtel où Brigitte Bardot et Robert Hossein se rencontrèrent dans "Le Repos du guerrier", tourné par Roger Vadim en avril 1962 à Dijon.
Ce film a été édité en 2012 aux éditions L'Harmattan dans un coffret DVD de 4 longs-métrages de Gérard Courant consacrés à Vincent Nordon.
wn.com/Extrait De Vincent Nordon, Marguerite Duras, Kenji Mizoguchi Et Le Japon (2011) De Gérard Courant
Un extrait de l'épisode des "Carnets filmés" de Gérard Courant, intitulé "Vincent Nordon, Marguerite Duras, Kenji Mizoguchi et le Japon" filmé le 28 février 2011 à Dijon (France).
Vincent Nordon, Marguerite Duras, Kenji Mizoguchi et le Japon" est la quatrième rencontre entre Gérard Courant et le cinéaste et écrivain Vincent Nordon qui fait suite à une première, "intitulée Vincent Nordon raconte Straub, Huillet, Pialat et Cinématon", filmée à Paris le 18 janvier 2001, à une deuxième, "Vincent Nordon vous salue bien", le 31 octobre 2010 et à une troisième, "Vincent Nordon, Roland Barthes et Ça/Cinéma", le 23 décembre 2010, toutes deux filmées à Selongey, en Bourgogne, où le cinéaste s'est retiré de la vie parisienne en 2005 dans le village de sa naissance.
Dans ce quatrième opus, divisé en trois parties, Vincent Nordon raconte d'abord comment il a pu se faire donner une somme importante d'argent par l'un des héritiers de la société SEB pour financer la société de production Cinéma 9 de François et Pierre Barat qui produisit quelques fleurons du cinéma indépendant français des années 1970, notamment "Son nom de Venise dans Calcutta désert" de Marguerite Duras et "Zoo zéro" d'Alain Fleischer.
La plus grande partie de cet entretien avec Vincent Nordon concerne Kenji Mizoguchi, le maître du cinéma japonais considéré par Vincent Nordon comme un grand cinéaste politique.
Dans une troisième partie, Vincent Nordon, qui a vécu plusieurs années au Japon avec sa femme japonaise Tomoko, nous raconte la vie au pays du soleil levant et l'importance que ce pays a eu dans son existence.
Cet entretien est le premier à ne pas avoir été filmé chez le cinéaste et écrivain. L'enregistrement a eu lieu au café La Grande Taverne, à deux pas de l'hôtel où Brigitte Bardot et Robert Hossein se rencontrèrent dans "Le Repos du guerrier", tourné par Roger Vadim en avril 1962 à Dijon.
Ce film a été édité en 2012 aux éditions L'Harmattan dans un coffret DVD de 4 longs-métrages de Gérard Courant consacrés à Vincent Nordon.
- published: 18 May 2013
- views: 467
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149:46
Kenji Mizoguchi The Life of a Film Director 1975 Kaneto Shindo
Kenji Mizoguchi: The Life of a Film Director (Aru eiga-kantoku no shogai) is a 1975 Japane...
published: 25 Nov 2013
Kenji Mizoguchi The Life of a Film Director 1975 Kaneto Shindo
Kenji Mizoguchi The Life of a Film Director 1975 Kaneto Shindo
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124:36
Sansho the Bailiff / 山椒大夫 (1954)
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Sansho the Bailiff
山椒大夫
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published: 14 May 2014
Sansho the Bailiff / 山椒大夫 (1954)
Sansho the Bailiff / 山椒大夫 (1954)
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68:12
溝口健二 - 虞美人草/Kenji Mizoguchi - Poppy(1935)
Full Movie
Subtitles:EN,FR,ES
JP:虞美人草,Gubijinso
EN:Poppy,Poppies,The Field Poppy.
FR:Les C...
published: 30 Aug 2012
溝口健二 - 虞美人草/Kenji Mizoguchi - Poppy(1935)
溝口健二 - 虞美人草/Kenji Mizoguchi - Poppy(1935)
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55:35
Miyamoto Musashi (1944) Kenji Mizoguchi [Eng Sub] 宮本武蔵 - 河原崎長十郎・中村翫右衛門
Miyamoto Musashi (1944) directed by Kenji Mizoguchi
出演：河原崎長十郎、中村翫右衛門、田中絹代、生島喜五郎
原作：菊池寛
脚本：...
published: 30 Sep 2013
Miyamoto Musashi (1944) Kenji Mizoguchi [Eng Sub] 宮本武蔵 - 河原崎長十郎・中村翫右衛門
Miyamoto Musashi (1944) Kenji Mizoguchi [Eng Sub] 宮本武蔵 - 河原崎長十郎・中村翫右衛門
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73:34
夜の女たち（1948年）- 溝口健二 / Street Prostitutes - Kenji Mizoguchi
製作：松竹映畫株式會社 - 京都撮影所 公開：昭和23年（1948年） 5月26日 監督：溝口健二 / 助監督：酒井辰雄、岡田光雄 / 脚本：依田義賢 / 原作：
published: 08 Nov 2015
夜の女たち（1948年）- 溝口健二 / Street Prostitutes - Kenji Mizoguchi
夜の女たち（1948年）- 溝口健二 / Street Prostitutes - Kenji Mizoguchi
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90:29
A Geisha / 祇園囃子 (1953)
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祇園囃子
Gion bayashi
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published: 12 May 2014
A Geisha / 祇園囃子 (1953)
A Geisha / 祇園囃子 (1953)
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5:24
KENJI MIZOGUCHI | BKTC 6.1
A video blog dedicated to Classic films, Foreign films, and Classic Foreign Films.
KENJ...
published: 23 Nov 2011
KENJI MIZOGUCHI | BKTC 6.1
KENJI MIZOGUCHI | BKTC 6.1
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82:01
La calle de la verguenza(Kenji Mizoguchi-1956)(EtnilumidadHD-2011)
La calle de la vergüenza narra la historia de una serie de prostitutas que trabajan en un ...
published: 07 May 2011
La calle de la verguenza(Kenji Mizoguchi-1956)(EtnilumidadHD-2011)
La calle de la verguenza(Kenji Mizoguchi-1956)(EtnilumidadHD-2011)
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1:56
Osaka Elegy (1936) Kenji Mizoguchi ending
"This final view of Ayako is the most powerful image in the film, and is often cited as on...
published: 14 May 2007
Osaka Elegy (1936) Kenji Mizoguchi ending
Osaka Elegy (1936) Kenji Mizoguchi ending
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97:37
Chikamatsu Monogatari | Kenji Mizoguchi
The Crucified Lovers
published: 17 Nov 2015
Chikamatsu Monogatari | Kenji Mizoguchi
Chikamatsu Monogatari | Kenji Mizoguchi
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- views: 952
88:54
Kenji Mizoguchi - Aien kyo 1937 VOS (El Valle del Amor y la Tristeza)
Ohumi y Kenkichi son dos jóvenes que deben tomar una decisión importante en su vida. Ohumi...
published: 14 Apr 2015
Kenji Mizoguchi - Aien kyo 1937 VOS (El Valle del Amor y la Tristeza)
Kenji Mizoguchi - Aien kyo 1937 VOS (El Valle del Amor y la Tristeza)
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96:59
Ugetsu monogatari |Kenji Mizoguchi (1953).
published: 17 Nov 2015
Ugetsu monogatari |Kenji Mizoguchi (1953).
Ugetsu monogatari |Kenji Mizoguchi (1953).
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84:04
Waga koi wa moenu - Kenji Mizoguchi, 1949VOS
"LLAMA DE MI AMOR" " FLAME OF MY LOVE"
published: 06 Apr 2016
Waga koi wa moenu - Kenji Mizoguchi, 1949VOS
Waga koi wa moenu - Kenji Mizoguchi, 1949VOS
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75:47
溝口健二 - マリアのお雪/Kenji Mizoguchi - Oyuki the Virgin, Maria no Oyuki(1935)
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JP:マリアのお雪 Maria no Oyuki
EN:Oyuki the Virgin
FR:Oyuki la Vie...
published: 29 Aug 2012
溝口健二 - マリアのお雪/Kenji Mizoguchi - Oyuki the Virgin, Maria no Oyuki(1935)
溝口健二 - マリアのお雪/Kenji Mizoguchi - Oyuki the Virgin, Maria no Oyuki(1935)
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10:07
書籍『溝口健二著作集』予告編(PV)The Complete Writings of Kenji Mizoguchi
2013年 刊行！ 書籍『溝口健二著作集』The BOOKS promotion movie "The Complete Writings of Kenji Mizoguchi"...
published: 28 Jul 2013
書籍『溝口健二著作集』予告編(PV)The Complete Writings of Kenji Mizoguchi
書籍『溝口健二著作集』予告編(PV)The Complete Writings of Kenji Mizoguchi
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13:35
Intervista a Kaneto Shindô su Kenji Mizoguchi
Intervista a Kaneto Shindô su Kenji Mizoguchi
published: 22 Nov 2012
Intervista a Kaneto Shindô su Kenji Mizoguchi
Intervista a Kaneto Shindô su Kenji Mizoguchi
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1:43
Kenji Mizoguchi: The Life of a Film Director (clip)
Documentary directed by Kaneto Shindo (1975)
published: 20 Apr 2014
Kenji Mizoguchi: The Life of a Film Director (clip)
Kenji Mizoguchi: The Life of a Film Director (clip)
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5:07
Yusaku Mizoguchi Director Interview
A film "Noise" Director Yusaku Mizoguchi was interviewed by host and audience after the sc...
published: 13 Sep 2006
Yusaku Mizoguchi Director Interview
Yusaku Mizoguchi Director Interview
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1:49
SANSHO THE BAILIFF (1954) -- Self-sacrifice
***SPOILER ALERT***
Do not watch this video if you wish to avoid crucial plot details bei...
published: 28 Dec 2010
SANSHO THE BAILIFF (1954) -- Self-sacrifice
SANSHO THE BAILIFF (1954) -- Self-sacrifice
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7:55
Les Sept Femmes de Mizoguchi
Film en hommage au célèbre réalisateur japonais Kenji Mizoguchi.
Ecrit et réalisé par Ade...
published: 06 Apr 2014
Les Sept Femmes de Mizoguchi
Les Sept Femmes de Mizoguchi
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107:28
The Loyal 47 Ronin: Part 1 / 元禄忠臣蔵 前篇 (1941)
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The Loyal 47 Ronin: Part 1 / 元禄忠臣蔵 前篇 (1941)
The Loyal 47 Ronin: Part 1 / 元禄忠臣蔵 前篇 (1941)
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8:40
Japanese Film and Culture Review Part 1: Ozu, Kurosawa and Mizoguchi
Japanese Film and Culture Review
Part 1: Ozu, Kurosawa and Mizoguchi
My first part ...
published: 27 Dec 2009
Japanese Film and Culture Review Part 1: Ozu, Kurosawa and Mizoguchi
Japanese Film and Culture Review Part 1: Ozu, Kurosawa and Mizoguchi
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26:30
Christopher Nolan on "Following" - Conversations Inside The Criterion Collection
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published: 24 Aug 2014
Christopher Nolan on "Following" - Conversations Inside The Criterion Collection
Christopher Nolan on "Following" - Conversations Inside The Criterion Collection
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11:49
The Burmese Harp (Kon Ichikawa) - Interview with Rentarô Mikuni
Rentarō Mikuni parla de "L'Arpa Birmana", film diretto da Kon Ichikawa nel 1956.
Sottotit...
published: 02 Jul 2015
The Burmese Harp (Kon Ichikawa) - Interview with Rentarô Mikuni
The Burmese Harp (Kon Ichikawa) - Interview with Rentarô Mikuni
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11:58
Extrait de "Vincent Nordon, Marguerite Duras, Kenji Mizoguchi et le Japon" (2011) de Gérard Courant
Un extrait de l'épisode des "Carnets filmés" de Gérard Courant, intitulé "Vincent Nordon, ...
published: 18 May 2013
Extrait de "Vincent Nordon, Marguerite Duras, Kenji Mizoguchi et le Japon" (2011) de Gérard Courant
Extrait de "Vincent Nordon, Marguerite Duras, Kenji Mizoguchi et le Japon" (2011) de Gérard Courant
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Kenji Mizoguchi: The Life of a Film Director (clip...
Yusaku Mizoguchi Director Interview...
SANSHO THE BAILIFF (1954) -- Self-sacrifice...
Les Sept Femmes de Mizoguchi...
The Loyal 47 Ronin: Part 1 / 元禄忠臣蔵 前篇 (1941)...
Japanese Film and Culture Review Part 1: Ozu, Kuro...
Christopher Nolan on "Following" - Conversations I...
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photo: AP / Kristina Barker
Polls: Sanders has more potential to beat Trump
Edit Al Jazeera 14 May 2016
Recent polls have demonstrated that Democratic presidential candidate Bernie Sanders holds a much higher potential to defeat Donald Trump, the presumptive Republican nominee, in an election than Hillary Clinton, altough the latter is the Democratic party's front-runner ... Clinton has so far won 1,716 delegates and Sanders has gained 1,433. Counting super-delegates, Clinton has 2,240 and Sanders has 1,473 ... READ MORE ... Source. Al Jazeera ... ....
photo: AP / Paul White
Football Fans Killed in Café Shop during Iraq Waves of Bombings; Real Madrid Mourns
Edit Community news 14 May 2016
Dark week for football with another terror attack in Iraq. This time, according to El Pais, it is a coffee shop which was targeted in a town north of Baghdad early on Friday, the attack killed at least 16 people wounding 20 others ... In the next few hours, Islamic State claims claims responsibility for the attack online ... Real Madrid also shows its solidarity with the people of Iraq, who suffer injustice and extreme violence ... d'ALMEIDA....
photo: AP / Ariana Cubillos
Venezuela president declares 60-day state of emergency, blaming US for instability
Edit The Guardian 14 May 2016
Nicolas Maduro says ‘Washington is activating measures at the request of Venezuela’s fascist right’. Venezuelan President Nicolas Maduro declared a 60-day state of emergency on Friday due to what he called plots from within the OPEC country and from the US to topple his leftist government. Maduro did not provide details of the measure ... Related. Crowds steal flour, chicken and underwear in looting spree in Venezuela ... Related ... ....
photo: Creative Commons / Cobatfor
British Fighter Jets Intercept 'Aggressive' Russian Aircraft Approaching Baltic States
Edit Newsweek 13 May 2016
British fighter jets were scrambled to intercept three Russian planes that committed an “act of aggression,” the U.K.'s defence secretary said. RAF Typhoons left their base in Estonia to obstruct the planes which were approaching Baltic countries ... Try Newsweek. Subscription offers....
photo: Public Domain / Titus322
Remarkable evidence of ancient humans found under Florida river
Edit Reuters 13 May 2016
WASHINGTON (Reuters) - Researchers who dove hundreds of times into a sinkhole beneath the brown murky waters of Florida's Aucilla River have retrieved some of the oldest evidence of human presence in the Americas including stone tools apparently used to butcher a mastodon. ....
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Cannes Classics line-up includes Tavernier documentary
Edit Screen Daily 20 Apr 2016
Section to include world premiere of Bertrand Tavernier doc; a cinema masterclass with William Friedkin and a tribute to documentary giants Raymond Depardon and Frederick Wiseman. Bertrand Tavernier’s documentary about French cinema Voyage à Travers le Cinéma Français will receive a world premiere at the Cannes Classic section of the Cannes Film Festival (May 11-22) ... • Ugetsu monogatari (Ugetsu) by Kenji Mizoguchi (1953, 1h37, Japan) ... ....
Cannes Classics line-up revealed; world premiere of Bertrand Tavernier documentary
Edit Screen Daily 20 Apr 2016
Section to include a cinema masterclass with William Friedkin, the 70th anniversary of the Fipresci prize, a tribute to documentary giants Raymond Depardon and Frederick Wiseman and the double Palme d’Or of 1966 ... Gaumont will handle international sales and Pathé have distribution in France. The film will be released in theaters in October 2016 ... Cannes Classics line-up. ... • Ugetsu monogatari (Ugetsu) by Kenji Mizoguchi (1953, 1h37, Japan)....
The Story of the Last Chrysanthemums
Edit Huffington Post 30 Dec 2015
The plot of Kenji Mizoguchi's The Story of the Last Chrysanthemums (1939), that's currently being revived at Lincoln Center's Bunin Theater, may seem totally melodramatic ... In less estheticized circumstances isn't this what happens all the time when people choose work and career over family? However, the palette Mizoguchi is working from is far more complicated....
Restored ‘The Story of the Last Chrysanthemum’ Reveals Director’s Artistry and Empathy
Edit New York Times 24 Dec 2015The Story of the Last Crysanthemums review – slow-burning storytelling
Edit The Guardian 24 Dec 2015
Director Kenji Mizoguchi is best known to wider audiences for his 1950s films Ugetsu and Sansho the Bailiff, but one can see glimpses of his signature style of long takes, dolly shots and an emphasis on strong women characters in his earlier, pre-war work ... The “behind every great man” cliche doesn’t quite jibe with current attitudes regarding female agency, but Mizoguchi’s intentions were, for their time, quite sympathetic....
Guy Maddin’s surreal seances and sexploitation remakes
Edit The Guardian 26 Nov 2015
His new film, The Forbidden Room, features amnesiac chanteuses, a jungle vampire and tormented buttock obsessives ... Related ... The film began three years ago as a live performance/installation project in Paris’s Pompidou Centre, where Maddin and his crew undertook to revive the spirit of one lost or forgotten film a day – including works by greats such as DW Griffith, Kenji Mizoguchi and Jean Vigo, along with other less reputable stuff ... ....
World Cinema, in Tamil
Edit The Hindu 31 Oct 2015
S. Anand, a movie buff, has written a book on 16 world masters in cinema in a Tamil book titled Thiraippada Medhaigal. “Anyone who watches a classic wants to know more about the maker. In the 70s, when I watched a Satyajit Ray film, I would go to the British Council Library in Chennai to learn more about him ... They made films from their heart ... Japanese filmmaker Kenji Mizoguchi is often called a director’s director ... Keywords....
Oklahoma fine arts notes
Edit The Oklahoman 27 Sep 2015
Carpenter Square sets auditions for 'Greetings!'. Carpenter Square Theatre will hold auditions for “Greetings!,” a comedy by Tom Dudzick set on Christmas Eve. Readings from the script will be at 3 p.m. Saturday at 806 W Main in the rehearsal studio located next door to the theater. Additional readings will begin at 5 p.m. Oct. 4 ... [photo provided] ... Oct ... Friday ... Oct ... Oct ... Oct ... The next film in the series is Kenji Mizoguchi's “Ugetsu” on Oct....
William Becker, who helped Janus Films prosper, dies at 88
Edit Boston Herald 15 Sep 2015
William Becker, who with a partner acquired Janus Films in 1965, expanded its catalog of arthouse and Hollywood classics and broadened the distribution of that catalog to audiences at universities and to movie fans via DVD, died Saturday from complications of kidney failure in Southampton, N.Y. He was 88 ... Michelangelo Antonioni;. Ingmar Bergman; Frenchmen François Truffaut and ... Kenji Mizoguchi ... Saul J ... Charles William Eliot ... Louis ... Roger L ... ....
Eleven Country's Best Filmmakers
Edit Huffington Post 17 Jul 2015
The Mt. Rushmorification of social discourse is destroying any semblance of nuanced, sophisticated analysis. And I'm right there with it, doing what I can to continue the trend. Here is a Mt ... I am selecting the four most important directors from each of eleven major filmmaking nations - ten out of the top eleven in terms of number of features produced annually ... Rushmores ... Yasujiro Ozu - Kenji Mizoguchi - Akira Kurusawa - Hayao Miyazaki....
“Utamaro and His Five Women”
Edit New Yorker 25 Jun 2015
The first to pass muster was Kenji Mizoguchi’s 1946 bio-pic “Utamaro and His Five Women,” which I discuss in this clip ... But there’s also another element of criticism that marked Mizoguchi’s entire career, and it’s signalled in the title....
Indian filmmaker Satyajit Ray's masterful Apu Trilogy digitally restored
Edit South China Morning Post 02 Jun 2015
When graphic designer Satyajit Ray began shooting his first feature, a story of village life in his native India called Pather Panchali, his filmmaking experience was as a location scout. His 21-year-old cinematographer, Subrata Mitra, had never before used a movie camera ... That combination of precision and compassion put Ray in the same realm as Renoir and Japanese auteurs Yasujiro Ozu and Kenji Mizoguchi ... Age of Ultron....
Satyajit Ray's Apu Trilogy rises from the ashes for a new screening
Edit Lexington Herald-Leader 28 May 2015
When graphic designer Satyajit Ray began shooting his first feature, a story of village life in his native India called "Pather Panchali," his only filmmaking experience was as a location scout. His 21-year-old cinematographer had never before used a movie camera ... That combination of precision and compassion put him in the same realm as Renoir and the Japanese auteurs Yasujiro Ozu and Kenji Mizoguchi ... Age of Ultron." ... ....
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