Ugetsu

The movie starts out pretty uncomfortably, two peasants in 16th century Japan who dream of richness and glory so blindly, they can't even hear the pretty straight-forward protests of their loving wives who try to convince them that their happiness is fine at home. When one, a pottery smith, makes a small bundle selling his wares, they decide to make a much larger batch together and become rich.

Forced out of their homes by an approaching war and uncertain where to go, they take their wares to a thriving market place, where the second peasant's ambition to be a samurai divides them and causes all four characters, the two peasants and their wives, to be separated, all fending for themselves amongst the war and various classes differently.

At this point the film reverses itself and instead of being a pretty skin-deep, tragic bud of greed, it blooms into a beautiful and haunting tale of obsession and illusion. The two main stories of the peasants and their wives are opposite only in their imaged realism, where one peasant falls completely under the curse of an enchanting ghost and the other lies and steals his way to fame, only both of them are eventually knocked down from their own hubris and forced to finally awaken to what their wives have said all along.

It's quite exquisite, this movie, with its long takes and its lack of the usual constructs that make up messages of obsession and greed. Once it gets beyond the small, uncomfortable, claustrophobic world of the peasant's home, it becomes audaciously challenging and mysterious, so that the same small home becomes amazingly wonderful and comforting. The very essence of the movie is breathed into the emotions of the audience in very subtle ways, making a very unforgettable cinematic experience.

--PolarisDiB

Having read much about this film, I thought I knew what to expect when I finally had the chance to see it. I was wrong; no amount of writing can convey the richness and impact of the images and the overall flow of the film-- which is why this commentary will be brief. Suffice it to say that I recommend this film wholeheartedly to anyone looking for cinematic poetry (though not, probably, to those who, misled by its being set during the Japanese Civil Wars, expect an action film).

Perhaps the most striking thing about the film is the camera-work; on a first viewing one is scarcely aware of it much of the time, but the camera is in constant motion, emblematic of the restlessness which pervades not only the era and the central characters but, by implication, all of human life (in this regard, it's a very Buddhist film). This movement is never gratuitous; when the scene demands little or no movement the camera stays still. Notice, though, how often the camera's movement enhances the emotional impact of the scene, especially in the famous panning shot (not, as occasionally described, a 360 degree shot) of the reunion near the end. Along with this is Mizoguchi's penchant for long takes, which seduce the viewer into the rhythm of the film without calling attention to themselves or to his cleverness as a director.

But these are technical comments which may or may not be helpful in focussing a viewer's attention; what really matters is the film itself as a whole. It is truly beautiful, and powerful in the unexpected way of great poetry. Technique and emotion, simplicity of means and complexity of effects, walk hand-in-hand here, and the result is remarkable in a way which film rarely attains.

One of the greatest of all Japanese films, this makes many Top 10 lists of the greatest films of all time.

Genjuro (Masayuki Mori), a potter, and his brother Tobei (Eitaro Ozawa), a farmer, are seeking fame and fortune, or fortune and fame as the names are listed.

The lake scene is not to be missed. It is beautiful and creepy. After being warned about pirates, the two me head off alone and meet Machiko Kyo, who was also the woman in Rashomon.

There is a beauty in this film that can't be described adequately. The camera paints a picture that is enchanting and melodic.

Kenji Mizoguchi, who went on to do the magnificent Sansho the Bailiff, has given us a pleasure that will be enjoyed again and again.

Bruce Bennett at the New York Sun said it best, "When the name Kenji Mizoguchi is intoned, every piece of camera equipment on earth should execute a deep bow."

In a time of unceasing turmoil, as sixteenth-century Japan is ravaged by marauding bands of warriors, the ambitious and hard-working potter, Genjuro, and his aspiring samurai brother, Tobei, risk a dangerous trip to the bustling city to sell their wares, seeking quick profit. The two 16th century Japanese peasants venture from their homes in pursuit of dreams, resulting in fateful consequences. As Tobei abandons his wife to buy a samurai outfit and seek fame and fortune, while Genjuro becomes involved with a ghost woman.

The classic film ambition, family, and war that established Migozuchi's reputation outside of Japan. A marvellous mix of drama, comedy, action and supernatural events with nifty camera movement . Based on two stories by the 18th century writer Akinara Ueda (often described as the japanese Guy de Maupassant), dealing with two peasants in pursuit of dreams and encounter little more than their own hapless folly and a bit of the supernatural. Gorgeous cinematography in black and white, inspired by nihonga (traditional Japanese painting) and woodblock prints. ¨Ugetsu¨ was one of a handful of Japanese films to sweep up awards at European festivals in the early 50s. Its reputation as one of Migozuchi's finest works and a landmark of the Japanese art cinema has remained undented ever since. The filmmaker's unique stablishment of atmosphere by means of long shot, long takes, sublimely graceful and unobtrusives camera movement, is everywhere evident in his treatment of the legend of a potter who leaves his family to market his wares during the ravages of a civil war, and is taken in and seduced by a ghost princess.

This ravishingly composed, evocatively made motion picture was competently directed by Kenji Migozuchi. He is said to be the first major feminist film-maker, his films frequently reveal women's positions in Japanese society, he includes long takes, often held for the duration of the scene. Migozuchi is cited Marcel L'Herbier, Josef von Sternberg, William Wyler and John Ford as his influence. Migozuchi is one of the rare directors who has helmed over 100 films, including the following: ¨Street of shame, Princess Yang Kwei Fei, Shin Heike Monogatari, The crucified lovers, Sansho the bailiff, A Geisha, Life of Oharu, Utamaro and his five women, Ronin part 1 and 2, The story of the late Chrysanthemum, Osaka elegy, and Sisters of the Gion¨. Rating Ugetsu: 7.5/10. Better than average, well worth watching. The film will appeal to Japanese classic fans.

In Japan, due to its Buddhism and Shinto culture, the term Ghost is an description for evil of the spirits world. and the idea of spirits which dispatch from its physical body are describe as phamton. from the difference associate with these 2 terms we can understand that even in spirits there is description for the good and bad spirits. this is similar to the Chinese mythology for ghost. even if the spirits was wrongly accused, and coming back to human world for its revenge, this is still consider as an spirits rather than ghost, as it has its positive of motive and would not harm people who is not associate with his death. since spirits normally does not appear in the human world, and its appearance often associate with unfinished matter or grudge. which is the main characteristic for most of the Japanese film.

the most impressive Japanese ghost story is Ugetsu monogatari(1953), it was base on the novel with the same title. we can analysis the idea of Japanese ghost film via 2 aspect of the film.

Firstly, while Genjuro was selling pottery in the market, he was been order by Lady Wakasa and its nurse maid to send the good to their mansion personally, which was the starting point of ghostly love relationship.

By the hand of prestige cinema photographer, Kuzo Miyagawa, the mystic atmosphere, the trembling music of sanmise, the ghostly voice of men grudging, gives the mansion an appeal of a haunted mansion. The use of top view camera technique with the character Noh play like appeal,gives the scene much more mysterious, secluded, ghostly, euphoria aspect of the fantasy world. which above all explores the art of Japanese traditional beauty.although it is an black and white film, but Kuzo Miyagawa create an color of bewitch ghostly character on Lady Wakasa.

The very motive for the existence of Lady wakasa was to have a taste of love, as she was kill before she can understand what love is, after resurrect by the nursemaid, she have become and spirits that looking for the ideal man to love. that is why she put a spell on Genjuro. to love not to hurt.

The second aspect for Genjuro associate with spirits was at the end part of the movie, while He push open the cripple door of his home, he saw an empty house, yet after the camera return an image of the room, Miyagi, Genjuro's wife appear, who was setting beside the stove alone tailoring clothes, and waiting for his husband to eat and change into comfy kimono, Genjuro feel extremely tire after all the events therefore he quickly falls asleep, next morning, when the villager master realize he is return went into his home and explain the tragic of her wife. and the disappearance of his son, coincidentally, his son returns in the very moment.

The movie finish with a long shot as the kid playing beside his mothers grave while Genjuro praying, which symbolize Miyagi has finally saw the father and son reunited and now he is able to rest in peace, and fly to heaven.

The movie demonstrate the childish, stubbornness and foolishness of male. yet it purify the females character as loving and sincere, which demonstrate no scary or horrifying intention to the viewer when associate with ghost. infect we associate with the idea of gentleness, shyness of its character. the eternal serenity towards the love one can only be associate with ghostly figure in a time transcend world.