Osaka Elegy

An exceptional film in that it redefines that cinematic, to a degree literary, trope, the femme-fatal. In this film we watch from her perspective. Her transgressions seem themselves a kind of victimization. Not only is sexuality the only tool a woman is given to empower herself in society, but her dignity and her sexuality are therefor put in an antagonistic relation to each other. Sexuality and sincerity become mutually exclusive in the world Mizoguchi paints. The cinematography is magnificent. Everyone looks compromised. But the last shot lets us know which victim's compromise cuts the deepest and. A feminist work in the most profound sense.

The first film included in the Criterion Collewction's "Mizoguchi's Fallen Women", this is the story of Ayako (a pretty great Isuzu Yamada who, according to this website, is still wonderfully with us), who is a switchboard operator who needs 300 yen to prevent her father getting in major trouble. To get the money, she spends time with her boss. This is, of course, little more than being a companion. One of Mizoguchi's gifts as a director (he also wrote the story) is that in many of his films his characters were not sympathetic yet he does not wholly judge the. The key is, what would you do? The film could never be in color, it is a noirish, gray film. The story is compelling, the acting is uniformly good, with Ms. Yamada really standing out, and the direction is, of course, flawless. I've also seen "Sisters Of The Gion" and "Streets Of Shame" from this collection. Buy it! Mizoguchi was one of the giants of 20th century cinema from any country. This film is highly recommended.

It was this film alone that drove me into an intense obsession with cinema. Mizoguchi is the great Japanese master, and Osaka Elegy reveals his genius. From his long take compositions that are taxed with complexity and tension, to his ambigious depictions of character, I felt like I had grown after I had seen this film. Notice the national allegory at the film's conclusion, a confused and lonely Japan. And his inconclusive final shot taken many years before the well known 400 Blows. The devastating melodrama is not undercut by any cinematic manipulation. I highly recommend this to any lover of the cinematic medium. Also, I am a sucker for self-reflexive Kabuki theater sequences...

Ayako (Isuzu Yamada) becomes the mistress of her boss, Mr. Asai, so she can pay her father's debt, and prevent him from going to prison for embezzlement. She also sends money to her brother Hiroshi to pay his university tuition, but her father intercepts it.

Mizoguchi considered the film his first serious effort as a director, and while I am not familiar with his earlier work, I have to say this is the kind of film that leaves a mark. Either Mizoguchi or his cinematographer had an excellent awareness of the camera -- the door closing to block the camera early on in the film -- years ahead of its time.

The subject matter in general is impressive. I am not sure what the typical morality was in pre-war Japan, but to feature adultery and whatnot in the 1930s seems quite bold.

...with a plot out of Precode Hollywood and frequent jazz music to match. A pretty young switchboard operator reluctantly decides to become the mistress of her boss so she can help her financially-strapped father who had embezzled company funds for an investment that went bad, and her college-student brother who needs his tuition paid. Of course she is ostracized from the family for her immorality without giving her the chance to explain how they got their money. Various other relationships and subplots also come into play. This one has nicely-plotted character dynamics, good performances, and beautiful cinematography.