“구로사와 영화의 대단함은, 한 영화의 약 17만 2,800컷에서 아무 프레임이나 하나를 빼내 인화지에 확대해서 현상해도 훌륭한 사진이 된다는 점이다.”라고 기타노 다케시가 말했다던데 솔직히 이건 미조구치 영화에 더 어울리는 말 아닌가 싶다.. 매순간 프레임을 만들어내는 능력, 카메라의 무빙 모두 기가 막히지 않는가.
I’m the one unable to get out of bed but still managing to call men trash and criticize my sister’s life choices. 이틀 연속 본 <기온의 자매>와 <오사카 엘레지>는 여러모로 비슷한 작품이었는데 젊은 게이샤 여성(들)이 남성들을 이용하려고 계획을 세우고 실행하지만 결국 그녀보다 훨씬 힘이 센 가부장제 사회에 의해 좌절당하는 내용이라는 점에서 그러했다. Mizoguchi seems to set the gentle…. La fin tragique et fataliste montre la sœur "moderne" perdante, à cause de la violence des hommes n'acceptant pas d'être à…. More details at Umekichi is abandoned by her bankrupt patron Shimbei when he is given the chance to manage a factory in the country where his wife has retired, and she ends up caring for Omocha after her hospitalization for her injuries. I can handle the truth.

Directed by Kenji Mizoguchi • 1936 • Japan Sisters of the Gion follows the parallel paths of the independent, unsentimental Omocha (Isuzu Yamada) and her sister, the more tradition-minded Umekichi (Yoko Umemura), both geishas in the working-class district of Gion. Set in Tokyo’s Red Light District (the literal translation of the Japanese title), Street of Shame was so cutting, and its popularity so great, that when an antiprostitution law was passed in Japan just a few months after the film's release, some said it was a catalyst. Isuzu Yamada Yôko Umemura Benkei Shiganoya Eitarō Shindō Taizō Fukami Fumio Okura, Kenji Mizoguchi Yoshikata Yoda Aleksandr Kuprin, 69 mins   Filmed on location in Osaka, Women of the Night concerns two sisters—Fusako, a war widow, and Natsuko, having an affair with a narcotics smuggler—who along with their younger friend Kumiko descend into prostitution and moral chaos amid the postwar devastation surrounding them.

Now let’s combined this with Lady Snowblood, Tag yourself. There is a simple yet profound intrigue in contrasting the two sisters’ psychologies, with one firmly integrated and idealistic, the other self-aware and pragmatic about their social standings. Get info about new releases, essays and interviews on the Current, Top 10 lists, and sales. This…, Constantly updating. the quietly devastating canon. 두 편 모두 그녀(들)의 클로즈업으로 끝마치는데 <기온의 자매>에서는 젊은 남성의 복수로 다쳐서 누워있는 야마다 이시즈에게로 카메라가 트래킹 인 한다면, <오사카…, Les soeurs de Gion est un chouette petit Mizoguchi, tragique comme d'habitude, sur deux sœurs geishas dont le caractère et le mode de travail forment leur principale opposition. Through their dealings with clients and the search for a danna, we observe the life of two trapped women struggling to survive and the uncertainty of a future that may not reward their great sacrifice. Omocha does not believe that her sister should support Shimbei, that doing so will prevent her from providing for herself by finding a new patron, and that she owes him nothing as, in her view, he has received more than he has given in the past. Umekichi, a geisha in the Gion district of Kyoto, feels obliged to help her lover Furusawa when he asks to stay with her after becoming bankrupt and leaving his wife. Sisters of the Gion follows the parallel paths of the independent, unsentimental Omocha (Isuzu Yamada) and her sister, the more tradition-minded Umekichi (Yoko Umemura), both geishas in the working-class district of Gion. She thinks that they should both find wealthy patrons to support them. After World War II, Mizoguchi was inspired by Italian neorealism to make one of the most emotionally and visually raw films of his career. The x-generation "Janus collection" print I watched was a sad little thing; sure would be nice if a better viewing alternative existed. Mikio Naruse did something similar, though his melodrama was a lot gentler visually, and quiet in its conflict. The book celebrates and chronicles over one…. Umekichi’s story, overshadowed by O-mocha’s on first watch, caught me off-guard. When a character in on stage, so to speak, they face the camera; Mizoguchi’s camera movements and blocking allow for multiple performances within a single shot. To do this, Omocha must get rid of Furusawa, convince an admiring clerk at a kimono shop to make her a dress, and then manipulate both of the men's rivals into taking her and Umekichi on as permanent mistresses. Based on the three films I've seen by him, Mizoguchi might just be the greatest feminist filmmaker in cinema history, and is certainly beginning to emerge as a favourite director. Omocha also attempts to find a patron for herself and appears to be successful in gaining the attention of the owner of a kimono/cloth shop.
That doesn’t necessarily make it lack nuance, however. At 110 minutes, it’s a lean and purposefully-driven script where no scene doesn’t serve to move the plot along or illustrate the film’s critique on Japanese society — perhaps an antithesis to the lavish, meditative style of Ozu and other classic Japanese directors. However her younger sister Omocha tells her she is wasting her time and money on a loser.

By the midthirties, he had developed his craft by directing dozens of movies in a variety of genres, but he would later say that he didn’t consider his career to have truly begun until 1936, with the release of the companion films Osaka Elegy and Sisters of the Gion, about women both professionally and romantically trapped. The director's often-used leading actress Isuzu Yamada stars as Ayako, a switchboard operator trapped in a compromising, ruinous relationship with her boss to help support her wastrel father. Omocha therefore tries various schemes to get rid of Furusawa, and set themselves up with better patrons.