Osaka Elegy

This was exactly what you'd expect from a Kenji Mizoguchi film. Disgraced women, weak men, impossible situations. This is also well paced brilliantly acted and masterfully directed. The ending was a bit abrupt but the film kept me engaged the entire run time.

That deep focus is really astonishing and some of the places Mizoguchi puts the camera really gets me too. Ayako's a great character and watching Isuzu Yamada sells the dichotomy of the freedom and entrapment of the "modern" woman

Well-photographed, with gorgeous, ominous shadows, ably directed, competently edited, and filled with understanding and compassion for the plight of its heroine. The reasons for her fall, however, are too stereotypically noble and her family too callous and unsympathetic to raise this much above the level of melodrama. (I liked seeing Takahashi Shimura in a small role as one of the cops.)

Even in '36, Mizoguchi's technique is quite apparent. His feminine sensibilities are very sympathetic, especially against the backdrop of a society that has very certain expectations of women. Even so, those depicted here are not presented as flawless, and that ratchets the believability and sympathy up another notch. Lots of long takes and elegant pans give it a somber tone.

Five years ago I was head over heels for Mizoguchi, and lately I've become somewhat indifferent towards him. Maybe it's because I saw all the "major" films first and now I'm just getting into the "lesser" works. Having said that, there's nothing terribly wrong with this movie. Ayako's descent is well-charted and believable given her circumstances, and the story's dramatic elements hold up well. The cinematography is quite fine with long perspective shots and Mizoguchi's signature dolly moves.

It's not terrible but try as I might, I just couldn't get into it that much.

Elegia de Osaka estreava há 85 anos no Japão. Me pergunto se algum dia Mizoguchi fez um filme mediano, mesmo seus filmes menos famosos são uma enorme aula de cinema, seu plano final da protagonista erguendo a cabeça e seguindo em frente, quando tudo conspirava para uma atitude contrária, é um dos mais belos dos anos 30. Box Versátil O Cinema de Kenji Mizoguchi Volume 2.

A woman is punished by circumstances and society, until she's forced into the uncertain position of having to really try and strike out on her own. The protagonist is a well-rounded character but there's still a bit of unconvincing melodrama and dialogue that prevents the film from really leaving a strong impression.

Early 'fallen women' Mizoguchi may lack the technical sophistication and thematic refinement of his later works, but it is one of his darkest looking films, and it has many virtues for those keen enough to seek out an early example of his trademark style. The performances are uniformly good and the tragedy has some impact and force, if less so than in superior films such as The Crucified Lovers or The Life of Oharu.

86.50

Star Rating: ★★★★

Not always subtle but consistently even-handed and generally very well made all around. Especially for the time.

Interesting as one of the earlier surviving examples of the Japanese left leaning woman's picture of which Mizoguchi was an early pioneer.

A delightful moral tragedy from Kenji Mizoguchi about a girl that becomes the mistress of her boss to pay off her fathers embezzlement so he don't have to go to jail. Our poor unfortunate girl Isuzu Yamada has a love of her life, but of course her choice being with the old man stands in the way of their romance. And then she makes more foolish choices.... It did lack that little something to really make the story alluring, but there was always some to grasp ones attention in Mizoguchi direction.

Solid, but perhaps not great. It almost feels like social commentary--specifically on the Japanese notion of an ideal woman. There's just a hint of bitterness and resentment at the end--mixed with a bit of defiance, perhaps (when Ayako looks into the camera). Well, I felt a little resentful towards Ayako's family, anyway. Like many great Japanese filmmakers, the compositions are impeccable--almost to the point where the perfection is oppressive, too square.

It's hard to sympathize with Ayako when she makes wrong decision after wrong decision and then becomes indignant about it, but the story is almost flawlessly done and Mizoguchi already has a firm grasp of his style.

Notable for its early Takashi Shimura role and the ending which has obvious similarities to a certain well known Italian movie.