Comwayon A Disappointing Continuation

Huievest Instead, you get a movie that's enjoyable enough, but leaves you feeling like it could have been much, much more.

Dynamixor The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

Tyreece Hulme One of the best movies of the year! Incredible from the beginning to the end.

Robert J. Maxwell An adult tragedy of two pursued lovers during Japan's feudal period. It was a rigid society divided by class and gender. Mohei, a talented and decent scroll maker with a promising future, belongs to the servant class. A relatively minor infraction on his part is turned into a major offense by his nasty employer, and when the Master throws Mohei out and has charges brought against him, the Master's wife happens to discover that the Master has been having "illicit adulterous affairs" on the side.The punishment is literal crucifixion for Mohai, so the Master's wife helps him escape and runs away with him. The unyielding Master Scrollmaker sics the authorities on both of them. The wife is on the verge of suicide, but recovers her desire to live when she discovers that she and Mohai have secretly loved each other for years. She willingly joins Mohai in their journey up hill and down dale and for this she too is charged and faces crucifixion.It's a story for grown up sensibilities because the emotional bonds involved -- not just between the pair of illicit lovers but their friends and relatives -- are intricate. The parents don't want them around because if they're caught hiding the fugitives, they face the same punishment. Everyone is ready to squeal on them because what the lovers are doing is "against the law." The performances are adequate once you accept and get past the Japanese filigrees. The fugitive couple are both fine but some of the supporting players are reaching for the stars.I won't spell out the bittersweet ending. The movie itself is worth catching, filled with tension, intrigue, and action.

Teyss Mizoguchi is acclaimed for all of his work, but is mostly praised for the succession of masterpieces he directed at the end of his career. "The Crucified Lovers" is my favourite. Note the original title means "A Tale From Chikamatsu", after the classic Japanese author Chikamatsu Monzaemon who wrote the early 18th century play the movie is based on.It is a rare film where each image is finely crafted as a piece of art, yet without ostentation. "We must clean our eyes between each shot", Mizoguchi said: he perfectly applies this precept here. Each shot is meaningful, none feels superfluous.*** WARNING: CONTAINS SPOILERS ***The movie narrates a love story, yet with important social and psychological themes, as show the regular alternation between the lovers' scenes and others. It depicts a harsh society where nobles rule ruthlessly, money reigns, people are dominated by conventions and adultery is punished by crucifixion. Traditions overrule everything including family bonds: Mohei's father rejects his son instead of helping him and denounces him (even if he frees him afterwards); O-Tama's uncle blames his niece for a petty lie; O-San's family blames her and finally gives her up. Women are the main victims: O-San's family decided to marry her to a much older, despicable man; he cheats on her but she has to go; O-Tama is abused but also has to go.It is a world of corruption and hypocrisy: Ishun condemns the adulterous lovers at the beginning but cheats on his wife; Isan pretends he is concerned by Ishun's misfortune but conspires for his downfall; Sukeimon betrays his master; there are political intrigues involving debts and law. This society seems doomed to carry on, as show recurring events and symbols: the output of the printing house is calendars issued every year; the chestnut merchant comes every year; there is a crucifixion at the beginning and another one at the end; when Ishun is eventually discharged, Isan who will take over looks just as vile (though more intelligent, perhaps).In this context, the love story is all the more compelling since O-San and Mohei fight against everything: law, reputation, conventions, family. The scenes between the lovers become increasingly intense. Eventually when they are condemned, they look happy because they can remain together even if they die.Images express how their relationship liberates them. At the beginning they are suffocating in the printing house: it is filled with people, objects, beams, screens, shadows and even spider webs when Mohei is held captive. O-San has financial issues. Mohei is sick. When they run away, they are first obliged to take shelter in dark places and hide between huge barrels that seem to crush them. However, when and after they voice their love, they are in nature: despite the difficult situation, it feels as if we can breathe. A unique shot shows there is no going back: as Mohei runs down a hill followed by O-San, the camera pivots down on the two characters lost in the endless slope. It signifies in a simple, powerful way the intensity of their love but also how it will lead them to irreversible consequences.However this liberation is short-lived: after Mohei's father refuses to help them, they are confined in a small dark hut. Then they are held inside again. The movie ends on a stunning camera movement, zooming high out of the lovers among the crowd. It is the only such movement in the film, making it more gripping (somewhat reversed from the above-mentioned shot on the hill, although in the latter the camera pivots down without zooming): it magnificently summarises the love story surrounded by a hostile society.Mizoguchi's images are more than masterly: they are metaphysical. He shows a high respect for oppressed characters: they are framed close and the camera discreetly follows them, slightly going up as they come closer or going down as they kneel, which happens frequently. He also demonstrates decency: the shot becomes distant when the scene grows too personal, for instance when the lovers spend their first night together or in the example below. These superb aesthetics show even in apparently simple scenes. Just one example: when O-San meets O-Tama in her room at the beginning of the movie.Shot 1: general view of the room. O-San enters, moves forward and kneels while O-Tama moves to the back. The camera adjusts to O-San as described above.Shot 2: closer image precisely when O-Tama moves forward. This subtle coordination of movement (image and character) makes the shot transition look completely natural. We get closer as the conversation becomes more intimate.Shot 3: even closer image, from the opposite side of the room, precisely when O-Tama turns around. Again, the transition is fluid and the close image shows the increasing intimacy. The opposite shot illustrates the shock of O-Tama's revelation: Ishun is abusing her. Music rises at the end.Shot 4: same as shot 1 but we now see the two women from the back since they have turned around. The camera has resumed its initial, distant position out of consideration for the despaired characters. Both women are faceless: dominated, denied a proper existence. The music insures the transition with shot 3 and highlights their sorrow.Hence in just four seemingly plain shots (of which two are similar), Mizoguchi reveals the characters' emotions and condition. The scene lasts a bit more than two minutes but embodies a whole story. One jewel amidst many others.A last note about the score. The aggressive music during the opening credits announces a movie without compromise: be ready for an aesthetical and emotional experience. During the film, the score delicately beautifies scenes (e.g. the discreet bells when Mohei is captive at the beginning). Eventually, the music becomes more aggressive (e.g. at O-San's family's house), and the movie ends on notes similar to the beginning: the inevitable tragedy has unravelled.

David The only print of CHIKAMATUS MONOGATARI I've been able to find was abysmal - I almost couldn't watch it. Which is a shame as this is among the greatest Mizoguchi films. The story - which I believe had been done before and since by other Japanese directors - is a bit straighter than my favorite Mizoguchi films (SANSHO THE BAILIFF and UGETSU MONOGATARI), and is essentially a tale of tragic romance, in this case a transgressive romance that crosses strict class boundaries. As always with Mizoguchi, there is an exquisitely expressed tone of defiance, and - bad print aside - I was very pleased. As with all of Mizoguchi's films, I'm eagerly awaiting a restored DVD release - whenever that may come...

matrac I saw this over 20 years ago and I remember it well. Superb photography. Great acting by the 2 leads. How things were different in that era compared to today in Japan. This is probably very hard to find on video if it exists at all. But you may see it in art houses like I did. Another Mizoguchi classic. If you like his work, I recommend The Human Condition, the greatest film ever made.