Eclipse Series 13: Kenji Mizoguchi's Fallen Women (Osaka Elegy / Sisters of the Gion / Women of the Night / Street of Shame)

Eclipse Series 13: Kenji Mizoguchi's Fallen Women (Osaka Elegy / Sisters of the Gion / Women of the Night / Street of Shame)
by Kenji Mizoguchi

Eclipse Series 13: Kenji Mizoguchi's Fallen Women (Osaka Elegy / Sisters of the Gion / Women of the Night / Street of Shame)
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DVD Cover Information

Actor: Isuzu Yamada, Machiko Kyo
Director: Kenji Mizoguchi
Brand: Image Entertainment
DVD: Region Code 1
Audio: Japanese (Original Language); English (Subtitled)
Format: Black & White, Box set, Dolby, DVD, NTSC, Subtitled
Picture Format: 1.33:1
Running Time: 299 minutes
DVD Release Date: 2008-10-21
Audience Rating: Unrated
Studio: Criterion Collection

Movie Reviews of Eclipse Series 13: Kenji Mizoguchi's Fallen Women (Osaka Elegy / Sisters of the Gion / Women of the Night / Street of Shame)

Movie Review: Street of Blame
Summary: 5 Stars

[I'm only reviewing Street of Shame here, though Osaka Elegy and Sisters of the Gion are both wonderful.]

Mizoguchi's last film and one of the many where he examined the lives of either geisha or prostitutes (the line between the two gets blurry after WWII). Apparently made just before prostitution became illegal, it tells the stories of five prostitutes and their quite miserable lives, which are nevertheless filled with hope, as their present existences are seen as almost an escape from their backgrounds. The five different prostitutes' characters are heart-rendingly delineated one from the other. I had most empathy for the plain Hanae, who has a baby and a totally feeble husband who is ashamed of her. Machiko Kyo (from Rashomon, Mizoguchi's Ugetsu, and Teshigahara's Face of Another - she looks totally different in the latter two) plays the hard-nosed modern Mickey but in the end she's just as despairing of the forces that have led to her present life. Then there is the socially-ambitious and money-minded Yasumi (played by the beautiful Ayako Wakao), who seems to be in most control but whose schemes ultimately backfire. The oldest, Yorie, who escapes only to find further delusion is perhaps the most pathetic, in the strict sense of that word. The more I see of Mizoguchi, the more I see similarities with early Antonioni with their emphasis on women's roles, which is something I never thought I would say.
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Summary of Eclipse Series 13: Kenji Mizoguchi's Fallen Women (Osaka Elegy / Sisters of the Gion / Women of the Night / Street of Shame)

Over the course of a three-decade, more than eighty film career, master cineaste Kenji Mizoguchi (Ugetsu, Sansho the Bailiff) would return again and again to one abiding theme: the plight of women in male-dominated Japanese society. In these four lacerating works of socially conscious melodrama two prewar (Osaka Elegy, Sisters of the Gion), two postwar (Women of the Night, Street of Shame) Mizoguchi introduces an array of compelling female protagonists, crushed or resilient, who are economically and spiritually deprived by their nation's customs and traditions. With Mizoguchi's visual daring and eloquence, these films are as cinematically thrilling as they are politically rousing.
This Mizoguchi quartet both anticipates and reinforces the director's other comfort-women classics, like 1952's The Life of Oharu. If the Japanese master would tackle larger-scale works in the years between, these intimate dramas hold their own. Opening jazz refrain aside, Osaka Elegy strikes a melancholy chord in its depiction of an office worker casually degraded by the men in her life. At first, Ayako (Isuzu Yamada) resists the advances of her married employer, but when the capacity to support her deadbeat dad and ungrateful brother becomes unmanageable, she relents, despite her interest in a more appropriate (if equally judgmental) suitor. Also from 1936, the Kyoto-set Sisters of the Gion concerns a cynical geisha, Omocha (Yamada), who tries to provide a better life for her subservient sister, Umekichi (Y?ko Umemura), even if she has to break several hearts--and even a few bones--in the process. What sounds like Tinsel Town-style melodrama plays out in a matter-of-fact, yet no less affecting manner in Mizoguchi's unsentimental hands.

In 1948's Women of the Night, the filmmaker returns to Osaka to focus on Fusako (Kinuyo Tanaka), a poverty-stricken widow who rebuilds her life after the war, then loses it all when her boss and sister betray her. Though Natsuko (Sanae Takasugi) attempts to make it up to Fusako, the situation only worsens once rape, syphilis, and pregnancy enter the picture (the liner notes indicate that Mizoguchi later dismissed this tough-minded movie as "barbarous"). His final film, 1956's Street of Shame, centers on a Yoshiwara brothel that operates like any other retail establishment. The most painful strand concerns an aging courtesan facing an Oharu-like future. Overall, these women look like survivors rather than victims, but Mizoguchi leaves no doubt regarding his frustration with a social order that would create and punish such steely characters. --Kathleen C. Fennessy

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