Sansho the Bailiff - Criterion Collection

Sansho the Bailiff - Criterion Collection
by Kenji Mizoguchi

Sansho the Bailiff - Criterion Collection
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DVD Cover Information

Actor: Akitake K?no, Eitar? Shind?, Kinuyo Tanaka, Ky?ko Kagawa, Yoshiaki Hanayagi
Director: Kenji Mizoguchi
Brand: IMAGE ENT.
Cinematographer: Kazuo Miyagawa
Editor: Mitsuz? Miyata
Producer: Masaichi Nagata
Writer: Fuji Yahiro
Writer: Ogai Mori
Writer: Yoshikata Yoda
DVD: Region Code 1
Audio: Japanese (Original Language); English (Subtitled)
Format: Black & White, Dolby, DVD, Full Screen, NTSC, Subtitled
Picture Format: 1.33:1
Running Time: 124 minutes
DVD Release Date: 2007-05-22
Audience Rating: Unrated
Studio: Criterion Collection
Product features:
  • When an idealistic governor disobeys the reigning feudal lord, he is cast into exile, his wife and children left to fend for themselves and eventually wrenched apart by vicious slave drivers. Under Kenji Mizoguchi's dazzling direction, thisic Japanese story became one of cinema's greatest masterpieces, a monumental, empathetic expression of human resilience in the face of evil. Format:

Movie Reviews of Sansho the Bailiff - Criterion Collection

Movie Review: When everybody is brought to the point of tears, but nobody cries
Summary: 5 Stars

A member of the film crew said something like this: while we were filming it, on the set, everybody cried, but when we saw it on the screen nobody cried.

The film is almost unbearably sad. One of the saddest films ever made. But photographically one of the most beautiful. At the moments of greatest anguish the camera, the observer, withdraws and sees the action in a larger setting of exquisite natural beauty. Mizoguchi involves us in the action, brings us to unbearable empathy, then moves us away, to distance, estrangement, detachment, contemplation ... Mizoguchi the sensual, passionate aesthete, lover of actresses, the theatre and social causes, and also the Buddhist seeing the suffering caused by illusion, attachment and passion ...

Sometimes we enter the world of cinema as if entering Plato's cave to be shown by the illusions on the wall how to live, how to be, become, better, in that beautiful and painful world outside ... Mizoguchi's film begins by a small stream and ends on a wide beach previously struck by a tidal wave, and in-between this journey of water and fire is a practice, art, lesson on balancing, harmonizing empathy and detachment, passion and transcendence ... toward perhaps the realization of what in Japanese aesthetics and religious experience is sometimes called yugen ... a word to google.

Summary of Sansho the Bailiff - Criterion Collection

WHEN AN IDEALISTIC GOVERNOR DISOBEYS THE REIGNING FEUDAL LORD, HE IS CAST INTO EXILE, HIS WIFE AND CHILDREN LEFT TO FEND FOR THEMSELVES AND EVENTUALLY WRENCHED APART BY VICIOUS SLAVE DRIVERS. UNDER KENJI MIZOGUCHI'S DAZZLING DIRECTION, THIS CLASSIC JAPANESE STORY BECAME ONE OF CINEMA'S GREATEST MASTERPIECES, A MONUMENTAL, EMPATHETIC EXPRESSION OF HUMAN RESILIENCE IN THE FACE OF EVIL.
On certain days, and in certain moods, it would be easy enough to declare that Kenji Mizoguchi's Sansho the Bailiff is the greatest movie ever made. No disrespect intended to Citizen Kane or The Rules of the Game or North by Northwest, for on certain other days those movies might be Numero Uno. But Mizoguchi's magnificent 1954 film is in the running. The story is a kind of emotional epic, although it's quite simple in its outline: a family in medieval Japan is brutally broken up, the mother (Kinuyo Tanaka) carried off into prostitution and two children sold into slavery. When the children, Zushio (Yoshiaki Hanayagi) and Anju (Kyoko Kagawa), are grown, their bondage to the pitiless slaveowner Sansho will end, but in different ways.

The arc of this story is beautiful in itself, but Mizoguchi's telling of the tale is extraordinary. His moving camera seems weightless, and he effortlessly reminds us of how we've returned to certain key images that chart the progress of the characters: the breaking of a tree branch, the way water can swallow up a life, a song that ties together different lives and different places. As for the final sequence, it achieves a rare power, a mix of emotional tones reminiscent of the end of The Searchers. Mizoguchi made Sansho (Sansho Dayu in its original title) after having made The Life of Oharu and Ugetsu in the previous two years--surely one of the great creative bursts for any filmmaker. Yes, lavish praise can sometimes be dangerous, but now that we've got your attention, Sansho will make its own eloquent case. --Robert Horton

On the DVD
The Criterion Collection has a beautiful print of Sansho the Bailiff and a few illuminating extras. Most valuable are the new interviews with three people who knew Mizoguchi: a critic, an assistant director, and actress Kyoko Kagawa; all emphasize Mizoguchi as a director obsessed with the acting (and a taskmaster in the William Wyler-Stanley Kubrick mode), and suggest that his soaring use of long takes was designed to serve the performances. A booklet gives two versions of the original story source, plus a thoughtful essay by Mark Le Fanu. The commentary by Japanese-literature professor Jeffrey Angles puts its emphasis on cultural background rather than film criticism. --Robert Horton

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