UGETSU FILM ANALYSIS
Just as the script for Rashomon was derived from two different stories by Akutagawa, the script for Ugetsu is based on two stories by the 18th century writer Akinari Ueda, from his collection Ugetsu Monogatari Tales of the Moon and Rain. He is the most appreciated in the west because that layering is friendly to other developments as folds. Indeed, the whole film is studded with scenes and shots that echo earlier scenes and shots, with slight variations for contrast. Civil war tears the land, they exploit this to their advantage. He works to create these many pots, but the world disrupts ahead of time, so he must leave them in the kiln — sure death. This supernatural story is very well constructed in a historic context of the Japanese Civil Wars of the Sengoku period, with two family dramas caused by the blindness of greed. Also, the camera is almost always moving, in this film. The camera adds the frame only, for the world to compose itself in.
Fuji because he thought it would look good, rather it looked good because he was meditating with his brush on the source of his life-world. There is not a lot I can further say about this beautiful film except that it is best taken on an image by image base with the real plot as a second consideration. Seeing a film for the first time is what it is all about for me; you have to have the mystery, the tension of expectation, the sheer fear. Also, the camera is almost always moving, in this film. Sometimes I am wounded. Along with Mizoguchi’s style of storytelling, one can’t help but admire the skill of his camera work.
Masterfully combining two stories from its source, Tales of Moonlight and Rain, Fipm is set during the Japanese Civil Wars and follows a farmer whose pottery takes off, sales booming in wartime. Its tone is also surprisingly flat, which is another thing I’ve often noticed in Japanese films. Ugetsu is a great film, made by an artist at his peak, and even with the misgivings its creator had, it stands the test of time immaculately.
Seeing him reunited and then losing the apparition of his lost wife is reminiscent of the later Soviet film Solaris I was wrong; no amount of uvetsu can convey the richness and impact of the images and the overall fjlm of the film– which is why this commentary will be brief.
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Yes, the pursuit of status and wealth is shown to be disastrous, but didn’t we know already? Often, film historians make terrible commentators, for they assume too much, condescend, or sound like they are just reading from prepared notes.
The strokes of the pots are very literally transformed into the strokes of the fil, in an amazing sequence in a boat on a ghostly lake, surrounded by flowing inkfog. Kazuo Miyagawa’s black and white cinematography is outstanding, especially in the studio shots of the river and the ghostly lady’s mansion. Also, the camera is almost always moving, in this film. It tells the story of two families that try to seek their fortunes while a war rages near their lands. These were desperate times of survival, mostly for men who would have the main duty of protecting the family.
Did I miss some flaw in this film?
It is he who is granted a supernatural, extraordinary vision to remind him how far he has strayed. Along with this is Fil penchant for long takes, which seduce the viewer into the rhythm of the film without calling attention to themselves or to his cleverness as a director. The Japanese have given us since much better treatises on karma, Straits of Hunger and Sword of Doom from the following decade are two of them.
Then a dream — ghost story kicks in.
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Meanwhile, his wife is speared by some of the starving samurai pillaging the land and his son is adopted by a kindly villager. By degrees, even the eerie score, by Masaru Sato, shifts between declarations of dread and a strain of forced whimsy. The base of story was influenced by the situation of people who, against the war, dose not forgotten life and are actually struggling to defeat the problems in their struggle with themselves and the conditions.
Twenty-six years later this film still holds a special place in my heart did you not fall in love with Machiko Kyo?

Like ‘Rashomon’, this film was also based on Japanese folk tales, but Mizoguchi’s humanist filmmaking made it relevant for the s and its relevance hasn’t waned at all in the last 50 years. Ganjuro and Miyagi Representatives of the vulnerable rural areas in contrast to urban color and glaze, in the struggle to resolve the internal and external conflict in the face of rainbow dreams and personal aspirations, to obtain or escape from the predicament of a higher level of quality, And ultimately cost them.
On the other hand, Tobei achieves his desire to become a samurai warrior but through dubious means, at which point he discovers his wife Ohama has become a prostitute after being raped by warriors in his absence.
At the start one is lead to believe that in the Genjuro’s marriage he calls the shots e. The second aspect for Genjuro associate with spirits was at the end part of the movie, while He push open the cripple door of his home, he saw an empty house, yet after the camera return an image of the room, Miyagi, Genjuro’s wife appear, who was setting beside the stove alone tailoring clothes, and waiting for his husband to eat and change into comfy kimono, Genjuro feel extremely tire after all the events therefore he quickly falls asleep, next morning, when the villager master realize he is return went into his home and explain the tragic of her wife.
Devoted analtsis the discussion of film expression. The technical prowess only underlies the beauty of the story. It is a list that is getting smaller, because these are films I have never seen. Grateful, decides to return to his village to find his wife and young son, but hopelessly schizophrenia will accompany him the rest of his life.
Most of the emotions have to be read from analysus context or from the dialogue.
Likewise the two wives deal with the missing of their husbands in very different manners, creating contrast. I knew that all the work would be done for me, and that I could put my trust in the hands of a master and let down all barriers. Images roll effortlessly from one to another. He warns them to turn back. The closing scene is one of such deeply-felt compassion and understanding that it is almost frightening; it prefigures in a way the stunning and more personal close of the subsequent Mizoguchi film “Sansho the Baliff”.
Mizoguchi also made a bit of a career specialty in focusing on the lives of women, ugetzu even though the two male characters are the ostensible leads, the female characters shoulder much of the narrative and dramatic load, and do so consummately well.

They critiqued the very purpose of war by brutally depicting its devastating consequences. Sign in to vote. See it and be amazed. It is an artistic allegory of life during wartime. Ugetsu is an artistic film.
He was not only one of cinema’s greatest directors of women; in the case of Ugetsu Monogatari, he also captures the essence of the endurance of human love, transcending even death.

Mizoguchi adapts both of these, putting his being into the slow calligraphic sweeps of the camera. If Dreyer is the great “Protestant” of the cinema, and Bresson, Rossellini, and, it must said, Hitchcock and Ford, its great “Catholics’, Mizoguchi is its greatest Buddhist.
While ostensibly it is labeled a ghost story, since its Japanese title means Tales Of The Pale And Silvery Moon After The Rainthe story is a complex one that hides behind its astonishingly simple narrative and revelation, and cilm based upon two tales from a book of tales by Ueda Akinari, and a third story from French writer Guy de Maupassant.
There have been pirates lurking around and it was not necessary to risk it.
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This you can tell is not a good idea, since he is gullible and really bad with his savings. Machiko, as Lady Wakasa, shows dramatic improvement in just two years, as an actor, from her debut in Rashomon.
Sight anlaysis Sound – It’s nearly as frightening and devastating. The first time I was sad but overwhelmed, like I wasn’t sure I liked it except for the ending.
Ugetsu ugwtsu a tale of ambition, desire and greed consuming men and leading to grief. Rather it attempts successfully to give a drawn out, slightly surrealistic atmosphere that exhibits images of lingering beauty throughout its short length. The justly celebrated love scene by the shimmering lake.
Ozu with the peace of delegated motion.
