Steineded How sad is this?

Platicsco Good story, Not enough for a whole film

Hattie I didn’t really have many expectations going into the movie (good or bad), but I actually really enjoyed it. I really liked the characters and the banter between them.

Raymond Sierra The film may be flawed, but its message is not.

WILLIAM FLANIGAN (Editorial Note: Criterion folks, this exceptional film "cries out" for digital restoration. Commercially releasing it (on HULU) in this condition is deplorable!) Cinematography = eight (8) stars; interior set design = nine (9) stars; subtitles = five (5) stars; sound = four (4) stars; restoration = zero (0). Director Kenji Mizoguchi has created a back-stage photo play about all-male Kabuki (dance combined with drama) troupes circa mid 1800s. This is essentially a Kabuki-flavored movie (see below) about performing Kabuki. Popular Kabuki actors are depicted as the rock stars of their time complete with extravagant promotional parades, parasitic "yes men," and groupies. There are no surprises in the scenario. All outcomes are telegraphed well in advance. You do not have to be a fan of Kabuki (an acquired taste?) to enjoy this film. Kabuki performances are kept to a minimum except for the last third of the film which does suffer a bit from Kabuki overkill to underline a plot point (easy remedied by the fast-forward button on your remote!). Because of the absence of restoration, facial expressions of actresses and actors can not be determined (even in close-ups), hence depriving the viewer of seeing complete performances. Actress Kakuko Mori plays a totally self-sacrificing character (from under-appreciated wet nurse to scapegoat actor's wife); she easily steals every scene she is in with understated bravado performances. Not so much for leading actor Gonjurô Kawarazaki who seems to have something other than acting on his mind (being called up for military service, perhaps?). Mizoguchi uses open-wall interior sets which enable the camera to follow actresses and actors as they move from room to room and floor to floor in single long takes (no cuts). (These are some of the best--if not the best--dolly (tracking) shots in Japanese sound films to date!) (The Director's long takes foreshadow what Hitchcock used to prevent Selznick from re-editing his films.) Perhaps most notable is Mizoguchi's remarkable death bed scene (at the film's end) which goes on for seven uninterrupted minutes or so. This technique can be a double-edged sword, however. The middle of the film sags precisely because of overly long takes of performers doing very little (or nothing). Cinematography is also exceptionally creative for exterior scenes with long-tracking point-up shots predominating. The score has a heavy flavor of Kabuki music; except for the opening credits, it consist of a solitary background singer, drums, Shamisen, and other instruments commonly used in Kabuki performances. Opening credits are accompanied by a small under-rehearsed orchestra with frequent audio distortions. Microphone placement often picks up loud thumping of actors' feet on interior-set floors. Subtitles are close enough, but none of the solitary background singer's lyrics are translated. Highly recommended especially when digitally restored. WILLIAM FLANIGAN, PhD.

Od1n I've read some very exciting comments about this picture and in the middle of the movie I realized how I'm disappointed a bit. Keep your expectations low, lads. It's not Mizoguchi's screenplay like "Sisters of Gion", this movie based on a book. Classic story, very predictable, with straightforward acting, especially lead woman with tears and tempted voice all the time.Although a beautiful visual look, I couldn't connect myself with the movie. Unlike to "Naniwa ereji" (Osaka Elegy, 1936) and "Gion no shimai" (Sisters of the Gion, 1936), which are also very simple, but truthful and realistic, with sudden thought provocative endings. I prefer and recommend this movies ahead of "Zangiku monogatari".

MartinHafer I wish I spoke fluent Japanese--then I am sure I could have enjoyed the movie so much more. That's because this movie had horrible subtitles and often sentences or more were simply left untranslated or 50 words in Japanese were distilled down to only 3 or 4 words. In essence, the translators were very lazy and did a terrible job. Some might not mind this, but since I am a very avid fan of Japanese films it seriously detracted from the experience. This does NOT mean it is unwatchable or you should avoid it. In fact, if anyone knows of a better version available to Western audiences, let me know.The plot itself seems very familiar and is reminiscent of some other films, as its main ideas are respect for your elders and unrequited love. The main character is madly in love with his step-brother's nursemaid and the family strongly opposes it. I don't really think I need to divulge more but felt that the actors did a fine job and the story itself was interesting.UPDATE: There is a new DVD version from Criterion and I assume it's much better than the DVD I saw. Criterion always seems to do good jobs with subtitles on their film releases.

zetes No, The Story of Late Chrysanthemums is not a bad movie, not at all. In fact, it is quite good. However, it is hardly perfect. This is an Alcestis-like story about a wife, Otoku (Kakuko Mori), who sacrifices herself for the sake of her husband. The man is a young actor, Kikunosuke (Shotaro Hanayagi), who is living in the shadow of his famous father. The name earns him respect and praise, but only when he is present. When his back is turned, nobody hides the fact that they think he's terrible, and he knows it. Otoku, the wetnurse of his brother, is the first to give him honest criticism. The two fall in love and attempt to marry, but Kikunosuke's father and the rest of his family won't allow him, a man of noble birth, to retain the name if he should go through with it. He does it anyway, and spends many long years suffering as a nobody. Meanwhile, Otoku works at keeping things going; she even begs acting troupes to give her husband a job. Kikunosuke doesn't appreciate her enough, but, then again, she is selfless to a fault. She becomes downright annoying as the picture progresses: always whining, and, after every major bit of dialogue, she has a coughing fit. Let me ask those who overpraise this movie: did anyone not see the ending coming from the first ten minutes? Mizoguchi made many films that were similar in theme, but not nearly as irksome, and his actors were nearly always better. Still, the man's cinema is evolving rapidly, and his direction is downright beautiful. The cinematography flows like poetry. I like it more than I let on above, but I really do want to urge my fellow internet critics to hold the same standards to Kenji Mizoguchi that you would to any other director. 8/10.