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End of the reign, making of a man (cp. Minnelli's Home from the Hill). A descending crane on a bustling street market swiftly states the 12th-century situation ("We have two emperors, that's the drama"), nobility and religion comprise the competing cabals. No rewards for the returning samurai leader (Ichijiro Oya) but disdain from lords and lamentations from widows, a mighty steed is sold for celebratory sake nobody much feels like drinking. Rank and luxury matter little to the weary warrior, his impetuous heir (Raizo Ichikawa) has different plans: "I want to live like a pirate or a bandit, not fight for monks or courtiers!" Divided country, divided family in a symphonic account, the epic and the intimate etched by Kenji Mizoguchi like ink and gold on a Yamato-e scroll. Identity is the principal dilemma—the hothead's mother is a courtesan (Michiyo Kogure), his real father might be an imperial ruler or a fleeing grunt. (The fateful night is examined via contrasting recollections in a jibe at Rashomon.) Spirituality itself has become another facet usurped by power-hungry players, ceremonial bells and Buddha figurines are mere props as Mount Hiei monks carry palanquins like cannons and the camera is nearly burned by militaristic torches. Campaigns and conspiratorial plots, swords drawn at the festival and cockfights of every kind, the high-angled long shot contemplates it all. An assassination is foiled only for the samurai to expire from disgrace, he sits with his back turned following his banishment and a dissolve registers his demise inside a squeaky carriage. The maiden with dye on her fingers (Yoshiko Kuga), arrows for false idols, the turning tide in the pastoral vista. "Think of the future, and build the house you need." Ford's She Wore a Yellow Ribbon is a marked influence, Hou's historical dramas are close studies. Cinematography by Kazuo Miyagawa. With Narutoshi Hayashi, Tatsuya Ishiguro, Akitake Kono, and Tamao Nakamura.
--- Fernando F. Croce |