A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

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Showing posts with label Shotaro Hanayagi. Show all posts
Showing posts with label Shotaro Hanayagi. Show all posts

Wednesday, October 28, 2026

The Story of the Last Chrysanthemum (Kenji Mizoguchi, 1939)

Shotaro Hanayagi and Kakuko Mori in The Story of the Last Chrysanthemum

Cast: Shotaro Hanayagi, Kakuko Mori, Kokichi Takada, Gonjuro Kawarzaki II, Tokusaburo Arashi VI, Hideo Nakagawa, Yoko Umemura, Ryotaro Kawanami, Yoshiaki Hanyagi, Kinnosuke Takamatsu, Nobuko Fushimi, Benkei Shiganoya. Screenplay: Matsutaro Kawaguchi, Yoshikata Yoda, based on a story by Shofu Muramatsu. Cinematography: Yozo Fuji, Minoru Miki. Production design: Hiroshi Mizutani. Film editing: Koshi Kawahigashi. Music: Shiro Fukai. 

Kenji Mizoguchi's The Story of the Last Chrysanthemum provides a glimpse into the world of the kabuki theater through the life of an aspiring actor, Kikusone (Shotaro Hanayagi) and his companion Otoku (Kakuko Mori). When the two fall in love, Otoku, who was nurse to Kiku's much younger brother, is expelled from the household headed by his father, a famous actor. Kiku breaks with the family and sets out to prove himself on his own. The problem is, he's not a very good actor, and only when he's reunited with Otoku, who is the only person who will give him helpful advice at getting better, does he begin to make it in the profession. But not after much suffering, during which Otoku develops consumption. It's a familiar tale, reminiscent of the story of Marguerite Gautier (or Violetta Valéry, if you know Verdi's La Traviata) in adaptations of The Lady of the Camellias by Dumas fils. Mizoguchi tells it well with his characteristic long takes and avoidance of close-ups, and it's distinguished by his usual sympathetic treatment of women. It's generally regarded as an important precursor to the director's postwar triumphs, but it will try the patience of those for whom kabuki remains an inscrutable art form, and I found myself getting restless at the protracted treatment of Otoku's final moments.