(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.
