The Life of Oharu

A middle-aged woman reflects on her life. As a victim of caste rules, hypocrites, thieves, rapists, murderers and jealous wives, it's not a happy reverie. The film is relentlessly bleak as Mizoguchi explores one of his favorite topics: the suffering of women. A fine lead performance by Kinuyo Tanaka and some marvelous tracking shots are the highlights.

Another Mizoguchi film, another examination of the suffocating nature of feudal Japanese society, right? Well... yes, but that's not a bad thing. Mizoguchi deftly tackles issues like honor and the looming shadow of a family's ancestors. The only notable qualms I have with the film are that it perhaps felt a bit too episodic, and that no other characters than Oharu were fleshed out as much as they could've been. But what the hey, this is yet another excellent Mizoguchi film.

A beautiful picture about the struggles of being a woman in feudal Japan. The story is compelling, thanks in large part to an excellent performanceby Tanaka.

In the hands of another director, this could have been a tiring misery fest whose episodic nature would start to become unnecessary, but for its bleakness Mizoguchi brings a kind humanity to the depiction of a woman's plight where there is still a tiny piece of optimism even in the worst situations possible. Kinuyo Tanaka as the titular character kept me compelled while the historical production design and cinematography were applaudable.

I've always been skeptical of cis male directors making films about sex workers, but this was actually a solidly feminist film. Mizoguchi thoughtfully & empathetically follows a woman navigating through her world of rigid class structure & patriarchy, a world that responds to any challenge to its norms or values with swift and immediate violence. It's a sad and tragic film, with Mizoguchi's anger towards how society has treated the women in his own life subtly simmering underneath the surface.

A woman goes through a life of hardship, misfortune and injustice in a repressive and hypocritical society. Fans of woe are sure to delight in this parade of suffering, but for those unaware of the latest research revealing that injustice is unjust, repression repressive and hypocrisy hypocritical, be prepared to learn some harsh lessons! It seems that Western critics and audiences must have felt it new and impressive in 1952, and somehow the herd effect has managed to last for seventy years.

It's a very bleak story, but so is the experience of watching it.

Oharu is pitiable. She lacks individuality, and is little more than response and reaction. I initially mistook this for a one-dimensional shortcoming, but eventually realized Mizoguchi's purpose. Oharu isn't a character, but an embodiment of the subjugation of women in Japanese hierarchy. Take that sort of broad iconography as you will, but Tanaka is wonderful in the role. In any case, this film is commendable for its stillness and solemnity, its even pacing, and its ethical taste.

For fuck's sake, you don't cast the same actress to play a worn out 50 year old hooker AND a flawlessy beautiful teenager, especially not the one that looks like Kevin Spacey.

A sad story about a beautiful young woman ultimately destroyed by the norms and attitudes of 17th century Japanese culture. At every turning point in her life she was dishonored by men who hold their own honor so dear. A poignant story of circumstance and misfortune in a male centric society. The story concentrates on bad events and skips over periods of good times, leaving a quite imbalanced look at her whole life. Not much of her personality is revealed, except her ingrained subservience.

# 248

Capricórnio

258

Istanbul Film Festivali, Atlas, 8 Nisan 2008

Hjerteskjærende om en ung kvinne som selges til en landeier for å føde hans arving. Derifra går det slag i slag til hun til slutt ender opp som en 50 år gammel prostituert på landsbygda i Japan. Likte spesielt godt scenene der et eller annet noh-stykket gikk i bakgrunn. Mizogushi er en av få japanske regissører jeg har sett som skriver troverdige kvinner, som i tillegg har hovedrollene i filmene. Flere av billedkomposisjonene var nydelige.

Star Rating: ★★★★★

91.00

oharu, minha princesa, levanta a cabeça senão a coroa cai

a strikingly feminist take on feudal japan, and a very sad tale of a woman who is suffocated by it. mizoguchi provides a film much more concerned with human drama than something (say) kurosawa might offer. the editing seems a little rushed; one reviewer mentioned that it's quite episodic and i'd agree with that. by the end it has drained you with its depressing story.

Oharu, a vida de uma cortesã estreava há 70 anos no Festival de Veneza. Não tem como não nos identificarmos profundamente as mulheres de Mizoguchi, ele tece um retrato do patriarcado tão brutal e verdadeiro que transpõe fronteiras e o peso do tempo. Box Versátil O Cinema de Mizoguchi Volume 1.

"The spiritually complete Life of Oharu represents the Holy Grail of Japanese cinema." - Ed Gonzalez

A reverie of a middle-aged woman's struggles in a suffocating and feudal Japan. Every attribute and rectitude of Mizoguchi's strategy is upgraded a notch in ethicalness and esteemed virtuousness. You can't turn your back on this.

The tragedy is so consistent that it veers near black comedy at times, but it's really a sophisticated melodrama. It's notable than none of the men responsible for her reversal are being outwardly villainous or acting in outrageous ways. They are acting out the roles proscribed by a society that punishes the smallest sexual transgressions and continues to punish them no matter what happens.

258

The focus is entirely on Oharu and by implication the struggles of women in Feudal Japan and throughout history. But one of the great things about Mizoguchi is the way he conveys so much of his vision indirectly, and I think this film says a lot about the wider world as well. Pay attention especially to the recurring role of money and social caste and how they determine the paths of almost all significant characters.

This is undoubtedly a fine film, but compared to some of Mizoguchi's other works I found it to drag a bit at times and it became somewhat repetitive. The central performance by Kinuyo Tanaka is excellent and the central themes (class, money, oppression of women) are on point and well covered. It's a strongly made, empathetic film, but perhaps if some of the vignettes had been either shortened or left out it might have packed more of a punch for me. Good stuff, though.

Provides one continuous and depressing downfall. Every vulture wanting a piece once they know the lady is down and out for the taking. No sunshine story here! All we do is gradually go into a realm of no hope for poor Oharu. Kenji Mizoguchi delivers a slow and torturous story that drains you, yet feel could have been even more crushing if used the time better. For he lives for those long sober shots. Real expressive cinema.

#260

It's off to a slow start, and in combination with extremely sparse use of both music and sound effects (several times I had to check to see if my speakers had simply shut off) I must admit it lost my attention from time to time. However, after an hour in the sadness really gets to you and by the end it is a heartbreaking movie.