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Chikamatsu monogatari (1954)
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Overview
User Rating:
Release Date:
November 1970 (USA) morePlot:
In 17th century Kyoto, Osan is married to Ishun, a wealthy miserly scroll-maker. When Osan is falsely accused of having an affair with the best worker... more | add synopsisAwards:
1 win & 1 nomination moreUser Comments:
Good though not on par with Mizoguchi's masterpieces moreCast
(Cast overview, first billed only) | Kazuo Hasegawa | ... | Mohei |
| Kyôko Kagawa | ... | Osan |
| Eitarô Shindô | ... | Ishun |
| Eitarô Ozawa | ... | Sukeemon (as Saka Ozawa) |
| Yôko Minamida | ... | Otama |
| Haruo Tanaka | ... | Gifuya Dôki |
| Chieko Naniwa | ... | Okô |
| Ichirô Sugai | ... | Gembei |
| Tatsuya Ishiguro | ... | Isan |
| Hiroshi Mizuno | ... | Kuroki |
| Hisao Toake | ... | Morinokoji |
| Ikkei Tamaki | ... | Jushiro Umegaki |
| Kimiko Tachebana | ... | Umetatsu Akamatsu |
| Keiko Koyanagi | ... | Okaya |
| Sayako Nakagami | ... | Osono |
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Additional Details
Parents Guide:
Add content advisory for parentsRuntime:
102 minCountry:
JapanLanguage:
JapaneseColor:
Black and WhiteSound Mix:
MonoMOVIEmeter: 
7% since last week
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This is certainly a good film, beautifully photographed and evocatively acted. Yet one should certainly criticize it, and Mizoguchi, for it is not without flaws and weaknesses. Mizoguchi really cared for women, and wanted to make statements on man's lack of sympathy and total cruelty, yet he sometimes gets ahead of himself in trying to make this statement by adopting the wrong means. This is certainly a case in 'the Crucified Lovers', 'Princess Yang Kwei Fei' and 'Zankiku monogatari'. He sets the scenario in feudal Japan, which leaves the viewer at the end with the partially right exclamation: "boy, does feudalism suck, I'm glad that it is over...". And true, some of the scenarios such weaker films of Mizoguchi present would be literary impossible today. Also, his women characters sometimes become archetypes of unrealistic self-sacrifice, which also simplifies the scenario less appealing. Saying that, "Crucified Lovers" is a good film, with such few relative weaknesses, though the sometimes chilly, cynical prose by Ueda, the screenwriter helps this film allot. I still highly prefer and recommend Mizoguchi's 'realistic, 'contemprary' films of 1936: 'Osaka Elegy' and 'Sisters of the Gion', as well as his late masterpieces, in which he showed more restraint and subtlety: 'Ugetsu', 'Sansho Dayu', and 'The Life of Oharu'.