Mizoguchi's 1939 masterwork is one that sneaks up on you to where its ending is so devastating because of how Mizoguchi never gives you that tight two shot or intense close ups. You have to WATCH this film but it can bring you in unexpectedly; shots at first may appear to be languid, veering maybe towards an early Bela Tarr film. But not too soon after it begins Mizoguchi's feminist (scatch that, simply a deeply felt humanist) view of the world, that oppression from familial obligations and guilt creates the tragedy of it all.The Kabuki and theatrical performances were the only parts I felt things lag a bit for me; I readily admit not being from Japan or understanding this anachronistic style (ironically but correctly Mizoguchi ups his pace for cutting in these scenes, there are more cuts and more reactions from the audience). I nevertheless think this is so powerful because of the purity of its story, that it is challenging the hierarchical structure of the period while coming to a conclusion in its final section where artistic triumph and tragic fate collide.Some may actually read into Osuka that she is a "doormat", like how can she look past anything she wants all for a man who, for much of the story - a man cant live up to his own standards as an actor, or to his families demands for him to be the next BIG actor in line, so he leaves home to cut his own path, with this woman who was once his little brothers wet nurse as his lover but more importantly his booster - lacks confidence. But I found myself rooting for him and finding that he was not unsympathetic; when he does get angry and pissy at one point the feeling is not hate but one of "come on you can put it together! Do it for her if nothing else!" There is suffering, quite so much so. But is showing the status quo, how men use women, being a critique here or simply showing it as it was/is in 1939 and before? So much of Last Chrysanthemum is painful to watch, yet in a way that I can never pull away from. A lot of it comes back to how he uses the camera and editing - take a key moment between these two people near the end and he never goes for the easy close up or two shot, we have to see this from one end of the room, but the emotion is laid bare - and that everyone in the cast knows how to play for it being about the firmness, even sanctuary nature, of the status quo.At times melodramatic as any soap but directed with the fluidity and timing of a confident old master (Mizoguchi was 40 when he made this, and really John Ford and his long, absorbing masters and mediums are a better comparison than Tarr), this was an experience that brought me in gradually from one melancholic but realistically drawn scene after another. Certainly not something to watch to get in a "happy" mood, but then when is with this filmmaker? (still not quite so soul crushing as Sansho the Bailiff, but close).

First, this is a tragic, tear-jerking love story, less complex than some other Mizoguchi films, but I can't believe it won't tear your heart out a little. I'm fairly ignorant of Japanese cultural history, but the film convincingly plays out the social structure of Kabuki theater troupes, with prominence dependent on a family name, back-biting hangers-on, a harsh distant ruling father, and a bevy of servants. Mostly masterfully staged; the Kabuki sequences with distant long takes add poignancy and irony to the 'real-life' drama of the actor and his ill-matched lover. I disagree with other reviewers who found the lead actress cloying; I interpreted Otoku's devotion as a carryover from traditional Japanese class structure, and she coughed pretty rarely until the last part of the film. Actually, for 'realism' she should've been coughing more.Tuxedos and bowlers sometimes are sported, but otherwise Western influences over life within the plot seem pretty rare. OTOH, the whole film seems to exhibit the influence of the Western romantic tradition--I don't know how much Japanese tradition is parallel to that. The main plot-line does have some surprising and/or unfortunate elements (SPOILERS): the way Kiku finds Otoku, the way Kiku gets convinced to return home, his lack of effort to find her in Tokyo, his father's final acceptance, Otoku's death without Kiku being there to weep--surely he knew she would die while he was away.That being said, the videotape I viewed was faded, faces were indistinct, scenes may have been deleted, and the subtitles were extremely bad. It's actually lucky the plot was simple and fairly predictable, or the lack of subtitles for many stretches of conversation, or their obvious inaccuracy, would have spoiled the film--they surprisingly did not. Yes, it's predictable, but so is Shakespeare or Tokyo Story, and frankly, the degree of predictability is culturally interesting.

I wish I spoke fluent Japanese--then I am sure I could have enjoyed the movie so much more. That's because this movie had horrible subtitles and often sentences or more were simply left untranslated or 50 words in Japanese were distilled down to only 3 or 4 words. In essence, the translators were very lazy and did a terrible job. Some might not mind this, but since I am a very avid fan of Japanese films it seriously detracted from the experience. This does NOT mean it is unwatchable or you should avoid it. In fact, if anyone knows of a better version available to Western audiences, let me know.The plot itself seems very familiar and is reminiscent of some other films, as its main ideas are respect for your elders and unrequited love. The main character is madly in love with his step-brother's nursemaid and the family strongly opposes it. I don't really think I need to divulge more but felt that the actors did a fine job and the story itself was interesting.UPDATE: There is a new DVD version from Criterion and I assume it's much better than the DVD I saw. Criterion always seems to do good jobs with subtitles on their film releases.

Along with "Sisters of the Gion"(1936) and "Osaka Elegy"(1936), "Zangiku monogatari" is a strong candidate for Kenji Mizoguchi's finest pre-war film. It is one of the greatest and most beautiful films I have ever seen - a profoundly sublime, heartbreaking love story between a Kabuki actor(Shotaro Hanayagi) and working class servant (Kakuko Mori) who makes sacrifices to herself to ensure his theatrical success. The film, filled with dazzling long takes and rich Sternbergian compositions, centers on Mizoguchi's characteristic theme: the shallowness of men and the generosity of women. Rarely has a Mizoguchi film seem at once so sublime and devastating in its impact. The final sequence alone is among the finest in all of cinema.My favorite Mizoguchi remains "The Life of Oharu"(1952); "Zangiku monogatari" is not very far behind.