'The Life of Oharu' is not an easy film to watch. There is barely even a fleeting moment of joy/happiness and towards the end, the viewer will find himself/herself getting really angry and outraged by the unthinkable oppression and atrocities and engulf our titular protagonist. Mizoguchi's sympathetic treatment of Oharu compels the viewer to feel beaten down and horrified by Oharu's miserable plight.
The long line of tragedies in Oharu's life gets triggered by her decision to fall in love with Katsunosuke(played by the legendary Toshirô Mifune), a man of lower social standing. This element of forbidden love was also present in the previous Mizoguchi film that I watched namely 'The Story of Last Chrysanthemum'. The story arc of Otoku in that film to a some extent resembles the arc of Oharu in this one in terms of the mental and physical torture that they are both subjected to. Oharu makes an effort to conform to society's deplorable expectations, but even then gets nothing to show for it and gets discarded. This is because once she falls in social standing and gets sold off by her family, she ceases to be a human being in the eyes of society. There is a lot of references to trade and business in 'The Life of Oharu' which is relevant because Oharu over the course of her life becomes nothing more than a commodity to be sold from one customer to the next in the patriarchal society of 17th century Japan.
Mizoguchi technical mastery is again on show in 'The Life of Oharu'. Some of the long takes and extended tracking shots are truly remarkable. Mizoguchi had the ability to suggest a plethora of things like passage of time, a change in mood, etc. with one little pan movement of the camera or with just the camera placement and those features are on show here too. The interior sets are beautifully designed and the haunting music by Ichirō Saitō is used craftily from time to time to set/change the mood. Kinuyo Tanaka has to be admired for lending the sympathy inducing tender innocence to Oharu. Her performance in the scenes depicting the later stages of Oharu's life is jaw-dropping in its authenticity and humanity.
To conclude, I have to reiterate that 'The Life of Oharu' is not for everyone. One has to be in a specific mood to be able to endure the emotionally crushing narrative and storytelling of the film. But having said that, I still believe that it needs to be watched as Oharu represents numerous women(of Japan and beyond) in history and present times whose lives were and are still getting destroyed due to an oppressive society which denigrates women. It is said that Mizoguchi's obsession with capturing the misery of women in the face of oppression had its roots in his own childhood as his own sister who raised him was sold by their father. One can sense a personal grief, a personal intimacy in the style of storytelling in this particular film. Highly Recommended.
The long line of tragedies in Oharu's life gets triggered by her decision to fall in love with Katsunosuke(played by the legendary Toshirô Mifune), a man of lower social standing. This element of forbidden love was also present in the previous Mizoguchi film that I watched namely 'The Story of Last Chrysanthemum'. The story arc of Otoku in that film to a some extent resembles the arc of Oharu in this one in terms of the mental and physical torture that they are both subjected to. Oharu makes an effort to conform to society's deplorable expectations, but even then gets nothing to show for it and gets discarded. This is because once she falls in social standing and gets sold off by her family, she ceases to be a human being in the eyes of society. There is a lot of references to trade and business in 'The Life of Oharu' which is relevant because Oharu over the course of her life becomes nothing more than a commodity to be sold from one customer to the next in the patriarchal society of 17th century Japan.
Mizoguchi technical mastery is again on show in 'The Life of Oharu'. Some of the long takes and extended tracking shots are truly remarkable. Mizoguchi had the ability to suggest a plethora of things like passage of time, a change in mood, etc. with one little pan movement of the camera or with just the camera placement and those features are on show here too. The interior sets are beautifully designed and the haunting music by Ichirō Saitō is used craftily from time to time to set/change the mood. Kinuyo Tanaka has to be admired for lending the sympathy inducing tender innocence to Oharu. Her performance in the scenes depicting the later stages of Oharu's life is jaw-dropping in its authenticity and humanity.
To conclude, I have to reiterate that 'The Life of Oharu' is not for everyone. One has to be in a specific mood to be able to endure the emotionally crushing narrative and storytelling of the film. But having said that, I still believe that it needs to be watched as Oharu represents numerous women(of Japan and beyond) in history and present times whose lives were and are still getting destroyed due to an oppressive society which denigrates women. It is said that Mizoguchi's obsession with capturing the misery of women in the face of oppression had its roots in his own childhood as his own sister who raised him was sold by their father. One can sense a personal grief, a personal intimacy in the style of storytelling in this particular film. Highly Recommended.