Osaka Elegy

1936

Drama

127
IMDb Rating 7.2 10 1,501

Synopsis


Downloaded times
June 15, 2020

Cast

Takashi Shimura as Inspector
720p.BLU 1080p.BLU
657.57 MB
1280*720
Japanese 2.0
NR
23.976 fps
90 min
P/S N/A / N/A
1.19 GB
1920×1080
Japanese 2.0
NR
23.976 fps
90 min
P/S N/A / N/A

Movie Reviews

Reviewed by Gonzo-23 10 / 10 / 10

Lamentations of a poet

It was this film alone that drove me into an intense obsession with cinema. Mizoguchi is the great Japanese master, and Osaka Elegy reveals his genius. From his long take compositions that are taxed with complexity and tension, to his ambigious depictions of character, I felt like I had grown after I had seen this film. Notice the national allegory at the film's conclusion, a confused and lonely Japan. And his inconclusive final shot taken many years before the well known 400 Blows. The devastating melodrama is not undercut by any cinematic manipulation. I highly recommend this to any lover of the cinematic medium. Also, I am a sucker for self-reflexive Kabuki theater sequences...

Reviewed by Quinoa1984 8 / 10 / 10

the "illness of delinquency" in this powerful tale of skewed morality

One of the early films of Kenzi Mizoguchi, apparently the one that got him his first wide acclaim and box-office success, was a melodrama that went right for the familial gut. I think the emotional purpose, of pointing a finger right at the audience and asking "what would you do?" works because of the society that Mizoguchi was in at the time. It may be hard for some to conceive that forgiveness of something like being the "other" woman for a married man and getting arrested for a petty crime would be impossible, but in Osaka Elegy this is exactly what occurs. We feel strongly this sense of Ayako Murai wanting to do the right thing, of being a good daughter for her father who has money problems (accused of embezzlement for one thing and needing the $300), but that there's also the problem of this affair. Most of this is seen in long-takes by Mizoguchi, some well filmed and some not so much (it was 1936 and I imagine not the best equipment for, say, outdoor night shoots with little light), and we feel this cold detachment that the other characters start to feel for her, sometimes on a dime, and it leads to a point where she is just walking the streets, with nobody, a "stray" with no job and no family. I know I'm spoiling but it's important to point out the context - this is a drama that is so embedded in the melodrama of this story, of these characters struggling and being stubborn all the way, be it Ayako's father or even her ex-boss. If nothing else Mizoguchi makes a very strong identification with this character, and other characters like her family, and the nice young man who wants to just marry her... and deep down vise-versa. It's not the smoothest film (some of the cinematography is gorgeous but, again, it also jitters a bit and the print is worse for wear even in the Eclipse series), and a couple of the supporting performances like the cuckold wife is one-dimensional. Yet it's lead by an amazingly tender and tough and touching actress Isuzu Yamada, and a few scenes like the strange puppet theater scene or a specifically harsh scene where the nice young man discovers Ayako's true self and is in a stunned silence in the corner of the room are classics unto themselves. Certainly for any fan of the director's, even if it's not a complete masterpiece; maybe a look at the 90 minute cut, as opposed to the 71 minute one, will revise this review. 8.5/10

Reviewed by Meganeguard 8 / 10 / 10

Kept Woman

After having viewed Mizoguchi's Sisters of Gion, I decided that I really wanted to delve deeper and watch a number of his other films. Knowing that Osaka Elegy in some ways is considered the "prequel" to Sisters of Gion, I decided that it would be the next Mizoguchi film that I would watch. Unlike Sisters of Gion, Osaka Elegy does not revolve around the lives of Geisha and their patrons, but instead on the lives of those living in the bustling industrial center of Japan: Osaka. The opening sequence is quite amazing with the rapidly sped up film displaying the bright nightlife of Osaka, but upon daybreak the city looks quite dreary. While this can be said for many other large cities as well, this opening displays many of the disparities within the film especially those dealing with the poor and the rich and, of course this being a Mizoguchi film, those between men and women. Once again Mizoguchi's star actress Yamada Isuzu plays the central role in this film. However, instead of being a young geisha, Yamada's character Murai Ayako is a telephone girl at a large pharmaceutical company. However, one theme runs through these two roles: the main female character is poor and virtually the only way she can help herself is through a male. Young and attractive, Ayako gains the attention of her boss Asai, a stickler for propriety and who seems to enjoy bossing people around, however, she continues to wield off his "affections" because she is in love with Nishimura. However, Ayako's family is in quite a situation. Her father has embezzled some money from his company and if he does not pay it back he will go to jail. Being that Nishimura is unable, or maybe unwilling, to raise the money, Ayako accepts Asai's offer to become his mistress for money. However, this is only the beginning. Like Sisters of Gion, Osaka Elegy shows the role money and power have in the control of relationships and the precarious tightrope that many poor women had to walk during this period of Japanese history. Ayako is doing her best to support her family, a father, younger sister, and she even pays the tuition for her older brother, but saving face plays a more important role in her family than her actions to help save it. A wonderful film from one of Japan's early masters, Osaka Elegy is a must for those interested in pre-1945 Japanese film.

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