A peerless chronicler of the soul who specialized in supremely emotional, visually exquisite films about the circumstances of women in Japanese society throughout its history, Kenji Mizoguchi (Ugetsu) had already been directing movies for decades when hemade The Life of Oharu in 1952. But this epic portrait of an inexorable fall from grace, starring the incredibly talented Kinuyo Tanaka (The Ballad of Narayama) as an imperial lady-in-waiting who gradually descends to street prostitution, was the movie that gained its director international attention, ushering in a new golden period for him.
A peerless chronicler of the soul who specialized in supremely emotional, visually exquisite films about the circumstances of women in Japanese society throughout its history, Kenji Mizoguchi (Ugetsu) had already been directing movies for decades when hemade The Life of Oharu in 1952. But this epic portrait of an inexorable fall from grace, starring the incredibly talented Kinuyo Tanaka (The Ballad of Narayama) as an imperial lady-in-waiting who gradually descends to street prostitution, was the movie that gained its director international attention, ushering in a new golden period for him.
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