I have always favored Kenji Mizoguchi's films. Starring Isuzu Yamada, the Gion Sisters was released on October 15, 1936. Won the first place in the top ten japanese movies of that year.
Kenji Mizoguchi is recognized as a "master of women's cinema" - he has an extremely soft heart after a lifetime of hanging out with prostitutes, and the director of women is not only Kenji Mizoguchi, but he shoots the most delicious. His film itself has a kind of compassionate humanist feeling, which makes people feel that the most worthy of compassion in this world is women, especially prostitutes, and the more the story of the Qinglou, the more civilized, subtle and exquisite.
Director Mizoguchi is famous for his reel-style mobile photography, which is shown in the first shot of this film. Japanese homes are always so beautiful. elegance. Clean, even if bankrupt.
The dramatic use of the picture frame is masterful, and the aerial shot sees through the three-dimensional spatial sense of the Japanese family, and the depth is felt! It's a long shot that's as moist as a picture.
P.S. This head music sounds sonorous and powerful, and it has a bit of a taste of "Shanghai Beach".
Kyoto's biggest dry goods shop owner came to the autumn of his life --- bankrupt. All his movable and immovable property was auctioned off. Even the dowry brought by the wife was auctioned off.
But the hapless boss didn't rush to the bottom of the sisters on the day of the auction.
"Fallen leaves know autumn. This is a summary of me. "He said he was going to move here. Living with her sister as husband and wife.
Sister Maggie is very happy, at this time, naturally the sister is supporting the old good ---- today's bankrupt poor egg, but the sister seems to pick up a baby, but persuade the dry goods store owner to calm down: forget all the troubles.
The central character in the play-------- heroine gadget appears, dressed in pajamas, yawning all the way, this is a new woman who is very modern from the inside out. I am very dissatisfied with the upside-down behavior of my sister's acceptance.
These are sisters with very different personalities, and they have a profound discussion about how geisha and men get along: the sister emphasizes that people should talk about "love", while the sister calls men our enemies. The premise of obligating a man is what he has done for you. Letting men make a bargain has a price, not in vain.
As far as this particular profession is concerned, the sister's words are the most basic principle, and there is nothing wrong with it. But no one thought that in order not to become someone else's plaything, in order to live, the sister intended to manipulate others, and did not hesitate to deceive.
The first object chosen by the sister is the satin boy, a young man named Kimura, the only fat man in the whole play, who has little money, because he often goes to the party to sell goods, and knows his sister. My sister asked him for a kimono.
I didn't expect geisha to be so pathetic. I do this line myself, I don't even have a decent set of lines, how can I work without work clothes?
A standard kimono turned out to be so extraordinary, it is no wonder that in "The Tale of the Rainy Moon", men will buy kimonos as a big thing to show love for women.
The sister was trying to make a new kimono for her sister, but when the fat man heard that he wanted such an expensive thing, he immediately changed his face: You go to a rich man to make a kimono!
My sister was immediately angry, so what are you here for? You really don't like me? If I like it, I'll get the money!
The sister eventually took advantage of the boy's affection and let him steal a beautiful piece of cloth.
Another man was an antique shop owner. This person has an interest in his sister and hopes to become her patron. However, the premise is that the bankrupt boss must be driven away. That is, the poor egg who knows the autumn.
At this time, I finally understood that the so-called sponsor was the person who was willing to raise her, a long-term concubine.
The younger sister bore the brunt of this task.
She asked the antique shop owner: Don't you like my sister? If you don't like it, forget what I said. Like, I'll help you get rid of that person.
The character of Fifty Ling, who plays a little play, is cunning and sleek, and the conversation is sophisticated. Said: My sister said he was a burden. You pay for it. I just let him quit.
Gadget got a hundred yuan funding for this, the next day came to find the antique shop owner, just when the other party talked about business, she did not say a word, far away from the boss to show a smile, just this slight smile, immediately let the antique shop owner's business earn 270 yuan. Yamada Isuzu's aura is really not generally strong.
Taking advantage of her sister's absence, Xiao Toy sweeps the bankrupt dry goods shop owner out of the house.
To this end, she has done a lot of preparation in advance. First of all, how difficult the sisters are now, when they complain, they show no mercy, and then take out 50 yuan to him, and immediately take out his coat to let him leave quickly.
Everything went on like a joke. The bedside is golden, and the love affair is broken. It is most thoroughly expressed here in the little play.
The character of the dry goods shop owner, repeatedly, thinks it is a little interesting - he made his sister a real geisha, and he also spent a lot of money on his sister, but when his sister swept him out of the house, he did not accuse his sister with small words such as "" or "ungrateful". He just grabbed a cigarette and left.
And it was supposed to be midnight. (A very short song is played here in the film, singing "To the Autumn of Life.") ）
Even more jaw-dropping in the back. He said to people: I kicked out, but now that I have money, go, go and have a drink.
Another calculated man, fat Kimura, was not so smooth, because of stealing cloth, he made a false account, was discovered by the boss, and was severely reprimanded.
"Trick you into making kimonos, don't be a fool who takes money to buy women's love, when I was young, women bought me things." This statement attracted the attention of the wife. The audience snickered.
It sounds alarmist, as if a father were training his son. Or, the boss itself is equivalent to the fat man's food and clothing parents.
The owner of the satin shop asked the fat man to lead him to find the gadget. At this time, the film shows a beautiful ink painting.
Flowing water, small bridge - the film lens is mostly panoramic, with a gentle passage of long shots, the object of attention in the picture is not simply people, but emphasizes the integration of people and the environment, many times people have stepped out of the lens, or by doors, screens and other objects, but the lens still does not switch, the sense of space is very strong.
In this panoramic shot, the characters appear small and powerless.
No, the thief who came to catch the thief was caught by the thief, and the little play showed its charm in front of the owner of the satin shop who came to ask the teacher, and immediately charmed the boss.
Honest and seduced with kimonos? Is this honesty? ——Little player so ironic fat guy.
People like you know the pain and sweetness — little toys so flattering to satin shop owners.
The little play is clever. The sister is as vivid as the sister. It's all about a clever mouth, and the lies are so natural and indifferent. Isuzu Yamada is truly skilled.
But the men here are also too ugly to be devastated. The three male bosses in the film are almost identical. They were similar in age, looking to be in their mid-fifties, or older. Their hair was all back, they all wore the same glasses, they all wore dark clothes, and even the style of the trench coat was so neat and uniform. To be honest, when I watch movies, I often can't tell who they are.
The film seems to "assimilate" and "face" men of that age and social status, and it is deliberate. The Gion sisters beg for food in such a male society.
Unexpectedly, the fat man was not dead-hearted, staying at the little toy artist, and colliding with the new couple who returned.
The gadgets at this time are completely dressed up in dress. White garden top hat, card waist, very short vest. And full of ambition, with his head held high and his morale high. Apparently, she had already treated the fat man as contempt.
In the face of the fat man's accusations, the little play is not afraid,
" Always be honest, I'll be unemployed." A kimono and think I'm your woman? It's so beautiful to think about! ”
The fat man felt humiliated, "I'm a man too." He stressed fiercely before leaving.
How could he be so stupid? Little play does not understand.
My sister understands the rules of the game very well. But she is still too tender to distinguish between different people. Some people belong to her circle, some people do not belong to the circle of the rules of the game, and she uses the rules of the game on people who do not apply. This man is: the satin man.
Now we can see that the development of the story is that this fat ancient village is tearing down everything. He reported everywhere. It seems that the neighbors still don't know each other too well.
The sister learned the truth and angrily left her sister. Reunite with the dry goods shop owner.
The two of them, like children, shared a loaf of bread and ate it very happily.
As a positive sister, such as a traditional Japanese woman, her behavior is decent, but her face is always blurred.
Why is my sister so stupid? The sister was confused again.
Now let's analyze the significance of the role of the fat man.
First of all, a guy who has no money to support a geisha, he can't even afford a piece of cloth to make a kimono, he has to rely on the way of concealment to get a cloth, what does he do with the geisha?
This guy obviously understands his poverty, but he doesn't know why he has to be a "geisha" girl.
This guy obviously didn't belong in that circle, and he shouldn't have stepped in at all. What's even more ridiculous is that the guy still holds the illusion that there will be innocent love between him and his sister; he doesn't understand that the key word in this circle is "profit".
My sister was really looking for someone she shouldn't be looking for. This person does not belong to her target customer group at all. What's more, when this guy discovers that his boss has replaced him as his sister's friend, he shouts "I'm a man too." He stepped into a world that did not belong to him, did not talk about the rules of the game in that world, and was even more unwilling to gamble and lose, and he also wanted to take revenge on his sister. This is a man of bad quality. His revenge was also terrifying.
On the gadget, put on a huge hood. It turns out that the geisha's hair is fake, but the fake is also plump and moist.
Finally, the makeup is as Tadao Sato said, just like the samurai preparation before the duel.
The fat man, believing that his self-esteem had been trampled on, tricked his sister into a taxi and caused her to fall out of the moving car.
Whether the sister was pushed out of the car, or whether the sister herself would rather die than let the young man retaliate and jump out of the car, the film is unclear. I think it's more like the latter.
In this way, the relationship between the geisha and the guest is too difficult to grasp - too much gratitude is not enough, too profitable is not enough, and it may be better to neutralize.
If we say ruthless, it seems that there are two forces compared, who can be more ruthless. After reading the cruel revenge of the fat man, I feel that the heart of the little plaything is just a way to protect yourself.
Plaything was badly injured, but Kenji Mizoguchi didn't make her look pitiful until the end—he arranged for Playboy to be hard-mouthed. Do not yield until death.
The owner of my sister's dry goods store suddenly had a new job, working as a manager in a nylon factory. He immediately did not say goodbye, only let people send a message to his sister, "I am not suitable for you, find another sponsor." ”
Both things happened on the same night. At that time, her sister was still lying in a hospital bed.
At the end of the film, the sister lies in a hospital bed, and the sister is crying on the side.
—— The sister is very kind, not for money, only for feelings, but in the end she hurt much more than her sister.
This proves that lower-class women cannot get a shred of happiness, only a short-lived, hallucinatory beauty.
Until the end, all emotions finally found a small hole, although this hole is too small to be ignored, but it also achieves a blowout effect.
The sister shouts on her back, "Why are there geisha in the world?" I don't lose to them, I never lose to them. ”
The words of the gadget are suddenly reminiscent of Ruan Lingyu among the new women.
The film ends cleanly here.
<h1 class= "pgc-h-arrow-right" > Films by Kenji Mizoguchi never give women any dignity, but it will tell you that women also have dignity. </h1>