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Now and Then: Mizoguchi's Bitter Masterpiece 'The Life of Oharu' Now on Criterion

Photo of Matt Brennan By Matt Brennan | Thompson on Hollywood! July 10, 2013 at 1:44PM

Director Kenji Mizoguchi's "The Life of Oharu" (1952), newly available in a high-def digital restoration from the Criterion Collection, teems with contradictions. It's epic yet delicate, set in feudal Japan but animated by modern anxieties, at once a traditional picaresque and a bold feminist classic.

In this, the most apt comparison may be not to Ozu, nor to Akira Kurosawa, but to Douglas Sirk. In his near-contemporaneous Hollywood melodramas, Sirk played the beautiful artifice of conspicuous consumption against the ugly underside of the American Dream. And no less than Sirk's opulent interiors and frothy, "three-hankie" plots, "The Life of Oharu" traverses intimate, ostensibly "feminine" terrain -- love, marriage, childbirth, beauty -- that masks its subversive political ends. 

When a feudal lord sends his emissary to Oharu's town to find him a concubine, the candidates line up for inspection like slabs of meat, prodded, ogled, judged, and tossed aside. In Mizoguchi's critical assessment, easy money and cruel power make women's bodies boom time commodities, purchased, possessed, and violated. "I'm not a beggar," Oharu says, refusing to demean herself for a quick payday. "You're bought and paid for," her boss replies coldly. "You're no different from a fish on the chopping board."

Indeed, "The Life of Oharu" musters an array of female characters -- an esteemed lady passed over for a concubine, an ill woman envious of a more beautiful courtesan, an out-of-luck musician, a fretful mother -- all of them more or less subjugated to the desires of men. If Oharu must confront Lady Matsudaira's penetrating stare, the noblewoman must accept the presence of another woman in her marriage "for the sake of the clan"; if Oharu may celebrate the lord's delight at the birth of an heir, the lady may remove the child to nurse it.

These opposing forces, these contradictions, crystallize in the midst of their first encounter. Though the exchange is silent, the audible words of the theatrical performance proceeding off-screen expose the space between the imagined ease of womanhood ("By good fortune / She is given / To the imperial palace / What a lucky flower") and the darker complexion of the actual experience:

Can this be real?

It is her fate

To wither

In the shade.

As it turns out, the only lesson about karmic retribution in this bitter masterpiece is Mizoguchi's own. In the life -- no, the world -- of Oharu, it is the women who bear the pain, and the men who inflict it.

"The Life of Oharu" is now available on Blu-ray and DVD from the Criterion Collection.

This article is related to: Now and Then, Reviews, DVD / Blu-Ray, Criterion Collection, Directors, Genres, Drama, Classics

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Born and raised in Manhattan, Anne Thompson grew up going to the Thalia and The New Yorker and wound up at grad Cinema Studies at NYU. She worked at United Artists and Film Comment before heading west as that magazine's west coast editor. She wrote for the LA Weekly, Sight and Sound, Empire, The New York Times and Entertainment Weekly before serving as West Coast Editor of Premiere. She wrote for The Washington Post, The London Observer, Wired, More, and Vanity Fair, and did staff stints at The Hollywood Reporter and Variety. She eventually took her blog Thompson on Hollywood to Indiewire. She taught film criticism at USC Critical Studies, and continues to host the fall semester of “Sneak Previews” for UCLA Extension.