Description: Renowned by postwar scholars, "The 47 Ronin" is director Kenji Mizoguchi's (Ugetsu) poetic and complex retelling of the classic Japanese legend. Unseen in America until the 1970s, "The 47 Ronin" is a visually stunning work based on "Mayama Chushingura," a cerebral play dealing with the tale of the loyal samurai.
Amazon.com: Don't expect the blood-and-thunder adventure of Akira Kurosawa's samurai tales in this take on the legendary 18th century story. Loyal samurai plot righteous revenge on the scheming official responsible for the dishonor and execution of their honorable samurai Lord, yet Kenji Mizoguchi's elegant epic is a film of confrontation through ceremony, plots concealed in veils of political feints, and vengeance patiently delayed until honor can be satisfied. Such introspective drama may frustrate viewers anticipating adrenaline-fueled combat--even the climactic battle is communicated entirely in the breathless reading of a gripping dispatch--and they might prefer Hiroshi Inagaki's more visceral 1962 Chushingura. The drama of Mizoguchi's film is in the restrained poise of warriors reigning in their instinct to attack, the arched eyebrows of cunning politicians playing games of brinkmanship over tea, and the flowing camerawork and measured pacing of Mizoguchi's handsome style. --Sean Axmaker
A sidereal gem! Kenji Mizoguchi made the most complete insight about the fascinating, complex and enigmatic universe of the Samurai.
Without hindrances, there' s a visible divergence between two well distinguished Lords. One of them, Kira represents the pragmatism, the man who only knows about loyalty and parvenu vision; is attacked by another Lord of much more robust conviction and attachment to the ancient traditions of the doctrine. This fact will cause his death, but their vehement vassals are disposed to revenge this unfair punishment and vexation and they won 't rest until this death be a reality.
Along the superb story there will be a wide number of minor secondary narrative nines that will consolidate the most important Japanese film in the Forties, but besides will allow to get in to this absolutely unknown way of life.
One of my top one hundred films in any age.
Compare and Contrast Compare and contrast two interesting versions of the same story: "Chushingura" by Inagaki to Mizoguchi's "47 Ronin".
The 47 Ronin is the true story of samurai who plot revenge against the powerful lord who goaded their master into a "crime". Punishment for the crime was the demand that the master commit seppuku. The now-masterless samurai plot their revenge.
The film was made by Mizoguchi in two parts: the first with full consent of a Japan gearing up for war. On its release, the audience found it rather slow and disappointing. Remember, this is a true story, the diary of a woman of the court is the basis for the original tale, as well as Kabuki and film adaptations. Mizoguchi used all his skills to design a truthful and believable world of the Japanese Court of the time period of the events. Every costume detail, every room in the castle...especially the "arrest" scene, with the master closed in a folding screen-all of it feels a bit like turning pages in a book, so careful is Mizoguchi's filmic retelling of the tale.
The second film, believed by the Japanese government to be important for its message of loyalty and willingness to sacrifice was made despite the disappointing showing of the first installment. The second film, bundled into the first by Criterion, is characterized by increased action and character development.
Mizoguchi was the film director that Akira Kurosawa most admired. Although he faulted Mizoguchi for not showing the final battle and revenge, he admired Mizoguchi's attention to historical detail and truth.
A valuable comparison may be made between the film of Inagaki on the same story, "Chushingura", which is in color, made decades after Mizoguchi's and much more "Hollywoodish". Inagaki's use of closeups, and Toshiro Mifune in a cameo (compare the spearman in Mizoguchi's version to that of Mifune's character in Inagaki's) as well as the general tone and feel of the film are much more comfortable and pleasant. The last scene of Inagaki's film-the ronin marching triumphantly through town after their revenge is the best example of difference in the telling of the two stories.
In Mizoguchi's version, the end comes as we hear the names of the 47 ronin called, one by one, to commit seppuku, or ritual suicide. Mizoguchi never shows us their deaths. They are hidden beyond the walls. Finally, the leader of the ronin is called to his death. He says to the man with whom he is holding audience, "excuse me, please." And he stands to walk to his death. How chilling!
Although "Ugetsu Monogatori" is the most haunting of Mizoguchi's films..the one that I cannot shake..I find that the "47 Ronin" is a valuable, beautiful film well worth knowing, especially as compared to the delightful, but, ultimately much weaker "Chusingura" by Inagaki.
Among best pictures ever made This wonderfull movie is about attitudes and commitment of persons carried to extreme circumstances. The motivation of their actions is a great concern for them, thus dialogues are brilliant and invite to think about them. Environment were the movie occurs is beautifull, works of art displayed in it are breathtaking. Definetily not a movie of action, don't look in it for flying swordmen, karate virtuosism or thinks like that, but if you are interested to see how hard things can happen to persons, and how they can behave with loyalty to reason, then you will be interested in this film. Rithm of the movie is, accordingly with its nature, contemplative, so it must be apreciated with an attentive and thoughtfull attitude. Finally, the fact that Magister Mizobuchi didn't make an action film, might be a subtle act of rebellion to the goverment of his time (1942), that was rather disapointed with a movie about reason.
Window on another World First, if it's Samurai action you're after - give this masterpiece a miss! What you get instead is an absorbingly quiet, thoughtful contemplation on the conflicting demands of the rules of law, society and human nature. Violence is distanced, stylised - and largely absent (amazing in a wartime propaganda work!)
In pure cinematic terms "47 Ronin" is incredibly beautiful to watch, shot in immensely long takes that establish a natural, breathing rhythm over the whole of its huge length. It is also wonderfully well acted by Mizoguchi's huge cast. The spartan design is very satisfying, presenting us Westerners with a fascinating 'other' world secure and perfect in its own clear hierarchies and customs. The conflict between personal loyalty and the law is rendered with beautiful clarity.
In some ways, although this is not the first Mizoguchi film I'd recommend to newcomers to his art, it may be the purest, most pared-down of all his works - surprising considering its extraordinary length! Although the print is not great, this DVD still represents good value at the price and is recommended.
Chushingura... ..is a far better reenactment of the story of the 47 Ronin. Along with Seven Samurai, no other 2 films better exemplify the power of the samurai spirit. That aside, Mizoguchi is one of Japan's most celebrated film directors but The 47 Ronin (1&2) is not some of his better works. It's sad that this is the only film of his available on DvD, because it is in no way showing the true talents of this master of cinema.
I enjoy the Japanese legend of the 47 Ronin but this film is far too tedious and lengthy to watch. I fell asleep every time I've tried to watch it. And though more indepth and complex than Chushingura in some aspects, the style of filming so abstract it feels almost ancient. Saying that this film is painfully slow is putting it mildy. Rather, the story unfolds like a 300 hundred page book. At the end of the day you'd be better off just reading the story of the 47 ronin than to bother watching this 4 hour borefest.
With a far better adoptation available (Chushingura directed by Hiroshi Inagaki) I cannot recommend this film. Watch Chushingura instead.
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