Kenji Mizoguchi

Kenji Mizoguchi
溝口 健二
Born(1898-05-16)16 May 1898
Hongō, Tokyo, Empire of Japan
Died24 August 1956(1956-08-24) (aged 58)
Kyoto, Japan
OccupationsFilm director, screenwriter
Years active1923–1956
Notable work
Spouse
Chieko Saga
​
(m. 1927)​
Kenji Mizoguchi travelling through Europe, 1953

Kenji Mizoguchi (溝口 健二, Mizoguchi Kenji; 16 May 1898 – 24 August 1956) was a Japanese filmmaker who directed roughly one hundred films during his career between 1923 and 1956.[1][2][3] His most acclaimed works include The Story of the Last Chrysanthemums (1939), The Life of Oharu (1952), Ugetsu (1953), and Sansho the Bailiff (1954),[4][5] with the latter three all being awarded at the Venice International Film Festival. A recurring theme of his films was the oppression of women in historical and contemporary Japan.[2][3][6] Together with Akira Kurosawa and Yasujirō Ozu, Mizoguchi is seen as a representative of the "golden age" of Japanese cinema.[7]

Biography

Early life (1898–1920)

Mizoguchi was born in Hongō, Tokyo, as the second of three children, to Zentaro Miguchi, a roofing carpenter, and his wife Masa.[8][9][10] The family's background was relatively humble until the father's failed business venture of selling raincoats to the Japanese troops during the Russo-Japanese War.[8][9][10] The family was forced to move to the downtown district of Asakusa and gave Mizoguchi's older sister Suzu up for adoption, which in effect meant selling her into the geisha profession.[8][9][10]

In 1911, Mizoguchi's parents, too poor to continue paying for their son's primary school training, sent him to stay with an uncle in Morioka in northern Japan for a year,[8][9] where he finished primary school.[9] His return coincided with an onset of crippling rheumatoid arthritis,[9] which left him with a walking gait for the rest of his life.[8] In 1913, his sister Suzu secured him an apprenticeship as a designer for a yukata manufacturer, and in 1915, after the mother's death, she brought both her younger brothers into her own house.[8][9] Mizoguchi enrolled for a course at the Aoibashi Yoga Kenkyuko art school in Tokyo, which taught Western painting techniques,[8][9] and developed an interest in opera, particularly at the Royal Theatre at Akasaka where he helped the set decorators with set design and construction.[8][10]

In 1917, his sister again helped him to find work, this time as an advertisement designer with the Yuishin Nippon newspaper in Kobe.[8][9][10] The film critic Tadao Sato has pointed out a coincidence between Mizoguchi's life in his early years and the plots of shinpa dramas, which characteristically documented the sacrifices made by geisha on behalf of the young men they were involved with. Probably because of his familial circumstances, "the subject of women's suffering is fundamental in all his work; while sacrifice – in particular, the sacrifice a sister makes for a brother – makes a key showing in a number of his films, including some of the greatest ones (Sansho the Bailiff/Sansho Dayu [1954], for example)."[8] After less than a year in Kobe, however, Mizoguchi returned "to the bohemian delights of Tokyo" (Mark Le Fanu).[8]

Film career (1920–1945)

Early films (1920–1939)

In 1920, Mizoguchi spoke with his friend Tadashi Tomioka, an actor at the Nikkatsu film studio in Mukojima, Tokyo, who suggested that Mizoguchi try to become an actor.[10] After speaking with one of Nikkatsu's directors, Osamu Wakayama, Mizoguchi found that Nikkatsu was not in need of actors, but that there was an opening for an assistant director.[10] Mizoguchi accepted the offer, and made his start within the film industry.[2][3] As an assistant director, Mizoguchi worked under the likes of Tadashi Oguchi and Eizō Tanaka.[10] After a little over a year at Nikkatsu, Mizoguchi wanted to quit the film industry, but was persuaded to remain by his sister Suzu.[10]

In 1922, Mizoguchi was promoted to director, and his directorial debut was released the following year, The Resurrection of Love.[2][3] His early works included remakes of German Expressionist cinema[2][3] and adaptations of Eugene O'Neill and Leo Tolstoy.[8] In 1923, the Nikkatsu studios in Mukojima was destroyed in the Great Kantō Earthquake, so Mizoguchi moved to Nikkatsu's studios in Kyoto.[10] While working in Kyoto, he studied kabuki and noh theatre, and traditional Japanese dance and music.[10] He was also a frequent visitor of the tea houses, dance halls and brothels in Kyoto and Osaka,[8] which at one time resulted in a widely covered incident of him being attacked by a jealous prostitute and then-lover with a razor.[8][9][11] His 1926 Passion of a Woman Teacher (Kyōren no onna shishō) was one of a handful of Japanese films shown in France and Germany at the time and received considerate praise,[5] but is nowadays lost like most of his 1920s and early 1930s films.[6] By the end of the decade, Mizoguchi directed a series of left-leaning "tendency films", including Tokyo March and Metropolitan Symphony (Tokai kokyōkyoku).[2][3][8]

In 1927, Mizoguchi met and quickly fell in love with Chieko Saga, a dancer from Osaka.[10] Chieko was married to a yakuza at the time, and her husband confronted Mizoguchi.[10] With the help of Masakazu Nagata, a member of Nikkatsu's general affairs division, Mizoguchi convinced Chieko's husband that Mizoguchi and Chieko had not committed adultery but were in love.[10] Mizoguchi and Chieko married in the summer of 1927.[10] Their love for each other was strong, but their marriage was tumultuous.[10] Mizoguchi and Chieko were both adulterous and frequently fought, with some of the fights getting violent.[10] Chieko helped Mizoguchi with his work, often offering comments about his films during production.[10]

In 1932, Mizoguchi left Nikkatsu and worked for a variety of studios and production companies.[8] The Water Magician (1933) and Orizuru Osen (1935) were melodramas based on stories by Kyōka Izumi, depicting women who sacrifice themselves to secure a poor young man's education. Both have been cited as early examples of his recurring theme of female concerns and "one-scene-one-shot" camera technique,[2][6] which would become his trademark.[12] The 1936 diptych of Osaka Elegy and Sisters of the Gion, about modern young women (moga) rebelling against their surroundings, is considered to be his early masterpiece.[13][14][15] Mizoguchi himself named these two films as the works with which he achieved artistic maturity.[16] Osaka Elegy was also his first full sound film,[17] and marked the beginning of his long collaboration with screenwriter Yoshikata Yoda.[13][18]

1939, the year when Mizoguchi became president of the Directors Guild of Japan,[8] saw the release of The Story of the Last Chrysanthemums, which is regarded by many critics as his major pre-war,[16] if not his best work.[19][20] Here, a young woman supports her partner's struggle to achieve artistic maturity as a kabuki actor at the price of her health.

Wartime films (1941–1945)

During World War II, Mizoguchi made a series of films whose patriotic nature seemed to support the war effort. The most famous of these is a retelling of the classic samurai tale The 47 Ronin (1941–42), an epic jidaigeki (historical drama). While some historians see these as works which he had been pressured into,[21] others believe him to have acted voluntarily.[22] Fellow screenwriter Matsutarō Kawaguchi went as far as, in a 1964 interview for Cahiers du Cinéma, calling Mizoguchi (whom he otherwise held in high regard) an "opportunist" in his art who followed the currents of the time, veering from the left to the right to finally become a democrat.[23]

1941 also saw the permanent hospitalisation of his wife Chieko (m. 1927),[8] whom he erroneously believed to have contracted venereal disease.[24]

Post-war films (1945–1952)

During the early post-war years following the country's defeat, Mizoguchi directed a series of films concerned with the oppression of women and female emancipation both in historical (mostly the Meiji era) and contemporary settings. All of these were written or co-written by Yoda, and often starred Kinuyo Tanaka, who remained his regular leading actress until 1954, when both fell out with each other over Mizoguchi's attempt to prevent her from directing her first own film.[25][26] Utamaro and His Five Women (1946) was a notable exception of an Edo era jidaigeki film made during the Occupation, as this genre was seen as being inherently nationalistic or militaristic by the Allied censors.[16][27] Of his works of this period, Flame of My Love (1949) has repeatedly been pointed out for its unflinching presentation of its subject.[6][28] Tanaka plays a young teacher who leaves her traditionalist milieu to strive for her goal of female liberation, only to find out that her allegedly progressive partner still nourishes the accustomed attitude of male preeminence.

International recognition and death (1952–1956)

Screenwriter Yoshikata Yoda, Actress Kinuyo Tanaka, and Kenji Mizoguchi visit Paris, 1953

Mizoguchi returned to feudal era settings with The Life of Oharu (1952), Ugetsu (1953) and Sansho the Bailiff (1954), which won him international recognition, in particular by the Cahiers du Cinéma critics such as Jean-Luc Godard,[2] Eric Rohmer[5] and Jacques Rivette,[29] and were awarded at the Venice Film Festival.[2][3] While The Life of Oharu follows the social decline of a woman banished from the Imperial court during the Edo era, Ugetsu and Sansho the Bailiff examine the brutal effects of war and reigns of violence on small communities and families. In between these three films, he directed A Geisha (1953) about the pressures put upon women working in Kyoto's post-war pleasure district. After two historical films shot in colour (Tales of the Taira Clan and Princess Yang Kwei Fei, both 1955),[30][31] Mizoguchi once more explored a contemporary milieu (a brothel in the Yoshiwara district) in black-and-white format with his last film, the 1956 Street of Shame.

Mizoguchi died of leukemia at the age of 58[9][30][32] in the Kyoto Municipal Hospital.[24] At the time of his death, Mizoguchi was working on the script of An Osaka Story, which was later realised by Kōzaburō Yoshimura.[33]

Filmography

Silent films

All of Mizoguchi's silent films are lost, except where stated.[34]

Year English title Japanese title Romanized title Writer Notes
1923 The Resurrection of Love Ai ni yomigaeru hi No
Hometown Furusato Yes
The Dream Path of Youth Seishun no yumeji Yes
City of Desire Joen no chimata Yes
Failure's Song is Sad Haisan no uta wa kanashi Yes
813: The Adventures of Arsène Lupin 813 No
Foggy Harbour Kiri no minato No
Blood and Soul Chi to rei Yes
The Night Yoru Yes
In the Ruins Haikyo no naka No
1924 The Song of the Mountain Pass Tōge no uta Yes
The Sad Idiot Kanashiki hakuchi No
The Queen of Modern Times Gendai no joō No
Women Are Strong Jose wa tsuyoshi No
This Dusty World Jinkyō No
Turkeys in a Row Shichimenchō no yukue No
A Chronicle of May Rain Samidare zōshi No
No Money, No Fight Musen fusen No
A Woman of Pleasure Kanraku no onna Yes
Death at Dawn Akatsuki no shi No
1925 Queen of the Circus Kyokubadan no Jo No
Out of College Gakusō o idete Yes
The White Lily Laments Shirayuki wa nageku No
The Earth Smiles: Part 1 Daichi wa hohoemu: Daiichibu No
Shining in the Red Sunset Akai yūki ni terasarete No
The Song of Home Furusato no uta No Extant
Human Being Ningen No
Street Sketches Shōhin eigashū: Machi no suketchi No Omnibus, Mizoguchi directed one of four parts
1926 General Nogi and Kuma-san Nogi Taisho to Kuma-san No
The Copper Coin King Dōkaō No
A Paper Doll's Whisper of Spring Kaminingyō haru no sasayaki No
My Fault, New Version Shinsetsu ono ga tsumi No
The Passion of a Woman Teacher Kyōren no onna shishō No
The Boy of the Sea Kaikoku danji No
Money Kane No
1927 The Imperial Grace Kōon No
The Cuckoo Jihi shinchō No
1928 A Man's Life Hito no isshō No
1929 Bridge of Japan Nihonbashi Yes
Tokyo March 東京行進曲 Tōkyō kōshinkyoku No Few minutes preserved
The Morning Sun Shines 朝日は輝く Asahi wa kagayaku No Co-directed with Seiichi Ina, few minutes preserved
Metropolitan Symphony 都会交響楽 Tokai kōkyōgaku No
1930 Hometown Furusato No Extant
Okichi, Mistress of a Foreigner 唐人お吉 Tōjin Okichi No Few minutes preserved
1931 And Yet They Go Shikamo karera wa yuku No
1932 The Man of the Moment Toki no ujigami No
The Dawn of Manchuria and Mongolia Manmō kenkoku no reimei No
1933 The Water Magician 滝の白糸 Taki no shiraito No Extant
Gion Festival Gion matsuri Yes
The Jinpu Group Jimpūren Yes
1934 The Mountain Pass of Love and Hate 愛憎峠 Aizō tōge No
1935 The Downfall of Osen 折鶴お千 Orizuru Osen No Extant

Sound films

Year English title Japanese title Romanized title Writer Notes
1935 Oyuki the Virgin マリヤのお雪 Mariya no Oyuki No
The Poppy Gubijinsō No
1936 Osaka Elegy 浪華悲歌 Naniwa erejī No
Sisters of the Gion 祇園の姉妹 Gion no kyōdai Yes
1937 The Straits of Love and Hate 愛怨峡 Aien kyō Yes
1938 Song of the Camp Roei no uta No
1939 The Story of the Last Chrysanthemums 残菊物語 Zangiku monogatari No
1939 A Woman of Osaka Naniwa onna No Lost film
1941 The Life of an Actor Geidō Ichidai Otoko No
The 47 Ronin Part 1 元禄 忠臣蔵 Genroku chūshingura No
1942 The 47 Ronin Part 2 No
1944 Three Generations of Danjuro Danjurō sandai No
Miyamoto Musashi 宮本武蔵 Miyamoto Musashi No
1945 The Famous Sword 名刀美女丸 Meitō Bijomaru No
Victory Song Hisshōka No Co-direction with Masahiro Makino and Hiroshi Shimizu
1946 Victory of Women 女性の勝利 Josei no shōri No
Utamaro and His Five Women 歌麿をめぐる五人の女 Utamaro o meguru gonin no onna No
1947 The Love of Sumako the Actress 女優須磨子の恋 Joyū Sumako no koi No
1948 Women of the Night 夜の女たち Yoru no onnatachi No
1949 Flame of My Love わが恋は燃えぬ Waga koi wa moenu No
1950 Portrait of Madame Yuki 雪夫人絵図 Yuki fujin ezu No
1951 Miss Oyu お遊さま Oyū-sama No
The Lady of Musashino 武蔵野夫人 Musashino fujin No
1952 The Life of Oharu 西鶴一代女 Saikaku ichidai onna Yes
1953 Ugetsu 雨月物語 Ugetsu monogatari No
A Geisha 祇園囃子 Gion bayashi No
1954 Sansho the Bailiff 山椒大夫 Sanshō dayū No
The Woman in the Rumor 噂の女 Uwasa no onna No
The Crucified Lovers 近松物語 Chikamatsu monogatari No
1955 Princess Yang Kwei Fei 楊貴妃 Yōkihi No
Tales of the Taira Clan 新・平家物語 Shin heike monogatari No
1956 Street of Shame 赤線地帯 Akasen chitai No

Legacy

In 1975, Kaneto Shindō, a set designer, chief assistant director and scenarist for Mizoguchi in the late 1930s and 1940s, released a documentary about his former mentor, Kenji Mizoguchi: The Life of a Film Director,[24] as well as publishing a book on him in 1976.[35] Already with his autobiographical debut film Story of a Beloved Wife (1951), Shindō had paid reference to Mizoguchi in the shape of the character "Sakaguchi",[36] a director who nurtures a young aspiring screenwriter.

Mizoguchi's films have regularly appeared in "best film" polls, such as Sight & Sound's "The 100 Greatest Films of All Time" (Ugetsu and Sansho the Bailiff)[37] and Kinema Junpo's "Kinema Junpo Critics' Top 200" (The Life of Oharu, Ugetsu and The Crucified Lovers).[38] A retrospective of his 30 extant films, presented by the Museum of the Moving Image and the Japan Foundation, toured several American cities in 2014.[39] Among the directors who have admired Mizoguchi's work are Akira Kurosawa,[40] Orson Welles,[41] Andrei Tarkovsky,[42] Martin Scorsese,[43] Werner Herzog,[44] Theo Angelopoulos[45] and many others. Film historian David Thomson wrote, "The use of camera to convey emotional ideas or intelligent feelings is the definition of cinema derived from Mizoguchi's films. He is supreme in the realization of internal states in external views."[46]

International appreciation

When Mizoguchi died, many film directors and film critics gave comments about Mizoguchi's skill and influence.

‘On 24 August 1956, Japan's greatest film-maker died in Kyoto. And one of the greatest filmmakers of all time. Kenji Mizoguchi was the equal of a Murnau or a Rossellini... If poetry appears at every second, in every shot that Mizoguchi makes, it is because, as with Murnau, it is the instinctive reflection of the inventive nobility of its author’. Jean-Luc Godard, Arts, 5 February 1958.[47][48]

‘There is no doubt that Kenji Mizoguchi, who died three years ago, was his country's greatest filmmaker. He knew how to discipline for his own use an art born in other climes and from which his compatriots had not always made the most of. And yet there is no slavish desire on his part to copy the West. His conception of setting, acting, rhythm, composition, time and space is entirely national. But he touches us in the same way as Murnau, Ophüls or Rossellini’. Éric Rohmer, Arts, 25 September 1959.[49]

‘Comparisons are as inevitable as they are unfashionable: Mizoguchi is the Shakespeare of cinema, its Bach or Beethoven, its Rembrandt, Titian or Picasso’, James Quandt, Mizoguchi the Master, (retrospective of Mizoguchi centenary films), Cinematheque Ontario and The Japan Foundation, 1996.[50][51]

References

  1. ^ "溝口健二". Japanese Movie Database (in Japanese). Retrieved 6 October 2022.
  2. ^ a b c d e f g h i "溝口健二". Kinenote (in Japanese). Retrieved 6 October 2022.
  3. ^ a b c d e f g "溝口健二". Kotobank (in Japanese). Retrieved 6 October 2022.
  4. ^ "The Tales and Tragedies of Kenji Mizoguchi". Harvard Film Archive. 2014. Retrieved 6 October 2022.
  5. ^ a b c Jacoby, Alexander (October 2002). "Mizoguchi, Kenji". Senses of Cinema. Retrieved 6 October 2022.
  6. ^ a b c d Jacoby, Alexander (2008). Critical Handbook of Japanese Film Directors: From the Silent Era to the Present Day. Berkeley: Stone Bridge Press. ISBN 978-1-933330-53-2.
  7. ^ Sharp, Jasper (15 May 2015). "Kenji Mizoguchi: 10 essential films". British Film Institute. Retrieved 6 October 2022.
  8. ^ a b c d e f g h i j k l m n o p q r Le Fanu, Mark (2005). Mizoguchi and Japan. London: BFI Publishing. ISBN 978-1-84457-057-7.{{cite book}}: CS1 maint: publisher location (link)
  9. ^ a b c d e f g h i j k Andrew, Dudley; Andrew, Paul (1981). Kenji Mizoguchi: A Guide to References and Resources. Boston: G.K. Hall. ISBN 9780816184699.
  10. ^ a b c d e f g h i j k l m n o p q r Sato, Tadao (1982). Padgaonkar, Latika; Vasudev, Aruna (eds.). Kenji Mizoguchi and the Art of Japanese Cinema. Translated by Tankha, Brij. Oxford, United Kingdom: Berg Publishers (published 2008). ISBN 978-1-84788-231-8.
  11. ^ Phillips, Alastair; Stringer, Julian, eds. (2007). Japanese Cinema: Texts and Contexts. London and New York: Routledge. p. 95. ISBN 9780415328470.
  12. ^ Thomas, Kevin (6 January 1997). "A Closer Look at a Japanese Master". The Los Angeles Times. Retrieved 23 November 2010.
  13. ^ a b "浪華悲歌". Kinenote (in Japanese). Retrieved 1 October 2022.
  14. ^ "浪華悲歌". Kotobank (in Japanese). Retrieved 2 October 2022.
  15. ^ Anderson, Joseph L.; Richie, Donald (1959). The Japanese Film – Art & Industry. Rutland, Vermont and Tokyo: Charles E. Tuttle Company.
  16. ^ a b c "The Best Japanese Film of Every Year – From 1925 to Now". British Film Institute. 14 May 2020. Retrieved 3 January 2022.
  17. ^ McDonald, Keiko (Winter 1982). "Form and Function in "Osaka Elegy"". Film Comment. Vol. 6, no. 2. pp. 35–44.
  18. ^ "Osaka Elegy". Time Out. Retrieved 2 October 2022.
  19. ^ Rosenbaum, Jonathan. "The Story of the Last Chrysanthemums". Chicago Reader. Chicago. Archived from the original on 26 May 2020. Retrieved 7 October 2022.
  20. ^ Macpherson, Don. "The Story of the Late Chrysanthemums". Time Out. Retrieved 7 October 2022.
  21. ^ Dougill, John (2006). Kyoto: A Cultural and Literary History. Signal Books. ISBN 9781904955139.
  22. ^ Burch, Noël (1979). To the Distant Observer: Form and Meaning in the Japanese Cinema. University of California Press. p. 243. ISBN 9780520038776.
  23. ^ "Six entretiens autour de Mizoguchi: Kawaguchi Matsutaro". Cahiers du Cinéma. Vol. XXVII. August–September 1965. pp. 5–8.
  24. ^ a b c Aru eiga-kantoku no shōgai Mizoguchi Kenji no kiroku [Kenji Mizoguchi: The Life of a Film Director] (DVD) (in Japanese). Asmik Ace. 2001.
  25. ^ Foster, Gwendolyn Audrey (March 2018). "Kinuyo Tanaka's The Eternal Breasts (1955)". Senses of Cinema. Retrieved 8 October 2022.
  26. ^ Gonzalez-Lopez, Irene (2017). Tanaka Kinuyo: Nation, Stardom and Female Subjectivity. Edinburgh University Press. p. 14. ISBN 978-1-4744-4463-7.
  27. ^ Freiberg, Freda (March 2003). "Utamaro and his Five Women". Senses of Cinema. Retrieved 2 October 2022.
  28. ^ McShane, Rod. "My Love Has Been Burning". Time Out. Retrieved 8 October 2022.
  29. ^ Rivette, Jacques (March 1958). "Mizoguchi vu d'ici". Cahiers du Cinéma. No. 81.
  30. ^ a b Sharp, Jasper (2011). Historical Dictionary of Japanese Cinema. Lanham, Maryland: Scarecrow Press. ISBN 9780810857957.
  31. ^ "Yokihi". Viennale (in German). Retrieved 8 October 2022.
  32. ^ Jacoby, Alexander (26 August 2006). "Kenji Mizoguchi: The enduring relevance of a master of cinema". The Japan Times Weekly. Archived from the original on 3 March 2021. Retrieved 8 October 2022.
  33. ^ "大阪物語(1957)". Kinenote (in Japanese). Retrieved 8 October 2022.
  34. ^ Bock, Audie (1978). "Kenji Mizoguchi: Filmography". Japanese Film Directors. Tokyo, New York, and San Francisco: Kodansha International Ltd. pp. 55–68. ISBN 0-87011-304-6.
  35. ^ Shindo, Kaneto (27 April 1976). Aru Eiga Kantoku - Mizoguchi Kenji to Nihon Eiga [A film director - Kenji Mizoguchi and the Japanese cinema]. Iwanami Shinsho (in Japanese). Vol. 962. Iwanami. ISBN 4-00-414080-3.
  36. ^ Mellen, Joan (1976). The Waves at Genji's Door: Japan Through Its Cinema. Pantheon Books. p. 250.
  37. ^ "The 100 Greatest Films of All Time". British Film Institute. Retrieved 8 October 2022.
  38. ^ "Kinema Junpo Critics' Top 200". MUBI. Retrieved 8 October 2022.
  39. ^ "Kenji Mizoguchi Will Receive of Retrospective at Moving Image, 5/2-6/8". Broadway World. 11 April 2014. Retrieved 8 October 2022.
  40. ^ Donald Richie (20 January 1999). The Films of Akira Kurosawa, Third Edition, Expanded and Updated. University of California Press. p. 97. ISBN 978-0-520-22037-9.
  41. ^ Welles, Orson; Bogdanovich, Peter (1998). This is Orson Welles. Da Capo Press. p. 146.
  42. ^ "Tarkovsky's Choice". Archived from the original on 2009-07-06. Retrieved 2009-04-13.
  43. ^ "Martin Scorsese's Top 10 List". The Criterion Collection. 29 January 2014. Retrieved 8 October 2022.
  44. ^ Cronin, Paul (2019). Werner Herzog: A Guide for the Perplexed. Faber & Faber. ISBN 9780571336067.
  45. ^ Horton, Andrew (1997). "Angelopoulos, the Continuous Image, and Cinema". The Films of Theo Angelopoulos: A Cinema of Contemplation. Princeton University Press. ISBN 9780691011417.
  46. ^ Thomson, David (2010). The New Biographical Dictionary of Film (Fifth ed.). p. 674.
  47. ^ "Kenji Mizoguchi - Maison de la culture du Japon à Paris". www.mcjp.fr. Retrieved 2025-08-12.
  48. ^ "Archived copy" (PDF). Archived from the original (PDF) on 2019-04-17.{{cite web}}: CS1 maint: archived copy as title (link)
  49. ^ "Kenji Mizoguchi - CinéLounge". www.cinelounge.org. Retrieved 2025-08-12.
  50. ^ "Disclaimer / Avertissement". epe.lac-bac.gc.ca. Retrieved 2025-08-12.
  51. ^ "Kenji Mizoguchi, The Master – Offscreen". offscreen.com. Retrieved 2025-08-12.

Further reading

Wikimedia Commons has media related to Kenji Mizoguchi.
This article is issued from Wikipedia. The text is available under Creative Commons Attribution-Share Alike 4.0 unless otherwise noted. Additional terms may apply for the media files.