Long shots.
But Mizoguchi’s long shots are more dynamic. A lot of things happen or the camera moves, sorta like kinetic long shots. Certain shots boldly assert their essential tragedy. Sometimes I thought of Dreyer’s mastery of the monochromatic lens.
But as much as I love the look of the film, I think Kikunosuke (protagonist) kinda sucks for most of the movie. He’s persistently one dimensional. The character whom he meets in Osaka, whom I’m reading is his uncle, comes and goes with such impermanence. It’s seemingly an important character moment for Kikunosuke, but I found it more functional than impacting.
Yes, he does come around by the end, but is it worth it? I’m not opposed to idealized romance, with characters deriving meaning through love. The unequal distribution of redemption and cost for Otoku and Kikunosuke leaves me wanting. Otoku is confined to being a vehicle of love with the façade of choice. Otoku's tragedy is the ultimate takeaway of the film.
Long shots.
But Mizoguchi’s long shots are more dynamic. A lot of things happen or the camera moves, sorta like kinetic long shots. Certain shots boldly assert their essential tragedy. Sometimes I thought of Dreyer’s mastery of the monochromatic lens.
But as much as I love the look of the film, I think Kikunosuke (protagonist) kinda sucks for most of the movie. He’s persistently one dimensional. The character whom he meets in Osaka, whom I’m reading is his uncle, comes and goes with such impermanence. It’s seemingly an important character moment for Kikunosuke, but I found it more functional than impacting.
Yes, he does come around by the end, but is it worth it? I’m not opposed to idealized romance, with characters deriving meaning through love. The unequal distribution of redemption and cost for Otoku and Kikunosuke leaves me wanting. Otoku is confined to being a vehicle of love with the façade of choice. Otoku's tragedy is the ultimate takeaway of the film.
