"Chikamatsu monogatari", which means "A Story from Chikamatsu", or "The Crucified Lovers" is an old Japanese 100-minute movie from 1954, so last year it had its 65th anniversary. The director here is Kenji Mizoguchi and I had a chance to watch this film on the big screen on the occasion of a retrospective on his most famous works. So yes, this definitely count among them. Mizoguchi is not credited as a writer here, but the two writers who turned the play into a movie screenplay also worked with Mizoguchi on other occasions and projects. This is a black-and-white film, which should surprise nobody given the age, and of course it is also a sound movie. I will spare you the names of the cast because iut would be utter copy and paste for me, so feel free to check them out yourself if you want to know about them. Those who are into really old Asian films could maybe even recognize one or the other as there are several pretty experienced actors on board here. At the center of the film, there are 4 characters, even if eventually it is really just two. But first things first: We have a really influential businessman and one of his high-profile employees. These are the two men. Then we have the businessman's wife and also a maid. The businessman wants to have a sexual relationship with said maid, but she refuses telling the man that she is actually together with the employee. Which is a lie, even if she could see herself with him. He, however, is only interested in the mistress as we find out later on in this film. So you could say there is quadruple relationship trouble in here. And yes that existed already back then, actually not just in 1954, but even at the end of the 17th century because this is where the film is set. Anyway, the mistress (female of "master" here, not in the sense of affair, a bit confusing given the plot) finds out about her husband's infidelity and wants to catch him in the act, so she changes rooms with the young woman and wants to expose her husband when once again that night he would come to the younger woman's room. Still, by the way, Kagawa is not a lot older than Minamida, even if she looks older. At least I thought so, maybe because of how stunning Minamida is. Sadly, she is not alive anymore, but Kagawa is and she is close to the age of 90 already now and still acting. She also turns out to be the sole lead actress in this film during the second half, which is a bit of a pity as I really would have liked to see more from Minamida. Anyway, what I actually wanted to say is that this idea of catching him int he act goes wrong and the result is that the boss is not happy at all. In order to avoid punishment after being accused of having an affair, his mistress and the successful employee decide to flee. When they are completely desperate, they decide to kill themselves in order to avoid punishment and in order to avoid being on the run for the rest of their lives. However, when he confesses her that he always loved her, she is apparently happy enough to hear it that she decides she wants to stay alive and live with him and this is when the two were actually getting together, but not before that when the husband suspected they did. No happy ending though as the two are eventually caught through coincidence when a chestnut seller tells the hunters where he saw the two. And before the closing credits roll in, we find out they are about to be executed. This is obviously not a happy ending at all because you went the two to be happy and get away (and the maid for me please),but it is the realistic outcome and I applaud them for taking this route, even if it is a bit depressing.

So yeah, it is these four characters at the center of it all. Sometimes there are smaller supporting players like the actress who plays one character's mother also getting their fair share of screen time. I think the moments when the film turns away from this quartet or has scenes, in which only one of them is included, the quality gets a bit worse. In general I felt that there was actually a big gap in quality between the film's best moments and scenes and the weaker forgettable parts. Like it is easy to remember when the successful businessman tries the maid to sleep with him. Or the trap with the women changing bedsides. Or when we see the two lovers before their (cancelled) suicide. And there are more moments that maybe you will remember. I must say thought hat in-between these moments the film had quite a few lengths and I cannot deny that it dragged a bit for me here and there. Somehow I have a feeling that this is a movie that you will appreciate more when you watch it a second time, but right now I was not too impressed to do it immediately I must say. Then perhaps you'd also understand immediately who is who and which actor/actress (not a discrimination to call somebody an actress) plays which part really. Or maybe it as just me, but I always need a little while with Asian films. Anyway, I think this is the fourth or fifth film by Mizoguchi I saw during this retrospective and there was only one that did not do too much for me from the bunch. This one here I liked more for sure and maybe it is even my favorite from those I have seen. Still I'd say that the rating is too high here on imdb. Sure it wasn't seen and rated by too many, but it should not be anywhere near the best 250 films ever made. I do give it a thumbs-up though. Finally, I want to say a few words on the genre classification. Mizoguchi's most known films are dramas through and through and this one here is certainly not an exception. Comedy parts are almost inexistent and those few that you will maybe hear one or two audience members laugh about are really just examples where the audience really was desperately looking for such. I am pretty sure that even if a guy moves around in a clumsy manner with a lantern in his hand, it was not really intended as comedy back then. Look how old this is, less than ten years after World War II (and the two bombs...). Perception of comedy was something entirely different back then. However, it is also a period piece, not the traditional kind you get these days constantly starring Keira Knightley, but something entirely different given when and when it was made. With the costumes it is definitely a bit sad this was not a film in color. So you will also learn a bit about customs and traditions back then, which is always nice about a caorner of the world so endlessly far away from me. And to sum it all up, the soundtrack was also really Asian if you cans ay it like that. The instruments you hear are choices you really almost never hear in Hollywood films. Back then as well as today. And the ways in which they are used are also not uncommon for old Japanese films. Sometimes you don't hear a note for over 5 minutes and then you hear the soundtrack almost as loud as the actors are talking. Interesting. Overall, I give this movie a thumbs-up and I am glad I got to watch it on the occasion of this retrospective, even if I am not too enthusiastic about it. Still go give it a chance if it's on. It's nice evidence why Mizoguchi is considered among best of the rest (i.e. everybody except Kurosawa) when there is talk about the finest Japanese filmmakers of all time. No surprise there were around 50 people in my showing.

An adult tragedy of two pursued lovers during Japan's feudal period. It was a rigid society divided by class and gender. Mohei, a talented and decent scroll maker with a promising future, belongs to the servant class. A relatively minor infraction on his part is turned into a major offense by his nasty employer, and when the Master throws Mohei out and has charges brought against him, the Master's wife happens to discover that the Master has been having "illicit adulterous affairs" on the side.

The punishment is literal crucifixion for Mohai, so the Master's wife helps him escape and runs away with him. The unyielding Master Scrollmaker sics the authorities on both of them. The wife is on the verge of suicide, but recovers her desire to live when she discovers that she and Mohai have secretly loved each other for years. She willingly joins Mohai in their journey up hill and down dale and for this she too is charged and faces crucifixion.

It's a story for grown up sensibilities because the emotional bonds involved -- not just between the pair of illicit lovers but their friends and relatives -- are intricate. The parents don't want them around because if they're caught hiding the fugitives, they face the same punishment. Everyone is ready to squeal on them because what the lovers are doing is "against the law." The performances are adequate once you accept and get past the Japanese filigrees. The fugitive couple are both fine but some of the supporting players are reaching for the stars.

I won't spell out the bittersweet ending. The movie itself is worth catching, filled with tension, intrigue, and action.

"Chikamatsu Monogatari" , (aka "The Crucified Lovers"),is one Mizoguchi's lesser known works and yet it is no less extraordinary for all that. It is, of course, typical of its director; another tragic tale of corrupted innocence and the terrible hand fate plays in people's lives, in this case a wrongful accusation of adultery over a very simple misunderstanding. Shakespeare could have written this.

It's set in the 17th century and it paints as relentless a picture of cruelty and hypocrisy as Mizoguchi has given us and he shoots it almost in semi-darkness, (even the exteriors take place at night or are shrouded in mist or in shadow),so there is no escape for its protagonists nor for us; the inevitability of the lovers' fate is clearly signposted from the beginning.

As the couple forced to acknowledge their love for each other by unfolding events Kazuo Hasegawa and Kyoko Kagawa are superb, particularly Kagawa whose performance as the wronged wife is a masterclass in subtlety and tenderness. This is surely one of the key films in all of Japanese cinema.