Such is the wealth of Sansho Dayu (Sansho the Bailiff, 1954), several views are needed to understand its narrative complexity and the multifaceted meanings of the great Kenji Mizoguchi knows how to extract your history. Contains one of the densest plots all his films, made by a director today, you probably need twice the time to be told and would not achieve even half of their impact.
Throughout the film, Mizoguchi overlaps the story and a kind of meditation on the human capacity for good and evil, and on the importance of family unity. Trying to find contemporary parallels in it, some critics have wanted to even see the field slaves Sansho a metaphor for the modern concentration camps. But if Mizoguchi intended to draw these parallels, it is clear that it does not ever focus on them, but rather assumes that Japanese viewers know The folk tale on which the argument (which later became the novel by Ogai Mori), and uses their material as a starting point for an examination of history both personal and objective.
Despite the extraordinary detail and density of historical reconstruction, the environment in which the plot unfolds merely comments or underline the action. Kazuo Miyagawa and his camera crew get some of the images in black and white most beautiful and evocative of the whole history of cinema. In the first sequence, the viewer's eye is captivated by the wonderful drawings of the family wandering through the woods and pastures, then this mood is quickly replaced by fear and a sense of catastrophe with the rape scene on the beach (conceived as a series of sudden movements and short-term), and with the arrival of children Sansho camp.
The theme of family loyalty shown above with great delicacy in the scenes between Zushio and Anju, as children and adolescents, with the element of self-sacrifice occurs primarily in the long episode in which Anju Zushio convinces him to flee without it. Against a backdrop of bare trees and a wooden fence sinister, Mizoguchi gets first tragic climax of the film after the flight of Zushio (fast traveling through the trees and an impressive movement dolly from the top of a hill) in a static image whose whiteness seems to reflect the full horror of the death of Anju when it is drowned in the river voluntarily.
Mizoguchi strives at all times to highlight the idea of \u200b\u200bhistorical inevitability in all disasters that affect the family to frame their story in a much broader socio-political environment. Sansho the Bailiff shows numerous ritual scenes seemingly unimportant, but significant, since the inserts in the form of flashback in which Tairo asks his young son who never loses a sense of duty and humanity to the images that surround Zushio adult appointed the new governor and rushing to search for his mother. When Sansho cut away and the slaves celebrate their newly won freedom, there is no less heroic or less idealization, and all I see is a crowd engaged in something, in this case satisfy (justifiably) his revenge .
The last sequences of the great film Mizoguchi no less great in their own right merit inclusion among the best ever filmed.
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