When reviewing Kenji Mizoguchi's 'Sisters of the Gion', the first and foremost thing that I have to talk about is the film's portrayal of exploited women and their sorry plight. For a film made in 1936, the film is astonishingly progressive. Mizoguchi leaves no stone unturned in showing the viewer how tough the life of a geisha was. The men whom we see engage with the sisters Omocha and Umekichi, though played by different actors are made to look very similar appearance wise and I think that was a specific choice on the part of Mizoguchi. Mizoguchi's approach to telling this story has a distinct boldness to it with a hopelessness simmering underneath. The protagonist Omocha is not a submissive character whose pain and suffering is supposed to convey the message. Instead, she is a feisty pragmatic rebel who played the game the way it is without being obstructed by any sense of morality. The feminist message is supposed to be conveyed by the fact that even fighting the system isn't enough to escape the exploitation and the abuse. These women would still continue to be treated as commodities.
What struck me about Mizoguchi's direction and visual style is his meticulous use of space in a particular frame. He sits on a frame, there is very minimal editing and he uses tracking shots quite a bit. He uses the 'frame within a frame' composition(also found in Renoir's films) quite a bit by placing characters in the background while others being in the foreground and pretty much each and every one of these visual choices serves a thematic purpose, be it conveying the difference in mindsets of Omocha and Umekichi or showing a man being lured in by Omocha's manipulation,etc. Another thing I noticed is Mizoguchi's reluctance in using too many close-ups. The close-ups in the film are used very sparsely and economically.
Due to its runtime, the film is a little light on character development or backstory, but the nuanced nature of using visuals to tell a story really impressed me. It is clear in its agenda and Mizoguchi is bold enough to express his ideas with conviction.
What struck me about Mizoguchi's direction and visual style is his meticulous use of space in a particular frame. He sits on a frame, there is very minimal editing and he uses tracking shots quite a bit. He uses the 'frame within a frame' composition(also found in Renoir's films) quite a bit by placing characters in the background while others being in the foreground and pretty much each and every one of these visual choices serves a thematic purpose, be it conveying the difference in mindsets of Omocha and Umekichi or showing a man being lured in by Omocha's manipulation,etc. Another thing I noticed is Mizoguchi's reluctance in using too many close-ups. The close-ups in the film are used very sparsely and economically.
Due to its runtime, the film is a little light on character development or backstory, but the nuanced nature of using visuals to tell a story really impressed me. It is clear in its agenda and Mizoguchi is bold enough to express his ideas with conviction.