Geisha Purgatory

Umekichi (Yoko Umemura, left) and Omocha (Isuzu Yamada) are two sisters enmeshed in the geisha life in Kyoto but couldn’t be more different from each other in Kenji Mizoguchi’s SISTERS OF THE GION (1936).

When it comes to equality between the sexes, do you think life has improved for women over the past 100 years? According to a June 2023 poll by CNBC, the best countries for women in terms of equality and work opportunities are (in this order) Iceland, Norway, Finland, New Zealand and Sweden. The UK is further down in the 15th position and the U.S. is surprisingly ranked at the 46th slot out of 146 countries. Of course, the places where women are treated like second class citizens or worse is no surprise. A poll on the Global Citizen website in 2021 shows the ten worst places for gender equality led by Afghanistan and followed by Syria, Yemen, Pakistan, Iraq, the South Sudan and other African countries. And what about Japan? Despite its reputation as a sophisticated culture and a major world power, the country is still a patriarchal society where women continue to serve the men who hold the power. Japanese director Kenji Mizoguchi has often examined and critiqued the kind of society that forces women to give up any independence and make constant sacrifices for their men which is why the director is often considered a proto-feminist in cinema circles. Yet, in Mizoguchi’s long career of almost 100 features and short films, the demeaning patriarchy of Japan has often been a running theme in his work and it created considerable controversy in his country early in his career, emerging most strongly in two of his finest movies, Naniwa Hika (English title: Osaka Elegy, 1936), which was banned by censors in 1940 for displaying “decadent tendencies,” and Gion no Shimai (English title: Sisters of the Gion, 1936), which is even angrier and more despairing than the later.

The Japanese fllm poster of SISTERS OF THE GION (1936).
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The Working Woman’s Dilemma

Kay Francis was the most glamorous and popular actress on the Warner Bros. lot in the early 1930s.

By 1935 Kay Francis was at the peak of her film career and the highest paid actress on the Warner Bros. lot. While her image as a chic and stylishly dressed sophisticate eventually worked against her, obscuring her genuine talent as an actress, Francis was amazingly prolific in the early sound era, averaging four to five movies a year opposite such dashing leading men as Ronald Colman (Raffles, 1930), William Powell (Ladies’ Man, 1931), Joel McCrea (Girls About Town, 1931), Fredric March (Strangers in Love, 1932), and Herbert Marshall (Trouble in Paradise, 1932).   Despite the often clichéd and formulaic scripts she was given by the studio, which were mostly soap operas, tearjerkers and romantic dramas, Francis still managed to display her versatility in a variety of films that deserve to be better known today such as the delightful caper comedy Jewel Robbery (1932), the exotic Pre-Code melodrama Mandalay (1934) and the offbeat espionage thriller British Agent (1934). But there are plenty of lesser known efforts in her filmography that deserve rediscovery and one of the most intriguing is Stranded (1935), a curious blend of romance, New Deal optimism, and crime drama directed by Frank Borzage and pairing Francis with George Brent, who first appeared with the actress in The Keyhole (1931). (Brent would soon become Bette Davis’s leading man of choice at Warner with that actress replacing Francis as the queen of the lot).   Continue reading

The Unforeseen Journey from Jean-Luc Godard’s 1 AM to D.A. Pennebaker’s 1 PM

With more than 100 feature films, shorts, video and TV work to his credit, Jean-Luc Godard is surely the most audacious, groundbreaking and prolific filmmaker from his generation. Even longtime admirers and film historians have probably not seen all of his work and some of it like the political cinema he made with Jean-Pierre Gorin under the collaborative name Groupe Dziga Vertov is tough going for even the most ardent Godard completist. Weekend (1967) is generally acknowledged as the last film Godard made before heading in a more experimental, decidedly non-commercial direction which roughly stretched from 1969 until 1980 when he reemerged from the wilderness with the unexpected art house success, Sauve qui peut (Every Man for Himself). But most of the work he made during that eleven year period prior to 1980 championed social and political change through ideological scenarios and leftist diatribes that were overly cerebral and static compared to earlier career milestones like Breathless (1960), Contempt (1963) and Pierrot le Fou (1965).

Yves Montand (center in raincoat) and Jane Fonda (lower right) star in Jean-Luc Godard’s Tout Va Bien (1972).

Of the films he made during the Groupe Dziga Vertov period, only Tout Va Bien (1972), which starred Jane Fonda and Yves Montand, attracted mainstream critical attention but most of the reviews at the time were indifferent or hostile to this Marxist, Bertolt Brecht-inflluenced polemic about a workers’ strike at a sausage factory. Much more interesting to me was the film he attempted to make in 1969, tentatively titled 1 AM (or One American Movie). A collaboration with cinema-verite pioneers D. A. Pennabaker and Richard Leacock, the project was abandoned after Godard lost interest during the editing phase but Pennebaker ended up completing his own version of the existing footage which he titled 1 PM (or One Parallel Movie). This is a brief history of the film’s journey from concept to screen.  Continue reading