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Very very predictable, including the post credit scene !!!

The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

It's entirely possible that sending the audience out feeling lousy was intentional

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Recently, I revisited one of Kenji Mizoguchi's classics, Ugetsu Monogatari, and my fascination with Japanese cinema has been confirmed. More specifically the Jidaigeki, but also the Shomingeki and a little Gendaigeki. For me, the aesthetic that emerges from these films is incomparable and many Japanese films far surpass Western cinema on this aspect. This one is a good example. The directing of Mizoguchi is impeccable. His camera shots succeed in giving a poetic and romantic flavor to the narration, and it transports the Western viewer into this other world far away from his own reality. Indeed, the context of the film is very far from our modern North American society and it leaves the viewer the opportunity to escape in a sort of dream. The film is a beautiful portrait of what Japan's history was like at the time. Seeing this film in 1953 (or in 1959, late Parisian release) was probably not the same as seeing it in 2017. Some critics of Les Cahiers du Cinéma and other magazines have on their side hailed this feature film of Mizoguchi in 1959. But the viewer who attends cinema once a year should not have the same opinion. In any case, Ugetsu is a film that has so aged well that it will probably still be seen in ten, twenty, fifty or even a hundred years. It is a film that undoubtedly marked the history of Japanese cinema forever and, and it also is a good first step for anyone who wants to explore Japanese filmography. One can weep with sadness at the outcome of the film, when one notices that the woman of Genjuro was only a ghost, but one can also simply cry for joy at the idea that one has just seen such a beautiful movie.

UGETSU is the war drama, which contains extremely strong symbolism and quite strange charm. It is likely that this contributed to a combination of a realistic war drama and spiritual fantasy. This movie is difficult to understand, and should give him time. I have endured to the end, and concluded that this movie is exotic masterpiece. Set in the province of Omi during the Azuchi-Momoyama period at the end of the 16th century. The protagonists are two poor peasants, who in spite of the civil war that rages around them are trying to gain fame and fortune, one such dealer and the other as a samurai, which will lead to tragic consequences for their wives and pull rage spirits. The film is dominated by long scenes and a whole wins and impressive atmosphere, as well as the effective use of excellent music and indescribable atmosphere and photography. It is a masterfully orchestrated, highly poetic, layered and visually impressive film. The film examines the infidelity, ambition and greed. As a crude awakening coming peace and satisfaction regardless of the situation. In the film's present strong affirmation of women's sacrifice and devotion to the family and thus criticism of egotistical male ambition, especially in a patriarchal society.Well,...this film shares some elements with Rashomon. Acting is emotional and intriguing. Music is magical and creepy at the same time. I'm thrilled. World! The world is very agitated and disturbed.

Kenji Mizoguchi's Epic period piece "Ugetsu" is a war movie, ghost story and love story all rolled into one, but really it is derived from several stories from Ueda Akinari's book of the same name. I just watched "Ugetsu" for the first time today and am amazed by it. Mizoguchi does a brilliant job of creating a scene where the lines of reality and fantasy are blurred. It is like watching a fairy tale come to life and accepting it as reality, like being in a dream where everything seems real no matter how absurd it may seem; we don't question it's validity, we just take it as it is. When we think we are in fantasy, we are suddenly thrown back into reality and vice versa. This is highly attributed to the masterful cinematography and use of music. "Ugetsu" is not like any other film I have seen. We are brought to a poverty-stricken Japan at war and follow several individuals who's world is different than ours. They try to survive when their village is raided, trying to avoid enemy pirates and bandits alike. They deal with love, loss and temptation. The realism of the mother (played by Kinuyo Tanaka) and her child being attacked and robbed by bandits is in direct contrast with the next scene of a man (Masayuki Mori) caught between his world and the fantasy world of the living and the dead as he asks for forgiveness from the spirits he dishonored. This is all done in a way that blends these different realities together. The ending is heartwrenching.It is a Samurai movie but there is hardly any sword fighting. Of what there is, though, is very effective. The difference between "Ugetsu" and a Kurowsawa film is evident. Kurowsawa was likely influenced by this, but it is in a category of its own. I am interested in checking out more from Mizoguchi. "Ugetsu" is not only one of the greatest of Japanese Cinema, but ALL of Cinema.

When this ghost story set in Japan's medieval era won the top prize at the Venice film festival in 1953, it showed the rest of the world that Rashomon was no fluke, and that something extraordinary was happening in Japanese cinema. Today we can see that Japanese movies during the 1950s are one of the highlights of the history of cinema, with directors like Kurosawa, Ozu, Mizoguchi and Naruse actively working (sometimes making several movies a year) as well as slightly lesser accomplished directors (Ichikawa, Masumura, Kobayashi, Kinagasa or Oshima and Imamura just starting their respective careers)Ugetsu was widely regarded as among the best films ever made during the 1960s and 1970s. Its reputation has slightly fallen since then, and many people consider now that Mizoguchi made better movies. Using the director's characteristic long takes, it is heavy going at times, especially in the middle section. But it has wonderful scenes, like the one with the trip by boat in a foggy night. It is a movie that any serious cinema buff should see.With Masayuki Mori, Machiko Kyo (they were respectively the samurai and his wife in Rashomon) and Kinuyo Tanaka, among others.