The Story of the Last Chrysanthemum

Plot

In late 19th century Tokyo, Kikunosuke Onoue is the adopted son of a legendary Kabuki actor, but despite his family's prestigious position, he struggles with his craft as an actor specializing in female roles (onnagata). When Kikunosuke discovers that his family and colleagues have been falsely praising his mediocre performances out of deference to his father's legacy, he becomes devastated and emotionally isolated. Finding genuine solace only with Otoku, his family's devoted servant, the two fall deeply in love despite the strict social hierarchies that forbid such relationships. Determined to prove his worth as an actor on his own merits, Kikunosuke leaves his comfortable home and family behind, with Otoku choosing to sacrifice her own position to follow him into poverty and uncertainty. Years of struggle follow as Kikunosuke hones his craft in provincial theaters while Otoku supports him through illness and hardship, their bond deepening through shared sacrifice. In the end, Kikunosuke achieves artistic mastery and recognition, but only after Otoku's tragic death, leaving him to perform his greatest role alone, forever marked by the woman who believed in him when no one else would.

Historical Background

The film was produced in 1939, a pivotal year in world history as tensions were escalating toward global conflict. Japan was deep into its period of militarization and expansionism, having already invaded Manchuria in 1931 and launched a full-scale war against China in 1937. The Japanese government was implementing increasingly strict censorship controls over all cultural production, including cinema, requiring films to support nationalistic themes and avoid criticism of traditional Japanese values. Despite these constraints, Mizoguchi managed to create a work that, while appearing to celebrate traditional Japanese culture, actually contains subtle critiques of social hierarchies and the treatment of women. The film's setting in the Meiji era (late 19th century) was significant, as this period represented Japan's rapid modernization and Westernization, creating tensions between traditional and modern values that resonated with contemporary audiences. The Kabuki theater world depicted in the film was itself undergoing changes during this period, as traditional arts struggled to maintain relevance in an increasingly industrialized and militarized society. The film's emphasis on artistic integrity and personal sacrifice took on particular meaning in a time when individual expression was increasingly subordinated to collective national goals.

Making Of

The production of 'The Story of the Last Chrysanthemum' represented a turning point in Kenji Mizoguchi's career, marking his emergence as a master of cinematic form. Mizoguchi, known for his perfectionism and demanding nature on set, pushed his actors to emotional and physical extremes, particularly in the scenes depicting poverty and illness. The relationship between Mizoguchi and lead actor Shōtarō Hanayagi was initially tense, as the Kabuki performer was unaccustomed to film acting techniques, but eventually developed into mutual respect. The film's elaborate Kabuki sequences required months of preparation, with Mizoguchi insisting on authentic costumes, makeup, and performance styles down to the smallest details. Cinematographer Minoru Miki worked closely with Mizoguchi to develop the fluid camera movements that would become the director's trademark, often using complex tracking shots that followed characters through multiple rooms and outdoor spaces. The production team faced significant challenges recreating 19th-century Tokyo, as many traditional buildings had been destroyed in the 1923 Great Kantō earthquake. Despite wartime resource constraints, Mizoguchi secured funding for historically accurate sets and costumes, believing that authenticity was essential to the film's emotional impact. The film's extended production schedule and budget overruns caused tension with studio executives, but Mizoguchi's growing reputation allowed him to maintain creative control.

Visual Style

The cinematography of 'The Story of the Last Chrysanthemum' represents a milestone in visual storytelling, showcasing Mizoguchi's signature style of long, flowing takes and carefully composed deep focus shots. Cinematographer Minoru Miki employed revolutionary tracking techniques that followed characters through multiple spaces without cutting, creating a sense of continuous time and space that immerses viewers in the narrative world. The film's visual language draws heavily from traditional Japanese arts, particularly the composition principles of ukiyo-e woodblock prints and the spatial awareness of Noh theater staging. The camera often maintains a respectful distance from the actors, observing their actions from a slightly elevated angle that suggests both objectivity and a sense of fatalism. The lighting design masterfully contrasts the artificial, theatrical illumination of the Kabuki stage with the natural, often harsh lighting of the characters' real lives, visually reinforcing the film's themes of performance versus authenticity. The film's use of mirrors and reflective surfaces creates complex visual relationships between characters and their environments, suggesting the fragmented nature of identity and social role. The color palette, though limited by the black-and-white technology of the era, achieves remarkable tonal richness, particularly in the rendering of traditional costumes and architectural details. The cinematography's most innovative aspect may be its treatment of time, with long takes that stretch moments of emotional intensity to their breaking point, forcing viewers to experience the characters' suffering and triumph in real-time.

Innovations

The film represents several technical innovations that were groundbreaking for Japanese cinema in 1939. The most significant achievement was the development of a complex camera crane system that allowed for the smooth, extended tracking shots that became Mizoguchi's trademark. The production team created special dollies and tracks that could navigate the narrow confines of traditional Japanese architecture, enabling the camera to follow characters through multiple rooms without interruption. The film's lighting setup was particularly innovative, combining traditional Japanese paper lanterns with modern electrical equipment to achieve the distinctive visual contrast between theatrical and domestic spaces. The sound recording equipment was modified to better capture the nuances of Kabuki performance, which required balancing amplified stage dialogue with intimate off-stage conversations. The makeup and costume departments achieved remarkable authenticity in recreating 19th-century Kabuki styles, developing new techniques for the onnagata makeup that would withstand the scrutiny of close-up photography. The film's editing, while maintaining Mizoguchi's preference for long takes, employed subtle rhythmic patterns that created emotional momentum without relying on conventional cutting techniques. The production also pioneered methods for filming theatrical performance that avoided disrupting the actual performances, using multiple cameras and carefully planned angles to capture both the spectacle and the intimate details of the actors' expressions.

Music

The film's soundtrack was composed by Shirō Fukai, who created a score that masterfully blended traditional Japanese musical elements with Western orchestral techniques. The music prominently features the shamisen and other traditional Japanese instruments during the Kabuki sequences, creating an authentic atmosphere of the theatrical world depicted in the film. Fukai's score employs leitmotifs for the main characters, with Otoku's theme particularly notable for its gentle, melancholic quality that evolves throughout the film to reflect her changing circumstances. The sound design carefully distinguishes between the amplified, theatrical sounds of the Kabuki performances and the more naturalistic audio of the characters' private moments, creating a sonic contrast that reinforces the film's thematic concerns. The film makes innovative use of silence, particularly in scenes of emotional crisis, where the absence of music amplifies the tension and allows the performances to carry the full emotional weight. The recording techniques of 1939 presented significant challenges, particularly in capturing the dynamic range of both dialogue and musical performances, yet the film achieves remarkable clarity and balance. The soundtrack also incorporates diegetic music from the Kabuki performances themselves, blurring the line between narrative and musical elements in ways that anticipate later experiments in cinematic sound. The overall musical approach emphasizes the cyclical nature of the story, with recurring themes that undergo subtle variations as the characters' relationships evolve.

Memorable Scenes

• The devastating scene where Kikunosuke overhears his family's honest criticism of his acting, shattering his self-delusion and forcing him to confront his mediocrity.
• The extended tracking shot following Otoku as she leaves her comfortable position to join Kikunosuke in poverty, her determination visible in every step.
• The climactic Kabuki performance where Kikunosuke finally achieves artistic mastery, intercut with Otoku's declining health, creating a powerful juxtaposition of artistic triumph and personal tragedy.
• The intimate scene where Kikunosuke and Otoku share a simple meal in their impoverished dwelling, their love transcending the harshness of their circumstances.
• The final scene where Kikunosuke performs alone on stage, the empty space beside him a ghostly reminder of Otoku's absence, his art now perfected but his heart broken.

What Critics Said

Upon its initial release in 1939, the film received critical acclaim in Japan, with critics praising its technical mastery and emotional depth. The Kinema Junpo, Japan's most prestigious film publication, named it the best film of the year, recognizing Mizoguchi's achievement in blending traditional Japanese aesthetics with modern cinematic techniques. Contemporary Japanese reviewers particularly noted the authenticity of the Kabuki sequences and the powerful performances of the lead actors. However, the film's international recognition was limited by the outbreak of World War II, which severely restricted the distribution of Japanese films abroad. It wasn't until the 1950s, following Mizoguchi's international breakthrough with films like 'Ugetsu' and 'The Life of Oharu,' that Western critics began to seek out his earlier works. When the film was rediscovered and screened internationally in the 1970s, critics hailed it as a lost masterpiece, with many considering it superior to some of Mizoguchi's more famous later works. The film's reputation has continued to grow, with modern critics praising its sophisticated visual style, complex narrative structure, and profound emotional impact. The Criterion Collection's release of the film in 2008 brought it to a new generation of viewers, with critics noting its influence on filmmakers ranging from Andrei Tarkovsky to Hou Hsiao-hsien. Today, it is widely regarded as one of the greatest films ever made, regularly appearing on critics' polls of the best films of all time.

What Audiences Thought

Contemporary Japanese audiences in 1939 responded positively to the film, particularly appreciating its authentic depiction of the Kabuki world and its exploration of traditional Japanese values. The film's themes of artistic dedication and personal sacrifice resonated strongly with viewers during a period of national crisis and uncertainty. The romance between Kikunosuke and Otoku, while controversial due to the class differences, was seen as emotionally authentic and moving by many viewers. However, the film's lengthy runtime and deliberate pacing may have limited its commercial appeal compared to more conventional entertainments of the period. The film's box office performance was respectable but not spectacular, as was common for prestige productions during this era. In post-war years, the film was largely unseen by Japanese audiences due to the loss of prints and the focus on newer productions. Following its rediscovery and restoration, the film has found appreciative audiences among cinema enthusiasts and art house viewers worldwide. Modern audiences often comment on the film's timeless themes and its visually stunning presentation, though some find its slow pace challenging by contemporary standards. The film's reputation has grown significantly through home video releases and screenings at film festivals and cinematheques, where it continues to move audiences with its powerful emotional content and technical mastery.

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