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{{short description|1953 film}}
{{about|the 1953 film|other uses|}}
{{Use dmy dates|date=December 2016}}
{{Infobox film
| name           = Ugetsu
| image          = Ugetsu monogatari poster.jpg
| caption        = Theatrical release poster
| director       = [[Kenji Mizoguchi]]
| producer       = [[Masaichi Nagata]]
| screenplay     = {{Plainlist|
* [[Matsutarō Kawaguchi]]
* [[Yoshikata Yoda]]
}}
| based_on       = {{Based on|''[[Ugetsu Monogatari]]''|[[Ueda Akinari]]}}
| starring       = {{Plainlist|
* [[Machiko Kyō]]
* [[Mitsuko Mito]]
* [[Kinuyo Tanaka]]
* [[Masayuki Mori (actor)|Masayuki Mori]]
* [[Sakae Ozawa]]
}}
| music          = [[Fumio Hayasaka]]
| cinematography = [[Kazuo Miyagawa]]
| editing        = Mitsuzō Miyata
| studio         = [[Daiei Film]]{{sfn|Galbraith IV|1996|p=382}}
| distributor    = Daiei Film
| released       = {{Film date|1953|3|26|Japan|df=yes}}
| runtime        = 96 minutes<ref name="kinenote">{{cite web|url=http://www.kinenote.com/main/public/cinema/detail.aspx?cinema_id=23666 |title= 雨月物語 |website=Kinenote |language=ja |access-date=12 November 2022}}</ref>
| country        = Japan
| language       = Japanese
| budget         = 
| gross          = 
}}

'''''Ugetsu''''' (雨月物語, ''Ugetsu Monogatari'', lit. "Rain-moon tales")<ref>{{cite book|title=Tales of Moonlight and Rain |publisher=Columbia University Press |location=New York |year=2007 |page=13 |chapter=About Tales of Moonlight and Rain |translator-last=Chambers |translator-first=Anthony H. |last=Ueda |first=Akinari}}</ref> is a 1953 Japanese [[period drama|period]] [[fantasy film]] directed by [[Kenji Mizoguchi]] starring [[Masayuki Mori (actor)|Masayuki Mori]] and [[Machiko Kyō]]. It is based on the stories "The House in the Thicket" and "The Lust of the White Serpent" from [[Ueda Akinari]]'s 1776 book ''[[Ugetsu Monogatari]]'', combining elements of the ''[[jidaigeki]]'' (period drama) genre with a [[ghost story]].

Drawing from Ueda's tales, the film is set in Japan's civil war–torn [[Azuchi–Momoyama period]] (1568–1600). In a small rural community, a potter leaves his wife and young son behind to make money selling pottery and ends up being seduced by a spirit that makes him forget all about his family. A subplot, inspired by [[Guy de Maupassant]]'s 1883 short story "How He Got the Legion of Honor" ("Décoré !"),<ref>{{cite book|last=Bock |first= Audie |title=Japanese Film Directors |year=1985 |publisher=Kodansha International |location=Tokyo |isbn=9784770012142 |page=47}}</ref><ref>{{cite book|last1=Andrew |first1=Dudley |last2=Andrew |first2=Paul|title=Kenji Mizoguchi: a Guide to References and Resources |year=1981 |publisher=G. K. Hall |location=Boston |isbn=9780816184699 |page=184}}</ref> involves his brother-in-law, who dreams of becoming a samurai and chases this goal at the unintended expense of his wife.

The film won the [[Silver Lion]] Award at the [[14th Venice International Film Festival|1953 Venice Film Festival]] and other honours. ''Ugetsu'' is one of Mizoguchi's most celebrated films, regarded by critics as a masterpiece of [[Cinema of Japan|Japanese cinema]], credited with simultaneously helping to popularize Japanese cinema in the West and influencing later Japanese film.

==Plot==
In the farming village of Nakanogō, on the shore of [[Lake Biwa]] in [[Ōmi Province]] during the [[Sengoku period]], Genjūrō, a potter, takes his wares to nearby [[Ōmizo Domain|Ōmizo]]. He is accompanied by his brother-in-law, Tōbei, who dreams of becoming a [[samurai]]. A respected sage advises Genjūrō's wife, Miyagi, to warn him about seeking profit in times of upheaval and to prepare for an attack on the village. Upon returning with his profits, Miyagi pleads with him to stop, but Genjūrō persists in working to finish his pottery. That night, Lord [[Shibata Katsuie]]'s army sweeps through Nakanogō, uprooting Genjūrō, Tōbei, and their wives. Genjūrō decides to take his pots to a different marketplace.

As the couples travel across Lake Biwa, a boat emerges from the thick fog. Its sole passenger tells them he was attacked by pirates, warns them, and then dies. The men decide to return their wives to the shore, but Tōbei's wife, Ohama, refuses to go. Miyagi begs Genjūrō not to leave her but is left on the shore with their young son, Genichi, clasped to her back. At the market, Genjūrō's pottery sells well. After taking his share of the profits, Tōbei buys samurai armor and sneaks into a samurai clan. Lost from her companions, Ohama wanders beyond Nagahama searching for Tōbei and is raped by soldiers.

A noblewoman, Lady Wakasa, and her female servant visit Genjūrō, ordering several pieces of pottery and requesting that he deliver them to the Kutsuki mansion. There, Genjūrō learns that [[Oda Nobunaga|Nobunaga]]'s soldiers attacked the manor and killed all its inhabitants except Wakasa and her servant. He also learns that Wakasa's father haunts the manor. Genjūrō is seduced by Lady Wakasa, who convinces him to marry her. Meanwhile, Nakanogō is under attack. In the woods, several soldiers desperately searching for food accost Miyagi. She fights them but is stabbed, collapsing with her son still clutching her back.

[[File:Provinces of Japan-Omi.svg|thumb|150px|Location of [[Ōmi Province]], the setting of ''Ugetsu.'']]

Tōbei presents the severed head of a general, which he stole, to the commander of the victors, earning armor, a mount, and a retinue. Later, Tōbei rides into the marketplace on his new horse, eager to return home to show his wife. However, he visits a brothel and finds her working there as a prostitute. Tōbei promises to redeem her honor.

Genjūrō meets a priest and soothsayer who tells him to return to his loved ones or accept death. When Genjūrō mentions Wakasa, the priest reveals that she is dead and must be [[exorcism|exorcised]]. The priest invites Genjūrō to his home, painting Buddhist symbols on his body. Genjūrō returns to the Kutsuki mansion, admitting he is married, has a child, and wishes to go home. Wakasa refuses to let him leave. She and her servant admit they are spirits, returned to this world so Wakasa, who was slain before experiencing love, could fulfill that desire. They urge him to wash away the symbols. Genjūrō reaches for a sword, throws himself out of the manor, and collapses.

The next day, soldiers accuse Genjūrō of stealing the sword, but he denies it, saying it is from the Kutsuki mansion. The soldiers laugh, telling him the Kutsuki mansion burned down over a month ago. Genjūrō wakes to find the mansion reduced to ashes. The soldiers confiscate his money but, due to Shibata's army burning down the prison, leave him in the rubble. Genjūrō returns home on foot, searching for his wife.

Miyagi, overjoyed to see him, will not let him speak of his terrible mistakes. Genjūrō holds his sleeping son in his arms and eventually falls asleep. The next morning, Genjūrō is awakened by the village chief knocking on his door. The chief, surprised to see him home, explains that he has been caring for Genjūrō's son. When Genjūrō calls for Miyagi, the neighbor asks if he is dreaming, as Miyagi was killed after being stabbed.

Later, as Tōbei redeems Ohama's honor, they return to Nakanogō. Tōbei reflects on his mistakes, resolving to work hard from then on. Genjūrō continues caring for Genichi and working on his pottery. Ohama gives Genichi a plate of food, which he takes and places on his mother's grave.

==Cast==
{{multiple image
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 | direction = horizontal
 | footer    = [[Masayuki Mori (actor)|Masayuki Mori]], [[Machiko Kyō]] and [[Kinuyo Tanaka]] star in the film.
 | footer_align = left
 | width     =
 | image1    = Mori Masayuki.JPG
 | width1    = 220
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 | image2    = Kyo Machiko 1954.JPG
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 | image3    = Tanaka Kinuyo directs the film Koibumi.JPG
 | width3    = 108
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}}
{{div col}}
* [[Machiko Kyō]] as Lady Wakasa
* [[Mitsuko Mito]] as Ohama
* [[Kinuyo Tanaka]] as Miyagi
* [[Masayuki Mori (actor)|Masayuki Mori]] as Genjūrō
* [[Eitaro Ozawa]] as Tōbei (as Sakae Ozawa)
* Ichisaburo Sawamura as Genichi
* Kikue Mōri as Ukon, Lady Wakasa's Nurse
* [[Ryōsuke Kagawa]] as Village Master
* Eigoro Onoe as Knight
* Saburo Date as Vassal
* Sugisaku Aoyama as Old Priest
* Reiko Kongo as an Old Woman in Brothel
* Shozo Nanbu as Shinto Priest
* Ichirō Amano as Boatsman
* Kichijirō Ueda as Shop Owner
* Teruko Omi as Prostitute
* Keiko Koyanagi as Prostitute
* Mitsusaburō Ramon as Captain of Tamba Soldiers
* Jun Fujikawa as Lost Soldier
* Ryuuji Fukui as Lost Soldier
* Masayoshi Kikuno as Soldier
* Hajime Koshikawa
* Sugisaka Koyama as High Priest
* Ryuzaburo Mitsuoka as Soldier
* Koji Murata
* Fumihiko Yokoyama
{{div col end}}

==Production==

===Development===
[[File:Kenji Mizoguchi 2.jpg|200px|thumb|Director [[Kenji Mizoguchi]] made the effects of war a major theme of his film.]]
After the success of his previous film ''[[The Life of Oharu]]'' (1952), Mizoguchi was offered to make a film by his old friend [[Masaichi Nagata]] at [[Daiei Film]] studios. The deal promised Mizoguchi complete artistic control and a large budget. Despite this, Mizoguchi was eventually pressured to make a less pessimistic ending for the film.<ref name=wakeman798>{{harvnb|Wakeman|1987|p=798}}</ref> Mizoguchi's screenwriter and long-time collaborator [[Yoshikata Yoda]] said that originally, Mizoguchi did not envision making an [[anti-war film]], instead wishing to capture the sensations and lucidity of Ueda's book ''[[Ugetsu Monogatari]]''.<ref name="ShindoYoda">{{cite AV media | author1=[[Kaneto Shindo]] (Director) | author2=[[Yoshikata Yoda]] | date=1975 | title=[[Kenji Mizoguchi: The Life of a Film Director]] | medium=Motion picture | publisher=[[The Criterion Collection]] }}</ref>

Mizoguchi based his film on two stories from Ueda's book, "The House in the Thicket" (Asaji ga Yado) and "The Lust of the White Serpent" (Jasei no In).<ref name=mcdonald/><ref name=mac116>{{harvnb|McDonald|1984|p=116}}</ref> "The Lust of the White Serpent" is about a demon who appears as a princess and attempts to seduce a man. It was the basis of the plot in which Lady Wakasa seduces Genjūrō. "The House in the Thicket" gave the film its ending, in which the protagonist returns home after a long absence, only to meet the spirit of his lost wife.<ref name="Russell55">{{harvnb|Russell|2011|p=55}}</ref> The film is set in the 16th century, though "The House in the Thicket" is set in the 15th century and "The Lust of the White Serpent" is set in an earlier time frame.{{sfn|Haydock|2008|p=53}}{{sfn|Balio|2010|p=121}} Other inspirations for the film's script include [[Guy de Maupassant]]'s ''Décoré!'' (''How He Got the Legion of Honour'').<ref name=wakeman798/><ref name=mcdonald/> This story provided a basis for Tōbei's subplot. In the short story, the protagonist receives the French [[Legion of Honour]] by ignoring his wife's adultery with a member of the Legion. Similarly, Tōbei becomes a samurai while his wife becomes a prostitute.<ref name="Russell56">{{harvnb|Russell|2011|p=56}}</ref>

Despite initial intentions, as the film developed, Yoda said anti-war messages, particularly about how war makes women suffer, kept surfacing and soon became the most prominent theme.<ref name="ShindoYoda"/> While writing the script, Mizoguchi told Yoda "Whether war originates in the ruler's personal motives, or in some public concern, how violence, disguised as war, oppresses and torments the populace both physically and spiritually&nbsp;... I want to emphasise this as the main theme of the film".<ref name=mac116/> During the shooting Yoda was constantly rewriting and revising scenes due to Mizoguchi's perfectionism.<ref name=mac104>{{harvnb|McDonald|1984|p=104}}</ref>

===Casting===
The film was [[Machiko Kyō]]'s second collaboration with Mizoguchi, as she had a small role in ''[[The Three Danjuros]]'' (1944). She had collaborated much more frequently with [[Masayuki Mori (actor)|Masayuki Mori]].<ref name="ShindoKyō">{{cite AV media | author1=[[Kaneto Shindo]] (Director) | author2=[[Machiko Kyō]] | date=1975 | title=[[Kenji Mizoguchi: The Life of a Film Director]] | medium=Motion picture | publisher=The Criterion Collection }}</ref> As Lady Wakasa, Kyō's costume was modeled after fashion before the [[Edo period]] and her face was designed to appear similar to a mask common in [[Noh]] theatre.<ref>{{harvnb|Nochimson|2011|p=211}}</ref> As such, her eyebrows were styled using a practice known as ''[[hikimayu]]''.

[[Kinuyo Tanaka]], who played Miyagi, found the scene where she is a ghost to be the most stressful, as she had to play a ghost and appear to be an actual wife at the same time. After rehearsals and the shooting, Mizoguchi lit a cigarette for Mori, indicating his rare degree of satisfaction with the scene.<ref name="ShindoTanaka">{{cite AV media | author1=[[Kaneto Shindo]] (Director) | author2=[[Kinuyo Tanaka]] | date=1975 | title=[[Kenji Mizoguchi: The Life of a Film Director]] | medium=Motion picture | publisher=The Criterion Collection }}</ref> [[Eitaro Ozawa]], who played Tōbei, said the actors frequently rehearsed alone, or with the cinematographer, while Mizoguchi was willingly absent during these preparations.<ref name="ShindoOzawa">{{cite AV media | author1=[[Kaneto Shindo]] (Director) | author2=[[Eitaro Ozawa]] | date=1975 | title=[[Kenji Mizoguchi: The Life of a Film Director]] | medium=Motion picture | publisher=The Criterion Collection }}</ref>

===Filming===
[[File:Shokin-tei.jpg|200px|thumb|[[Katsura Imperial Villa]] was the basis for Katsuki Manor.]]
Mizoguchi told his cinematographer [[Kazuo Miyagawa]] that he wanted the film "to unroll seamlessly like a scroll-painting".<ref name="wakeman798" /> The [[Southern School]] of [[Chinese painting]] was particularly an inspiration the filmmakers aspired to.<ref name="ShindoMiyagawa">{{cite AV media | author1=[[Kaneto Shindo]] (Director) | author2=[[Kazuo Miyagawa]] | date=1975 | title=[[Kenji Mizoguchi: The Life of a Film Director]] | medium=Motion picture | publisher=The Criterion Collection }}</ref> The film has been praised for its cinematography, such as the opening shot and the scene where Genjūrō and Lady Wakasa have sex by a stream and the camera follows the flow of the water instead of lingering on the two lovers.<ref name="wakeman799" /> Mizoguchi never personally handled the camera and did not participate in planning the lighting of his film.<ref name="Russell54">{{harvnb|Russell|2011|p=54}}</ref> To achieve the appearance the filmmakers wanted, Miyagawa kept lighting low and filmed as near to sunset as circumstances would allow.<ref name="ShindoMiyagawa" /> Many of the shots were taken from cranes, with Miyagawa claiming in 1992 that these shots made up 70% of the film.<ref name="Russell57">{{harvnb|Russell|2011|p=57}}</ref>[[File:Ugetsu-filmshooting.jpg|thumb|Shooting of Ugetsu|left]]
Miyagawa also stated that this film was the only occasion in which Mizoguchi complimented him for his camera work.<ref name="wakeman799">{{harvnb|Wakeman|1987|p=799}}</ref>

The set depicting Kutsuki Manor was based on the [[Katsura Imperial Villa]] in [[Kyoto]]. These sets are decorated with [[Theatrical property|props]] evocative of feudal-era aristocrats, such as [[kimono]] and armor, personally chosen by Mizoguchi.<ref name="Russell55"/> The scene where the protagonists travel through [[Lake Biwa]] on a boat was in fact shot on a pool in the studio, with added smoke. The assistant directors had to push the boat through the cold waters.<ref name="Russell60">{{harvnb|Russell|2011|p=60}}</ref> Miyagawa identified this as one of the scenes shot from a crane.<ref name="ShindoMiyagawa"/>
===Music===
[[File:Hayasaka Fumio.JPG|150px|thumb|[[Fumio Hayasaka]] composed the score.]]
For the [[film score]], Mizoguchi relied on composer [[Fumio Hayasaka]] and the assistant directors, and was not involved in their creative process.<ref name="Russell54"/> Fumio Hayasaka was a strong proponent of using Japanese music in Japanese films, though he incorporated several elements of Western music as well.<ref>{{harvnb|Kalinak|2012|p=167}}</ref> For ''Ugetsu'', he employed [[Traditional Japanese music#Geza|geza music]], common in [[Kabuki]] theatre.<ref name="Clarke">{{cite news|url=http://www.irishtimes.com/blogs/screenwriter/2014/09/13/50-years-50-films-vol-ii-ugetsu-monogatari-1953/ |title=50 years, 50 films Vol II: Ugetsu Monogatari (1953) |last=Clarke |first=Donald |newspaper=[[The Irish Times]] |date=13 September 2014 |access-date=15 December 2016 |url-status=live |archive-url=https://web.archive.org/web/20160701143837/http://www.irishtimes.com/blogs/screenwriter/2014/09/13/50-years-50-films-vol-ii-ugetsu-monogatari-1953/ |archive-date= 1 July 2016 }}</ref> Additional, uncredited composers were [[Ichirō Saitō]] and [[Tamekichi Mochizuki]], whose music was blended with Hayasaka's, and could provide accurate music reflective of the period.<ref>{{cite magazine |last=Chang |first=Chris |date=March–April 2006 |title=Ghost Tones |magazine=[[Film Comment]] |page=16}}</ref>

The score employs [[drum]]s, [[flute]]s and chanting.<ref name="Russell57"/> The film's sounds also include bells heard in improbable places.<ref name="Clarke"/>  There is significant use of the [[harp]], restricted to the presence of the supernatural.<ref>Tony Rayns audio commentary, [[Criterion Collection]], 2005</ref>

==Themes==
According to Professor Martha P. Nochimson, a common interpretation of the film is that Mizoguchi refashioned the stories of ''Ugetsu Monogatari'' to express regret about the pro-war extremism leading to [[World War II]], with Mizoguchi personally having made the pro-war [[propaganda film]] ''[[The 47 Ronin (1941 film)|The 47 Ronin]]'' in 1941.<ref>{{harvnb|Nochimson|2011|p=213}}</ref> These reflections on [[militarism]], greed and arrogance connected with audiences not only in Japan but around the world in the wake of the war.<ref>{{harvnb|McRoy|2015|pp=202–203}}</ref> The subplot of Tōbei and Ohama particularly reflects the [[comfort women]], who were made into prostitutes by the [[Imperial Japanese Army]]. Mizoguchi struggled with Daiei to give the subplot an unhappier ending than what appears in the film, in line with real comfort women's experiences after the war.<ref>{{harvnb|Nochimson|2011|pp=213–214}}</ref> Tōbei's subplot reveals the mistake of war can also be a "tragicomedy".<ref name="Sultanik">{{harvnb|Sultanik|1986|p=136}}</ref>

According to British critic [[Tony Rayns]] the film's presentation of the vanity of a man, neglecting his family, is a critique of historic men in feudal Japanese culture.<ref>{{harvnb|Nochimson|2011|p=214}}</ref> In his relationship with Wakasa, Genjūrō is insignificant and is seduced by something greater, that he can never comprehend.<ref name="Sultanik"/> However, by neglecting his family, Genjūrō failed to appreciate he has already been blessed with a good life, and in the process, loses it.<ref>{{harvnb|Stone|2009|p=173}}</ref>

As a ghost story, the film delves into a relationship between a spirit and a living person, which runs contrary to nature and will lead to the death of the person.<ref>{{harvnb|Lee|2015|p=780}}</ref> Although ghosts are not mentioned in the initial parts of the film, Japanese writer [[Kazushi Hosaka]] stated Mizoguchi foreshadowed it using the scenery, which suggests a detachment from real life. The scene where the protagonists cross [[Lake Biwa]] is an example, given the fogs that turn the film away from the ''[[jidaigeki]]'' genre.<ref>{{harvnb|Spicer|2010|p=236}}</ref> Professor [[Robin Wood (critic)|Robin Wood]] argues that the film's depiction of the main ghost character evolves from the mere demon of "The Lust of the White Serpent" into the more humane and tragic Lady Wakasa, and this makes the story more complex. Wood further opines the combination of the story with "The House in the Thicket," combining the male protagonist of each tale into one character, Genjūrō, also connects the demon character and the ghost wife. Both Lady Wakasa and Miyagi are killed by a male-dominated society, and both are wronged by Genjūrō.<ref>{{harvnb|Wood|1998|p=243}}</ref> Wood believes ''Ugetsu'' can be considered a [[feminist film]] for its exploration of the negative impact of a patriarchy.<ref>{{harvnb|Wood|1998|p=245}}</ref>

Genjūrō's pottery is also a major theme in the film. Professor Wood argues his pottery evolves in three phases, reflecting Mizoguchi's changing approach to filmmaking. Genjūrō begins making the pottery for commercial reasons, shifts to pure aesthetics while isolated with Lady Wakasa, and finally moves on to a style that reflects life and strives to understand it.<ref>{{harvnb|Wood|2006|p=288}}</ref>

==Release==
''Ugetsu'' was released in Japan on 26 March 1953.<ref>{{harvnb|McDonald|1984|page=181}}</ref> It was shown at the [[14th Venice International Film Festival|1953 Venice Film Festival]]. Accompanied by Yoda and [[Kinuyo Tanaka]],<ref name=wakeman799/> Mizoguchi made his first trip outside Japan to attend the festival. He spent much of his time in Italy in his hotel room praying to a scroll with a portrait of [[Kannon]] for victory.<ref>{{Cite web|url=http://old.bfi.org.uk/sightandsound/feature/49445|archive-url=https://web.archive.org/web/20120803005244/http://old.bfi.org.uk/sightandsound/feature/49445|url-status=dead|archive-date=3 August 2012|title=BFI &#124; Sight & Sound &#124; Mizoguchi Kenji: Artist Of The Floating World|website=old.bfi.org.uk}}</ref> While in Venice he met director [[William Wyler]], whose film ''[[Roman Holiday]]'' was also screening in competition at the festival and was rumoured to be the winner of the Silver Lion for best director.<ref name=mac104/> The film opened in [[New York City]] on 7 September 1954,<ref name="Crowther">{{cite news|url=https://www.nytimes.com/movie/review?res=9E03E3D7163DE53ABC4053DFBF66838F649EDE |last=Crowther |first=Bosley |author-link=Bosley Crowther |date=8 September 1954 |work=[[The New York Times]] |title=The Screen in Review; Ugetsu, From Japan, Offered at Plaza |access-date=1 January 2013 |url-status=live |archive-url=https://web.archive.org/web/20140402224917/http://www.nytimes.com/movie/review?res=9E03E3D7163DE53ABC4053DFBF66838F649EDE |archive-date= 2 April 2014 }}</ref> with the [[English language|English]] title ''Ugetsu'' being a truncation of ''Ugetsu Monogatari'', the Japanese title, from Ueda's book.<ref>{{harvnb|McDonald|1984|pages=103–104}}</ref> It was distributed elsewhere in the United States by Harrison Pictures under the title ''Tales of Ugetsu'' on 20 September 1954.{{sfn|Galbraith IV|1996|p=382}}

In September 2006, [[Film Forum]] screened the film in New York City over six days, opening a Mizoguchi tribute.<ref>{{cite web|url=https://www.nytimes.com/2006/09/03/movies/03raff.html |last=Rafferty |first=Terrence |author-link=Terrence Rafferty |date=3 September 2006 |work=[[The New York Times]] |title=Kenji Mizoguchi's Movies Seek Beauty |access-date=14 December 2016 |url-status=live |archive-url=https://web.archive.org/web/20160721042730/http://www.nytimes.com/2006/09/03/movies/03raff.html |archive-date=21 July 2016 }}</ref> A [[4K resolution|4K digital]] [[film restoration|restoration]] also screened as part of the Cannes Classics section at the [[2016 Cannes Film Festival]],<ref name="Classics">{{cite web|url=http://www.festival-cannes.fr/en/article/62136.html |title=Cannes Classics 2016 |access-date=21 April 2016 |date=20 April 2016 |work=Cannes Film Festival |archive-url=https://archive.today/20160421142345/http://www.festival-cannes.fr/en/article/62136.html |archive-date=21 April 2016 |url-status=dead }}</ref> [[Il Cinema Ritrovato]] in Bologna,<ref>{{cite web |url=https://festival.ilcinemaritrovato.it/en/proiezione/ugetsu-monogatari-2/ |title=Ugetsu Monogatari |publisher=[[Il Cinema Ritrovato]] |access-date=20 April 2017}}</ref><ref>{{cite press release |publisher=Hollywood Foreign Press Association |url=http://www.goldenglobes.com/articles/hfpa-honors-another-classic-japan%E2%80%99s-%E2%80%9Cugetsu-monogatari%E2%80%9D-bologna%E2%80%99s-cinema-ritrovato-2016 |date=5 July 2016 |author=Armando Gallo | author-link = Armando Gallo  |title=The HFPA Honors Another Classic: Japan's "Ugetsu Monogatari" at Bologna's Cinema Ritrovato 2016 }}</ref> and the [[2016 New York Film Festival]].<ref>{{cite web |url=https://www.filmlinc.org/nyff2016/films/ugetsu-monogatari/ |publisher=[[New York Film Festival]] |title=Revivals :: Ugetsu Monogatari |access-date=20 April 2017}}</ref> The restoration "was undertaken by The Film Foundation and [[Kadokawa Corporation]] at Cineric Laboratories in New York".<ref>{{cite press release    |publisher=Janus Films |title=Ugetsu press notes |year=2016 |url=https://s3.amazonaws.com/criterion-production/janus_promo_packages/51-/Ugetsu_press_notes_2_13_17_original.pdf  }}</ref>

===Home media===
''Ugetsu'' was released on [[VHS]] by Home Vision Entertainment, with English subtitles.<ref>{{cite book |last=Richie |first=Donald |date=1 August 2005 |title=A Hundred Years of Japanese Film: A Concise History, with a Selective Guide to DVDs and Videos |url=https://books.google.com/books?id=s7-_Gon5-a0C&pg=PA289 |location=Google Books |publisher=Kodansha USA |page=289 |isbn=978-4770029959 }}</ref> The film was released on [[LaserDisc]] in the United States by [[Voyager Company]] on November 24, 1993.<ref>{{Cite magazine|date=November 6, 1993|title=Letterbox Format's Popularity Widens|last=McGowan|first=Chris|url=https://www.worldradiohistory.com/Archive-All-Music/Billboard/90s/1993/BB-1993-11-06.pdf|magazine=[[Billboard (magazine)|Billboard]]|page=73|access-date=February 4, 2024}}</ref> On 8 November 2005, the film became available for the first time on [[DVD region code#1|Region 1]] [[DVD]] when [[the Criterion Collection]] released a two-disc edition of the film,<ref>{{cite web|first=David |last=Germain |url=http://www.today.com/popculture/chocolate-factory-sweet-treat-dvd-wbna9960075#.WFCGDvkrLIU |title='Chocolate Factory' a sweet treat on DVD |work=[[The Associated Press]] |date=2 November 2005 |access-date=13 December 2016}}</ref> which includes numerous special features such as a 150-minute documentary on Mizoguchi, ''[[Kenji Mizoguchi: The Life of a Film Director]]'', directed by [[Kaneto Shindo]]. The box-set also includes a booklet with an essay by Keiko I. McDonald, the author of ''Mizoguchi'' and editor of ''Ugetsu'', and the three short stories from which the film draws inspiration.<ref>{{cite web|url=https://www.criterion.com/films/369 |title=The Criterion Collection: ''Ugetsu'' by Kenji Mizoguchi |publisher=The Criterion Collection |access-date=1 January 2013 |url-status=live |archive-url=https://web.archive.org/web/20121020015932/http://www.criterion.com/films/369 |archive-date=20 October 2012 }}</ref> The film was released on Blu-Ray through the Criterion Collection years later, with all the features included.

In April 2008, ''Ugetsu Monogatari'' was released in the U.K. on [[DVD region code#2|Region 2]] DVD by Eureka Entertainment as part of their [[Masters of Cinema]] series. The two-disc special edition containing new transfers is released in a double pack which twins it with Mizoguchi's film ''[[Miss Oyu]]'' (1951).<ref>{{cite web|url=https://www.telegraph.co.uk/culture/film/filmreviews/3672717/DVD-reviews-Ugetsu-Monogatari-Oyu-Sama-and-more.html |last=Horne |first=Philip |title=DVD reviews: Ugetsu Monogatari, Oyu-Sama and more |work=[[The Daily Telegraph]] |date=19 April 2008 |access-date=13 December 2016 |url-status=live |archive-url=https://web.archive.org/web/20161222133634/http://www.telegraph.co.uk/culture/film/filmreviews/3672717/DVD-reviews-Ugetsu-Monogatari-Oyu-Sama-and-more.html |archive-date=22 December 2016 }}</ref> This U.K. set was released on [[Blu-ray]] on 23 April 2012.<ref>{{cite web|url=http://www.dvdbeaver.com/film/DVDReviews16/ugetsu_monogatori_dvd_review.htm |title=Ugetsu monogatari |publisher=DVD Beaver |access-date=13 December 2016 |url-status=live |archive-url=https://web.archive.org/web/20160305194653/http://www.dvdbeaver.com/film/DVDReviews16/ugetsu_monogatori_dvd_review.htm |archive-date= 5 March 2016 }}</ref>

==Reception==

===Critical reception===
''Ugetsu'' is often regarded as a masterwork of [[Japanese cinema]]<ref>{{cite web|first=Phillip |last=Lopate |url=http://www.criterion.com/current/posts/401-ugetsu-from-the-other-shore |title=Ugetsu: From the Other Shore |publisher=The Criterion Collection |access-date=31 December 2012 |url-status=live |archive-url=https://web.archive.org/web/20121012112459/http://www.criterion.com/current/posts/401-ugetsu-from-the-other-shore |archive-date=12 October 2012 }}</ref> and a definitive piece during Japan's Golden Age of Film.<ref name=mcdonald>{{cite web|first=Keiko |last=McDonald |url=http://www.criterion.com/current/posts/966-ugetsu |title=Ugetsu |publisher=The Criterion Collection |access-date=31 December 2012 |url-status=live |archive-url=https://web.archive.org/web/20121012150625/http://www.criterion.com/current/posts/966-ugetsu |archive-date=12 October 2012 }}</ref> It is one of a number of films arguably more popular in western countries than in Japan. Japanese film historian [[Tadao Satō]] remarked that while this film, along with Mizoguchi's other works of the period ''[[The Crucified Lovers]]'' and ''[[Sansho the Bailiff]]'', was probably not meant specifically to be sold to westerners as an "exotic" piece, it was perceived by studio executives as the kind of film that would not necessarily make a profit in Japanese theaters but would win awards at international film festivals.<ref name=Sato>{{harvnb|Satō|2006|p=236}}</ref>

The film was immediately popular in western countries and praised by such film critics as [[Lindsay Anderson]] and [[Donald Richie]]. Richie called it "one of the most perfect movies in the history of Japanese cinema" and especially praised the beauty and morality of the film's opening and closing shots. Richie analyzed how the film starts with "a long panorama" and shots spanning from a lake to the shore and the village. He judged the ending's "upward tilting panorama" from the grave to above to reflect the beginning.<ref name=wakeman799/> [[Bosley Crowther]], in ''[[The New York Times]]'', wrote that the film had "a strangely obscure, inferential, almost studiedly perplexing quality".<ref name="Crowther"/> ''[[Variety (magazine)|Variety]]'' staff praised the film's visuals for reminiscence to Japanese prints, costumes and set design, and the performances of [[Masayuki Mori (actor)|Masayuki Mori]] and [[Machiko Kyō]].<ref>{{cite web|last=Staff |url=https://variety.com/1952/film/reviews/ugetsu-monogatari-1117795983/ |title=Review: 'Ugetsu Monogatari' |work=[[Variety (magazine)|Variety]] |date=31 December 1952 |access-date=12 December 2016 |url-status=live |archive-url=https://web.archive.org/web/20161220163803/http://variety.com/1952/film/reviews/ugetsu-monogatari-1117795983/ |archive-date=20 December 2016 }}</ref>

The film appeared in ''[[Sight & Sound]]'' magazine's top 10 critics poll of the greatest films ever made, which is held once every decade, in 1962 and 1972.<ref>{{cite web |title=Sight and Sound Poll 1962: Critics |publisher=[[California Institute of Technology]] |url=http://alumnus.caltech.edu/~ejohnson/sight/1962.html |access-date=29 May 2009 |url-status=dead |archive-url=https://web.archive.org/web/20120222024831/http://alumnus.caltech.edu/~ejohnson/sight/1962.html |archive-date=22 February 2012 }}</ref><ref>{{cite web|title=Sight and Sound Poll 1972: Critics |publisher=[[California Institute of Technology]] |url=http://alumnus.caltech.edu/~ejohnson/sight/1972.html |access-date=29 May 2009 |url-status=live |archive-url=https://web.archive.org/web/20090705224544/http://alumnus.caltech.edu/~ejohnson/sight/1972.html |archive-date= 5 July 2009 }}</ref> In the 2012 ''[[Sight & Sound]]'' poll, it was voted the 50th greatest film of all time.<ref>{{Cite web |title=Votes for Ugetsu Monogatari (1953) {{!}} BFI |url=https://www2.bfi.org.uk/films-tv-people/4ce2b6b94daff/sightandsoundpoll2012 |archive-url=https://web.archive.org/web/20171202015633/http://www.bfi.org.uk/films-tv-people/4ce2b6b94daff/sightandsoundpoll2012 |url-status=dead |archive-date=2 December 2017 |access-date=2022-05-28 |website=www2.bfi.org.uk}}</ref> ''Ugetsu'' currently holds a [[List of films with a 100% rating on Rotten Tomatoes|100% approval rating]] on [[Rotten Tomatoes]], based on 30 reviews, with a [[weighted arithmetic mean|weighted average]] of 9.40/10. The site's critical consensus states, "With its thought-provoking themes, rich atmosphere, and brilliant direction, Kenji Mizoguchi's {{sic|''Ugetsu monogatari''|nolink=y}} is a towering classic of world cinema".<ref>{{cite web|url=https://www.rottentomatoes.com/m/ugetsu/ |title=Ugetsu monogatari (1953) |website=[[Rotten Tomatoes]] |access-date=30 June 2019 |archive-url=https://archive.today/20170117065010/https://www.rottentomatoes.com/m/ugetsu/ |archive-date=17 January 2017 |url-status=dead }}</ref> [[Roger Ebert]] added ''Ugetsu'' to his [[The Great Movies|Great Movies]] list in 2004, calling it "one of the [[List of films considered the best|greatest of all films]]", and said that "At the end of ''Ugetsu'', aware we have seen a fable, we also feel curiously as if we have witnessed true lives and fates".<ref name=ebert>{{cite web|first=Roger |last=Ebert |author-link=Roger Ebert |url=http://www.rogerebert.com/reviews/great-movie-ugetsu-1953 |title=Ugetsu (1953) |publisher=rogerebert.com |date=9 May 2004 |access-date=31 December 2012 |url-status=live |archive-url=https://web.archive.org/web/20130602191238/http://www.rogerebert.com/reviews/great-movie-ugetsu-1953 |archive-date= 2 June 2013 }}</ref> Director [[Martin Scorsese]] has also listed it as one of his favourite films of all time<ref>{{cite web |url=http://www.miramax.com/subscript/scorseses-favorite-films |title=Scorsese's 12 favorite films |publisher=[[Miramax]] |access-date=25 December 2013 |url-status=dead |archive-url=https://web.archive.org/web/20131226091025/http://www.miramax.com/subscript/scorseses-favorite-films |archive-date=26 December 2013 }}</ref> and included it on a list of "39 Essential Foreign Films for a Young Filmmaker."<ref>{{cite web|url=http://www.openculture.com/2014/10/scorseses-list-of-39-essential-foreign-films.html |title=Martin Scorsese Creates a List of 39 Essential Foreign Films for a Young Filmmaker |publisher=Open Culture |date=15 October 2014 |access-date=1 February 2015 |url-status=live |archive-url=https://web.archive.org/web/20150207201938/http://www.openculture.com/2014/10/scorseses-list-of-39-essential-foreign-films.html |archive-date=February 7, 2015 }}</ref> It was also listed by Russian filmmaker [[Andrei Tarkovsky]] as one of his top ten favorite films.<ref>{{Cite web |last=Lasica |first=Tom |title=Tarkovsky's Choice |url=http://www.nostalghia.com/TheTopics/Tarkovsky-TopTen.html |access-date=January 19, 2020 |website=Nostalghia.com}}</ref>

In ''[[5001 Nights at the Movies]]'', film critic [[Pauline Kael]] found it to be "subtle, violent yet magical", and termed ''Ugetsu'' as "one of the most amazing of the Japanese movies that played American art houses".<ref>{{harvnb|Kael|1991|p=802}}</ref>  In 2000, ''[[The Village Voice]]'' newspaper ranked ''Ugetsu'' 29th on their list of the 100 best films of the 20th century.<ref>{{cite web|url=http://www.filmsite.org/villvoice.html |access-date=20 January 2013 |title=100 Best Films of the 20th Century Village Voice Critics' Poll |publisher=[[filmsite.org]] |url-status=dead |archive-url=https://web.archive.org/web/20160613044825/http://www.filmsite.org/villvoice.html |archive-date=13 June 2016 }}</ref>

===Accolades===
''Ugetsu'' won the [[Silver Lion]] Award for Best Direction at the [[14th Venice International Film Festival|Venice Film Festival]] in 1953.<ref name=mac104/> The night before, Mizoguchi, believing that if the film did not win an award the shame would prevent him from returning to Japan, stayed in his hotel room and prayed.<ref name=Sato/> In Japan it was named third in [[Kinema Junpo]]'s Best Ten for Japanese films of 1953.<ref name="NHK">{{cite web|url=http://www.nhk.or.jp/bs-blog/200/88289.html|title=''Watanabe Shihai-jin no oshaberi shinema: "Mizoguchi Kenji: Ugetsu Monogatari"'' |publisher=[[NHK]] |access-date=14 January 2013 |archive-url=https://web.archive.org/web/20111004132654/http://www.nhk.or.jp/bs-blog/200/88289.html |archive-date=4 October 2011}}</ref> and won two awards at the 8th [[Mainichi Film Award]]s.<ref>{{cite web|url=http://db.eiren.org/contents/04110038501.html |title=Ugetsu Monogatari |work=Motion Picture Producers Association of Japan website |publisher=Motion Picture Producers Association of Japan |access-date=19 January 2013 |url-status=live |archive-url=https://web.archive.org/web/20150722055134/http://db.eiren.org/contents/04110038501.html |archive-date=22 July 2015 }}</ref>

{| class="wikitable sortable"  style="width: 99%;"
|-
! scope="col"| Award
! scope="col"| Date of ceremony
! scope="col"| Category
! scope="col"| Recipient(s)
! scope="col"| Result
! scope="col" class="unsortable"| {{Abbr|Ref(s)|Reference(s)}}
|-
| rowspan="1" | [[Academy Awards]]
| rowspan="1" | [[28th Academy Awards|21 March 1956]]
| [[Academy Award for Best Costume Design|Best Costume Design, Black and White]]
| [[Tadaoto Kainosho]]
| {{nom}}
| rowspan="1" | <ref>{{cite web|url=http://www.oscars.org/oscars/ceremonies/1956 |title=THE 28TH ACADEMY AWARDS 1956 |access-date=13 December 2016 |publisher=[[Academy of Motion Picture Arts and Sciences]] |url-status=live |archive-url=https://web.archive.org/web/20110706094007/http://www.oscars.org/awards/academyawards/legacy/ceremony/28th-winners.html |archive-date= 6 July 2011 }}</ref>
|-
| rowspan="1" | [[Kinema Junpo|Kinema Junpo Awards]]
| rowspan="1" | 1953
| Best Ten
| ''Ugetsu Monogatari''
| {{won}}
| rowspan="1" | <ref name="NHK"/>
|-
| rowspan="2" | [[Mainichi Film Awards]]
| rowspan="2" | 1953
| [[Mainichi Film Award for Best Sound Recording|Best Sound Recording]]
| [[Iwao Ōtani]]
| {{won}}
| rowspan="2" | <ref>{{Cite web|url=http://mainichi.jp/enta/cinema/mfa/etc/history/8.html |title=8th (1953) |access-date=13 December 2016 |publisher=[[Mainichi Film Awards]] |url-status=live |archive-url=https://web.archive.org/web/20161220163954/http://mainichi.jp/enta/cinema/mfa/etc/history/8.html |archive-date=20 December 2016 }}</ref>
|-
| [[Mainichi Film Award for Best Art Direction|Best Art Direction]]
| [[Kisaku Itō]]
| {{won}}
|-
| rowspan="1" | [[Ministry of Education, Culture, Sports, Science and Technology|Ministry of Education]]
| rowspan="1" | 1953
| Cinematography
| [[Kazuo Miyagawa]]
| {{won}}
| rowspan="1" | <ref name=wakeman799/>
|-
| rowspan="2" | [[Venice Film Festival]]
| rowspan="2" | [[14th Venice International Film Festival|20 August – 4 September 1953]]
| [[Silver Lion]]
| [[Kenji Mizoguchi]]
| {{won}}
| rowspan="2" | <ref name=mac104/><ref>''[[Cahiers du cinéma]]'', Issues 25–30, Editions de l'Etoile, 1971, p. 21.</ref>
|-
| Pasinetti Award
| [[Kenji Mizoguchi]]
| {{won}}
|-
|}

==Legacy==
Along with [[Akira Kurosawa]]'s film ''[[Rashomon]]'' (1950), ''Ugetsu'' is credited with having popularised Japanese cinema in the West.<ref name=mcdonald/><ref name=ebert/> The film, and [[Yasujirō Ozu]]'s ''[[Tokyo Story]]'', released the same year, particularly created awareness of other Japanese filmmakers.<ref>{{cite magazine |last=Burr |first=Ty |author-link1=Ty Burr |date=1 November 1997 |title=TALES FROM THE UNDERGROUND AN EARLY INDIE TIME LINE |magazine=[[Entertainment Weekly]] |page=82 }}</ref> Mizoguchi cemented his reputation among film aficionados in Europe with his film ''[[Sansho the Bailiff]]'' (1954).<ref name="Russell61">{{harvnb|Russell|2011|p=61}}</ref> ''Ugetsu'' and ''Sansho the Bailiff'' made an impact on [[French New Wave]] directors [[Jean-Luc Godard]] and [[François Truffaut]], and U.S. director [[Paul Schrader]], who sought [[Kazuo Miyagawa]] for advice on the film ''[[Mishima: A Life in Four Chapters]]'' (1985).<ref>{{harvnb|Miyao|2013|p=255}}</ref>

==See also==
* [[List of ghost films]]

==References==
{{Reflist}}

===Bibliography===
* {{cite book|last=Balio |first=Tino |title=The Foreign Film Renaissance on American Screens, 1946–1973 |publisher=University of Wisconsin Press |year=2010 |isbn=978-0299247935 }}
* {{cite book|last=Balmain|first=Colette|title=Introduction to Japanese Horror Film|publisher=Edinburgh University Press|year=2008|isbn=978-0-7486-2475-1}}
* {{cite book|last=Galbraith IV |first=Stuart |title=The Japanese Filmography: 1900 through 1994 |location=Jefferson, North Carolina |publisher=McFarland |date=1996 |isbn=0-7864-0032-3 }}
* {{cite book |last=Galbraith IV |first=Stuart |title=The Toho Studios Story: A History and Complete Filmography |publisher=Scarecrow Press |date=2008 |isbn=978-1-4616-7374-3 |author-link=Stuart Galbraith IV}}
* {{cite book|last=Haydock |first=Nickolas |title=Movie Medievalism: The Imaginary Middle Ages |location=Jefferson, North Carolina and London |publisher=McFarland & Company Publishers |year=2008 |isbn=978-0786451371 }}
* {{cite book|last=Kael|first=Pauline|title=[[5001 Nights at the Movies]]|publisher=Henry Holt and Company|year=1991|isbn=0-8050-1367-9}}
* {{cite book|last=Kalinak|first=Kathryn |title=Music in the Western: Notes From the Frontier|location=New York|publisher=Routledge|year=2012|isbn=978-1-136-62057-7}}
* {{cite book|editor-last1=Lee|editor-first1=Jonathan H. X.|editor-last2=Matsuoka|editor-first2=Fumitaka|editor-last3=Yee|editor-first3=Edmond|editor-last4=Nakasone|editor-first4=Ronald Y.|title=Asian American Religious Cultures|location=Santa Barbara, California|publisher=ABC-CLIO|year=2015|isbn=978-1-59884-331-6|ref={{SfnRef|Lee|2015}}}}
* {{cite book|last=Lowenstein|first=Adam|title=Dreaming of Cinema: Spectatorship, Surrealism, and the Age of Digital Media|location=New York |publisher=Columbia University Press|year=2015|isbn=978-0-231-53848-0}}
* {{cite book|last=McDonald|first=Keiko|title=Mizoguchi|location=Boston|publisher=Twayne Publishers|year=1984|isbn=0-8057-9295-3}}
* {{cite book|last=McRoy|first=Jay|title=Cinematic Ghosts: Haunting and Spectrality from Silent Cinema to the Digital Era|chapter=Spectral remainders and Transcultural Hauntings: Even the ghosts are haunted: Kenji Mizoguchi's ''Ugetsu Monogotari''|publisher=Bloomsbury|year=2015|isbn=978-1-62892-216-5}}
* {{cite book|last=Miyao|first=Daisuke|title=The Aesthetics of Shadow: Lighting and Japanese Cinema|location=Durham and London |publisher=Duke University Press|year=2013|isbn=978-0-8223-5422-2}}
* {{cite book|last=Nochimson|first=Martha P.|title=World on Film: An Introduction|publisher=Wiley-Blackwell|year=2011|isbn=978-1-4443-5833-9}}
* {{cite book|last=Russell|first=Catherine|title=Classical Japanese Cinema Revisited|location=New York|publisher=The Continuum International Publishing Group|year=2011|isbn=978-1-4411-0777-0}}
* {{cite book |last=Satō |first=Tadao |author-link=Tadao Sato |title=Nihon Eiga-shi 2: 1941–1959 |url=https://books.google.com/books?id=ebpNAQAAIAAJ&q=%E6%97%A5%E6%9C%AC%E6%98%A0%E7%94%BB%E5%8F%B2+-+Volume+2 |access-date=22 January 2013 |year=2006 |publisher=Iwanami Shoten |location=Tokyo |isbn=4-00-026578-4 |page=236}}
* {{cite book|last=Spicer|first=Paul|title=Cinema and Landscape|chapter=Japanese Cinema and Landscape|location=Bristol and Chicago|publisher=Intellect Books|year=2010|isbn=978-1-84150-309-7}}
* {{cite book|last=Stone|first=Bryan|title=The Routledge Companion to Religion and Film|chapter=Modern Protestant approaches to film (1960 to the present)|location=London and New York|publisher=Routledge|year=2009|isbn=978-0-415-44853-6}}
* {{cite book|last=Sultanik|first=Aaron|title=Film, a Modern Art|url=https://archive.org/details/filmmodernart0000sult|url-access=registration|location=New York, London and Toronto|publisher=Cornwall Books|year=1986|isbn=0-8453-4752-7}}
* {{cite book|last=Wakeman|first=John|title=World Film Directors|volume=1|location=New York|publisher=The H. W. Wilson Company|year=1987|isbn=0-8242-0757-2|url-access=registration|url=https://archive.org/details/worldfilmdirecto0000unse}}
* {{cite book|last=Wood|first=Robin|title=Personal Views: Explorations in Film|location=Detroit|publisher=Wayne State University Press|year=2006|isbn=0-8143-3278-1}}
* {{cite book|last=Wood|first=Robin|title=Sexual Politics and Narrative Film: Hollywood and Beyond|location=New York|publisher=Columbia University Press|year=1998|isbn=0-231-07605-3}}

==External links==
* {{IMDb title|0046478}}
* {{Rotten Tomatoes|m/ugetsu}}
* {{jmdb title|1953|cc000790}}
*[https://www.criterion.com/current/posts/401-ugetsu-from-the-other-shore ''Ugetsu: From the Other Shore''] an essay by [[Phillip Lopate]] at the [[Criterion Collection]]

{{Kenji Mizoguchi}}
{{Silver Lion (1953–1994)}}

{{Authority control}}

[[Category:1950s fantasy films]]
[[Category:1950s war films]]
[[Category:1953 films]]
[[Category:Anti-war films]]
[[Category:Daiei Film films]]
[[Category:Films based on short fiction]]
[[Category:Films directed by Kenji Mizoguchi]]
[[Category:Films produced by Masaichi Nagata]]
[[Category:Films scored by Fumio Hayasaka]]
[[Category:Films scored by Ichirō Saitō]]
[[Category:Films set in country houses]]
[[Category:Films set in 16th-century Sengoku period]]
[[Category:Films with screenplays by Matsutarō Kawaguchi]]
[[Category:Films with screenplays by Yoshikata Yoda]]
[[Category:Japanese black-and-white films]]
[[Category:Japanese ghost films]]
[[Category:1950s Japanese-language films]]
[[Category:Jidaigeki films]]
[[Category:1950s Japanese films]]
[[Category:1950s samurai films]]