Quite different from most Mizoguchi - there isn't a female protagonist here - TAIRA CLAN SAGA (aka 'Shin Heike Monogatari') is a vivid period spectacle, perhaps most similar to his earlier masterpiece THE 47 RONIN. Working closer to Kurosawa territory, TAIRA CLAN SAGA depicts the tension between the corrupt court and the military class. Ethics, honor and loyalty are central themes, and Mizo's graceful style underscores this in classic fashion. While not quite the equal of Mizo's celebrated string of early-50s masterpieces, this is still a great film - very rarely seen in the US, and very much deserving of restoration and a wider audience. Fans of Kurosawa, Inagaki or Kobayashi's period epics would do well to seek this out.
7 Reviews
Mizoguchi Tackles Color
boblipton18 April 2018
It has two sets of Emperors! Pirates! Samurai battling berserk Buddhist warrior monks! Courtly intrigue! Imperial bastards! Pirates! in spectacular Daiei Color! (that's how the credit reads) directed by Kenji Mizoguchi!
Hot dog! Or whatever the Japanese say. It's one of those sprawling historical epics set in 12th Century Japan, when every clan had its own funny hat, and samurai were struggling to become respectable as the oldest son of the leader of the Taira clan discovers he may actually be the son of an earlier emperor .... or maybe a crazy warrior monk, it's hard to tell the difference.
It's an expert mixture of Book-of-the-Month Epic, so much so that I half expected to see a credit for James Clavell or James Michener, but given that the Japanese actually invented the novel, it's hardly surprising they would try something like this, given they had Mizoguchi working for them -- it's based on a novel published in 1950. Kazuo Miyagawa's color camerawork is dazzling and constantly moving about, but given the sumptuous costumes and sets -- it looks like they used every scrap of silk in Japan for this one -- it's well done.
Hot dog! Or whatever the Japanese say. It's one of those sprawling historical epics set in 12th Century Japan, when every clan had its own funny hat, and samurai were struggling to become respectable as the oldest son of the leader of the Taira clan discovers he may actually be the son of an earlier emperor .... or maybe a crazy warrior monk, it's hard to tell the difference.
It's an expert mixture of Book-of-the-Month Epic, so much so that I half expected to see a credit for James Clavell or James Michener, but given that the Japanese actually invented the novel, it's hardly surprising they would try something like this, given they had Mizoguchi working for them -- it's based on a novel published in 1950. Kazuo Miyagawa's color camerawork is dazzling and constantly moving about, but given the sumptuous costumes and sets -- it looks like they used every scrap of silk in Japan for this one -- it's well done.
Mizoguchi does not disappoint in this one
fa-oy27 July 2013
A quite different Mizoguchi film we have right here, but it entertained me all the way through and the cinematography is top-notch; the camera-work and scenes are outstanding as usual. The film starts slow and takes a while to unfold, but once the story is unfolded and everything is cleared up, it hooked me. The only thing lacking might be the ending, which leaves things quite incomplete and it kind of left me wanting for more, but I believe it was intended to end in this manner. Perhaps they were planning to produce a sequel or something of the sort, although I am not anywhere sure about it, so do not take my opinion for granted.
All I can say is that this film is worth watching; it will not disappoint any Mizoguchi fan.
All I can say is that this film is worth watching; it will not disappoint any Mizoguchi fan.
Splendid epic and personal tale about oppression
Teyss17 January 2017
Warning: Spoilers
"Shin Heike monogatari" ("The New Tale of the Heike") is considered as very specific in Mizoguchi's filmography: it apparently does not have an intimate style; women are reduced to secondary roles; it is in the classic form of Jidai-geki (period representations) with an epic story, action scenes and stylised characters. As such, it is slightly underrated. Nonetheless, Mizoguchi's touch is always present: it alternates epic and personal stories; psychology is important; the style is delicate.
INDIVIDUAL VERSUS GENERAL
There is a perpetual movement between general and individual focus, as notably shows the alternation between overall and close images. The opening is outstanding: the movie starts with a high, general shot on a crowd, then pans down near different characters. High shots are repeated throughout the film.
Granted, it is an epic movie about the struggles between samurais, nobles and monks. However, it is always embedded in personal stories, so we feel directly concerned. The main hero Kiyomori was raised by the samurai Tadamori, but could be the son of the former emperor or of a monk: the outer conflicts between these three forces are also internal. Until the very end, this inner tension is not solved: he still loves Tadamori, although the latter was not his father, and we are uncertain if the final revelation on the fan is genuine or not (did Tadamori hint the ex-emperor was Kiyomori's father in order to smooth his grief?).
The most symbolic scenes are individual, not collective.
In intimate scenes, the camera moves discreetly to highlight emotions. When Kiyomori begs his mother to stay, the camera follows them as she moves away; yet when he throws her down, it stops to stress how shocking this act is. At the end, when his mother reveals to Kiyomori who his father is, the camera slowly tilts towards him (an apparently useless move since both characters are in the frame).
A FAKE ACTION MOVIE
There is another difference with "standard" epic films: if there are fights, they are always low-key. The ambush on Tadamori never occurs. When the monks attack the two men, the "battle" mainly consists of random weapon movements, seen from far away. When the Taira clan faces the monks later on, they just move and don't fight. When Kiyomori clashes with the monks at the end, he shoots two arrows... on objects.
Remarkably, there is not one single death during the entire movie (warrior bodies are vaguely seen at the beginning, but the action took place beforehand and in a remote place). Tokiko's brother is only lightly wounded in the fight. The only exception is Tadamori committing suicide (probably), because he was dishonoured: we do not even see this act and it is related to psychology, not pure action. Hence the most violent scenes are psychological more than physical: Kiyomori throws his mother down; a minister pushes Tadamori with his foot; samurais, nobles and monks argue fiercely.
COLOURS
To illustrate the conflicts between the different parties, Mizoguchi beautifully uses colours (despite the fact the studio imposed its own technical process, which resulted in these being somewhat faded and yellowish).
EVOLUTION
We witness an evolving world: power is still in the hands of despotic nobles and monks but is shifting towards samurais, as well as merchants. To illustrate this change, the movie insists on ambiguity and, here again, shows it at individual level. Here are a few examples, on top of the uncertainty regarding Kiyomori's lineage noted above:
To accentuate ambiguity, Mizoguchi uses very different music styles: epic-like during action scenes, intimate during personal scenes, dream-like during the two flashbacks. Regarding the latter, it is to the extent that we doubt these two scenes are real or not. Indeed, the flashback told by the merchant differs from the one told by Kiyomori's servant: where is the truth?
In summary, "Shin Heike monogatari" is a visually splendid tale that is more modern than it looks: it depicts the eternal struggle between oppression and rebellion that aims to change the world. Monks and nobles could be compared to fascists willing to manipulate and murder in order to preserve their power. The determined hero, regardless of his origins, will target their symbols of oppression: righteousness shall prevail as surely as a precise arrow shot.
INDIVIDUAL VERSUS GENERAL
There is a perpetual movement between general and individual focus, as notably shows the alternation between overall and close images. The opening is outstanding: the movie starts with a high, general shot on a crowd, then pans down near different characters. High shots are repeated throughout the film.
Granted, it is an epic movie about the struggles between samurais, nobles and monks. However, it is always embedded in personal stories, so we feel directly concerned. The main hero Kiyomori was raised by the samurai Tadamori, but could be the son of the former emperor or of a monk: the outer conflicts between these three forces are also internal. Until the very end, this inner tension is not solved: he still loves Tadamori, although the latter was not his father, and we are uncertain if the final revelation on the fan is genuine or not (did Tadamori hint the ex-emperor was Kiyomori's father in order to smooth his grief?).
The most symbolic scenes are individual, not collective.
- In the last scene, a courtesan dances with geishas in the countryside, disdainfully watched by Kiyomori: nobles are lost in sterile activities and intrigues while samurais are on the rise.
- Earlier, Kiyomori manages to drive away all the monks on his own, by just shooting two arrows on the sacred palanquins: a man with a right cause shall overcome hundreds with a wrong one.
- In the fabulous shot that follows, Kiyomori is sitting alone on stairs in front of a huge gate that seems to crush him: oppressive traditions still represent a danger.
In intimate scenes, the camera moves discreetly to highlight emotions. When Kiyomori begs his mother to stay, the camera follows them as she moves away; yet when he throws her down, it stops to stress how shocking this act is. At the end, when his mother reveals to Kiyomori who his father is, the camera slowly tilts towards him (an apparently useless move since both characters are in the frame).
A FAKE ACTION MOVIE
There is another difference with "standard" epic films: if there are fights, they are always low-key. The ambush on Tadamori never occurs. When the monks attack the two men, the "battle" mainly consists of random weapon movements, seen from far away. When the Taira clan faces the monks later on, they just move and don't fight. When Kiyomori clashes with the monks at the end, he shoots two arrows... on objects.
Remarkably, there is not one single death during the entire movie (warrior bodies are vaguely seen at the beginning, but the action took place beforehand and in a remote place). Tokiko's brother is only lightly wounded in the fight. The only exception is Tadamori committing suicide (probably), because he was dishonoured: we do not even see this act and it is related to psychology, not pure action. Hence the most violent scenes are psychological more than physical: Kiyomori throws his mother down; a minister pushes Tadamori with his foot; samurais, nobles and monks argue fiercely.
COLOURS
To illustrate the conflicts between the different parties, Mizoguchi beautifully uses colours (despite the fact the studio imposed its own technical process, which resulted in these being somewhat faded and yellowish).
- Soft colours are reserved for samurais (blue, beige, brown, grey, off-white). If they wear red it is usually pale. Interestingly, we will never see Kiyomori wear the vivid red kimono that Tokiko is weaving for him. At the end, when we see the fan on which Tadamori wrote the all-important revelation about Kiyomori's lineage, the colours are soft white and blue.
- By contrast, nobles of the court and monks wear flashy red, bright yellow and intense white. The huge gate dominating Kiyomori at the end is naturally red. Previously, in a dazzling scene, the monks walk at dawn carrying flaming torches: they are associated to red again. Yet when their leader makes his speech afterwards, another high shot shows these flames produce a dark smoke: their seemingly appealing ideology actually obscures minds.
EVOLUTION
We witness an evolving world: power is still in the hands of despotic nobles and monks but is shifting towards samurais, as well as merchants. To illustrate this change, the movie insists on ambiguity and, here again, shows it at individual level. Here are a few examples, on top of the uncertainty regarding Kiyomori's lineage noted above:
- A merchant tells Kiyomori he must be rich, however the latter must sell his horse to buy sake.
- Kiyomori's "noble" mother is actually a former geisha.
- Kiyomori first thinks Tokiko is a servant dyeing cloth, while she is a noble.
- Tokiko's brother likes cockfights, which is undignified for a noble.
- Tadamori's carriage is imposing yet squeaks horribly when it moves.
To accentuate ambiguity, Mizoguchi uses very different music styles: epic-like during action scenes, intimate during personal scenes, dream-like during the two flashbacks. Regarding the latter, it is to the extent that we doubt these two scenes are real or not. Indeed, the flashback told by the merchant differs from the one told by Kiyomori's servant: where is the truth?
In summary, "Shin Heike monogatari" is a visually splendid tale that is more modern than it looks: it depicts the eternal struggle between oppression and rebellion that aims to change the world. Monks and nobles could be compared to fascists willing to manipulate and murder in order to preserve their power. The determined hero, regardless of his origins, will target their symbols of oppression: righteousness shall prevail as surely as a precise arrow shot.
Interesting, yet somewhat flawed, Mizoguchi epic
agorelik18 October 2003
Warning: Spoilers
potential spoilers ahead!
The Taira Family Saga, unlike Mizoguchi's better known films (such as Ugetsu, Sansho the Bailiff, Utamaro), is a wide-ranging epic that depicts the beginning of the feudal era in Japan. Again, unlike Mizoguchi's better-known movies, the Taira Family Saga shows us characters and events that are more historically accurate than those movies and also history that is well known to Japanese audiences.
Getting down to brass tacks, what Mizoguchi tends to do best is to depict very personal situations. The high politics of the Taira Family Saga isn't his forte. We see Mizoguchi focusing on the personal tribulations of Kiyomori Taira but he tries to stuff Kiyomori's various frustrations with the twin courts into a movie where it doesn't quite work. We simply don't feel as sympathetic towards the sometimes arrogant Kiyomori as we do towards most of Mizoguchi's better-known heroines. Also, this is partly an action movie and Mizoguchi does not do action here as well as many other Japanese directors.
Nevertheless, this is an interesting movie and well-worth your time viewing Mizoguchi's version of this pivotal time in Japanese history.
The Taira Family Saga, unlike Mizoguchi's better known films (such as Ugetsu, Sansho the Bailiff, Utamaro), is a wide-ranging epic that depicts the beginning of the feudal era in Japan. Again, unlike Mizoguchi's better-known movies, the Taira Family Saga shows us characters and events that are more historically accurate than those movies and also history that is well known to Japanese audiences.
Getting down to brass tacks, what Mizoguchi tends to do best is to depict very personal situations. The high politics of the Taira Family Saga isn't his forte. We see Mizoguchi focusing on the personal tribulations of Kiyomori Taira but he tries to stuff Kiyomori's various frustrations with the twin courts into a movie where it doesn't quite work. We simply don't feel as sympathetic towards the sometimes arrogant Kiyomori as we do towards most of Mizoguchi's better-known heroines. Also, this is partly an action movie and Mizoguchi does not do action here as well as many other Japanese directors.
Nevertheless, this is an interesting movie and well-worth your time viewing Mizoguchi's version of this pivotal time in Japanese history.
colourful historical adventure movie from Japan
myriamlenys1 November 2019
Warning: Spoilers
"Shin Heike" tells a tale about warriors, merchants, courtiers and monks. All of them are trying to obtain or safeguard a piece of the cake, against a background of rampant political instability. There are quite a lot of characters, but the main protagonist is a young man from a samurai family who discovers that enterprise and courage shown on the battlefield do not always get their just reward. While he is still smarting over this disappointment, he makes another discovery, to wit that there's a sporting chance his "father" is not his father...
"Shin Heike" is a colourful movie full of action and intrigue. It may not be particularly deep but it is a lively, opulent recreation of a specific period in time, complete with hundreds of extras, gorgeous settings and a vast array of costumes. The costumes are particularly well-done : watch the hero's mother, a fashionable lady, "swim" like a tropical fish amidst a multitude of rich silks... Sadly enough the movie seems to stop in mid-story : it does not work towards a recognizable resolution or climax. I've read somewhere that the director filmed only one half of a vast novel, with another director then filming the second half ; for all I know this may very well be the case.
It's quite a watchable movie - I enjoyed it a lot - but I'm not sure that every development is credible, from a psychological viewpoint. For instance, there's a scene where an ambitious merchant, acting out of political and economic motives, contacts a young warrior with actual battlefield experience. In between the equivalent of two nice cups of coffee, the merchant tells the young man a) that his mother, when young, was an imperial concubine and b) that the husband of his mother may not actually be his progenitor. The young man immediately believes this ; what's more, he immediately cheers up. (Could this mean he's a love child of an emperor ? Whoa, talk about social promotion !) I do not know much about Medieval Japan, but it seems more likely that the young warrior would scream "You lowly worm, are you calling my own dear mama a harlot ?" before killing the merchant with one well-aimed blow.
I don't know if this is an anti-religious movie "in se", but "Shin Heike" certainly has something unkind to say about the kind of religious thinking which spins a nonsensical fiction and then expects everyone to bow and cower before it. By the same token the movie has something unkind to say about the kind of religious thinking which preaches merciful humility while amassing armies and wealth. (Now that's a classic.)
"Shin Heike" is a colourful movie full of action and intrigue. It may not be particularly deep but it is a lively, opulent recreation of a specific period in time, complete with hundreds of extras, gorgeous settings and a vast array of costumes. The costumes are particularly well-done : watch the hero's mother, a fashionable lady, "swim" like a tropical fish amidst a multitude of rich silks... Sadly enough the movie seems to stop in mid-story : it does not work towards a recognizable resolution or climax. I've read somewhere that the director filmed only one half of a vast novel, with another director then filming the second half ; for all I know this may very well be the case.
It's quite a watchable movie - I enjoyed it a lot - but I'm not sure that every development is credible, from a psychological viewpoint. For instance, there's a scene where an ambitious merchant, acting out of political and economic motives, contacts a young warrior with actual battlefield experience. In between the equivalent of two nice cups of coffee, the merchant tells the young man a) that his mother, when young, was an imperial concubine and b) that the husband of his mother may not actually be his progenitor. The young man immediately believes this ; what's more, he immediately cheers up. (Could this mean he's a love child of an emperor ? Whoa, talk about social promotion !) I do not know much about Medieval Japan, but it seems more likely that the young warrior would scream "You lowly worm, are you calling my own dear mama a harlot ?" before killing the merchant with one well-aimed blow.
I don't know if this is an anti-religious movie "in se", but "Shin Heike" certainly has something unkind to say about the kind of religious thinking which spins a nonsensical fiction and then expects everyone to bow and cower before it. By the same token the movie has something unkind to say about the kind of religious thinking which preaches merciful humility while amassing armies and wealth. (Now that's a classic.)
Dull
Jeremy_Urquhart10 March 2023
So I have very little to say about Taira Clan Saga. It is dreadfully paced and very unengaging, though it looks nice and the acting is good. It has inspired a rant, however, which I'll lay out in lieu of a revieu.
This film was directed by Kenji Mizoguchi. He's made some very good films, including Sansho the Bailiff (my personal favourite).
Now, I've been writing for Collider for a while now. I did an article recently on great Japanese directors who aren't Akira Kurosawa or Hayao Miyazaki. I got to shout out any 10 great filmmakers, many of whom aren't household names outside the West.
And some guy gave me grief for not including Mizoguchi. He was on my shortlist of 15-20 directors. I'm only allowed to write about 10 entries per most lists. People have to be cut, and Mizoguchi was cut.
"But was I wrong to cut him?" I thought. It inspired me to watch a deep cut like Taira Clan Saga. It wasn't very good. I feel even more confident in my list.
To anyone offended: it wasn't hard, from personal experience, to find a freelance movie writing job. Apply for one and talk about Mizoguchi to your heart's content. Or... blogs still technically exist. No one reads them because it's not 2005 anymore, but you can still put your Mizoguchi admiration out onto the internet for "all" to see.
If you don't want to do any of those things, shut up and be thankful that there even is an article about brilliant yet underappreicated Japanese directors at all. Of course there's more than 10 great ones. But I picked my 10 because I couldn't pick more than 10. Deal with it and be happy that anyone on a Western-centric site like Collider is talking about Yoji Yamada, for example!
*Gob from Arrested Development voice* "COME ON!"
This film was directed by Kenji Mizoguchi. He's made some very good films, including Sansho the Bailiff (my personal favourite).
Now, I've been writing for Collider for a while now. I did an article recently on great Japanese directors who aren't Akira Kurosawa or Hayao Miyazaki. I got to shout out any 10 great filmmakers, many of whom aren't household names outside the West.
And some guy gave me grief for not including Mizoguchi. He was on my shortlist of 15-20 directors. I'm only allowed to write about 10 entries per most lists. People have to be cut, and Mizoguchi was cut.
"But was I wrong to cut him?" I thought. It inspired me to watch a deep cut like Taira Clan Saga. It wasn't very good. I feel even more confident in my list.
To anyone offended: it wasn't hard, from personal experience, to find a freelance movie writing job. Apply for one and talk about Mizoguchi to your heart's content. Or... blogs still technically exist. No one reads them because it's not 2005 anymore, but you can still put your Mizoguchi admiration out onto the internet for "all" to see.
If you don't want to do any of those things, shut up and be thankful that there even is an article about brilliant yet underappreicated Japanese directors at all. Of course there's more than 10 great ones. But I picked my 10 because I couldn't pick more than 10. Deal with it and be happy that anyone on a Western-centric site like Collider is talking about Yoji Yamada, for example!
*Gob from Arrested Development voice* "COME ON!"
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
