Rabu, 06 April 2011
Hiroshi Shimizu - Utajo oboegaki AKA Notes of an Itinerant Performer (1941)
Uta’s mother died when she was six years old; her father she never met. She was forced to adopt a traveller’s life when her grandmother died, and now she is a dancer and part of a family of actors who travel from town to town, setting up street performances. A way of escape from this marginal existence arises when she gets the chance to move to tea merchant Hiramatsu’s place, where she is asked to teach his daughter to dance.
Thoughts provided by Steven H: link
The plot is very simple, a shimpa melodrama set in the Meiji era (some things in common with Mizoguchi's shimpa work during the 50s). Uta, actress Mizutani Yaeko, a wandering actress tired of her life, is taken in by a generous and good natured tea merchant (until her troupe gets back with her) ostensibly to teach his daughter how to dance. He dies and leaves his family with a good deal of debt (there is also some social problem of having a wandering actress living with him and his family.) The merchant's son is left with the family business, which he is not experienced or learned enough to take care of, and dissolves it. At Uta's urging, he goes back to school, and she is left in charge of the family estate. Problems surface, and it builds in a fairly melodramatic climax.
The direction is that of a sort of gliding, at a distance. Shot by Ikai Suketaro, who also photographed his extremely beautiful film Kanzashi, Ornamental Hairpin, there are some shots in the beginning while a handful of itinerant performers are strolling through the forest that I will always have with me. Extremely satisfying to watch, you get the feeling that every beautiful shot was planned out meticulously, but there's also a feel of improvisation. Blacks, whites, and grays almost glowing, and in some ways it reminded me of Dreyer's Ordet (the funeral scene compares to the prayer scene in it's tracking shot over the faces of those attending.) This film (like all of Shimizu's films) certainly has a style of it's own. There is a total lack of "symobolism", leading one to regard them as "pure cinema", rather than any filmed theater or filmed novel. One frame can tell a story in his films, and it can also be an unforgettable landmark for remembering a character, or group of characters, in one of his stories. I can't wait to watch this again.
The great film critic Chris Fujiwara wrote a wonderful (and unfortunately brief) article on Shimizu. He says about this film: "Shimizu is interested in the repetition of movements, in the dispersal of static situations, in moving away from triteness through a careful and vigorous imbalance. The unexpected plot turns throughout "Notes of an Itinerant Performer" reflect the free choices of the heroine (Yaeko Mizutani), an actress who leaves her troupe to become the protégée of a tea merchant and who then, after his death, dedicates herself to his family. Unlike Mizoguchi's "Tale of the Late Chrysanthemums", to which Shimizu's film invites comparison by its theatrical background and by its theme of female self-sacrifice, "Notes of an Itinerant Performer" insists on social obligation as potentially liberating. This insistence would appear to be less conservative than anarchistic."
http://www.filesonic.com/file/517866721/Utajo oboegaki 1941 VOSI.upgrade.avi
English (hard encoded)