El intendente Sansho

Título original: Sanshô dayû

1954
Not Rated
2h 4min

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Yoshiaki Hanayagi, Kyôko Kagawa, and Kinuyo Tanaka in El intendente Sansho (1954)

En el Japón medieval, un gobernador compasivo es exiliado, tras esto, su familia intenta reunirse con él.En el Japón medieval, un gobernador compasivo es exiliado, tras esto, su familia intenta reunirse con él.En el Japón medieval, un gobernador compasivo es exiliado, tras esto, su familia intenta reunirse con él.

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8.3/10

19 k

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Premios
- 2 premios ganados y 2 nominaciones en total

Trivia
This film, like several films by director Kenji Mizoguchi from this period, was widely praised in both Japan and the West for its smoothly flowing camera work. But these camera movements were, in fact, planned and blocked by his great cameraman, Kazuo Miyagawa, rather than by the director, who gave Miyagawa free rein in his use of the camera.

Citas
Masauji Taira: [Speaking to his son Zushio on the verge of being exiled and separated from his family] Zushio, I wonder if you'll become a stubborn man like me. You may be too young to understand, but hear me out anyway. Without mercy, man is like a beast. Even if you are hard on yourself, be merciful to others. Men are created equal. Everyone is entitled to their happiness.

Conexiones
Featured in Cinematic Venom Presents: 1001 Movies You Must See Before You Die: Sansho The Bailiff (1954) (2017)

Opiniones de usuarios71

Opinión destacada

8/10

Mizoguchi Explores the Darker Side of the Slave Lord

In medieval Japan a compassionate governor is sent into exile. His wife and children try to join him, but are separated, and the children grow up amid suffering and oppression.

Others have pointed out that this film bears Mizoguchi's trademark interest in freedom, poverty and woman's place in society, and features beautiful images and long and complicated shots. If anything sums up Mizoguchi it is gynocentricity and long takes.

Notice that film critic Anthony Lane wrote, "I have seen Sansho only once, a decade ago, emerging from the cinema a broken man but calm in my conviction that I had never seen anything better; I have not dared watch it again, reluctant to ruin the spell, but also because the human heart was not designed to weather such an ordeal." How do you follow that up?