SOURCE: "The Passion of Identification in the Late Films of Kenji Mizoguchi," in Film in the Aura of Art, Princeton University Press, 1984, pp. 172-92.

In the following essay, Andrew examines the ways in which Mizoguchi's later films showcase a worldview of stoic contemplation and acceptance through revolt against injustice.

Representative both of artistic grace and social rebellion, women are at the center of virtually every film Kenji Mizoguchi made, pursuing the values of futile revolt and tragic acceptance which he himself prized. He filmed them implacably with unblinking eye until they would stare back accusingly as at the end of Sisters of the Gion and Osaka Elep. But he also filmed them sympathetically in pathetic surroundings and with unquestionable feeling in the movement of his camera.

How can we put together the rebellious social side of Mizoguchi with the nearly stoic metaphysical side? When Okita, at the conclusion...