The Story of the Last Chrysanthemum

Mizoguchi’s choice to use long takes throughout the film “The Story of the Last Chrysanthemum” reveals the Japanese essence through the narrative and aesthetic of the emotion that is conveyed to the audience. Throughout the film, the audience observes the actions taking place from afar, representative of the political climate that was present during the 1930s Japanese film industry. The wide angles and long shots help to illuminate and draw the audience's attention to the mise en scene. The design and composition of scenes reveal the importance of time and place while also highlighting the ultranationalist ideal promoted by the Kokuhaku film. One of the scenes that exemplifies how the long take and mise en scene reveal the social-political landscape of Japan in 1939 is the scene where the main character is discussing with his siblings his desire to develop as an actor without the family name. 

In this scene, as the main character walks from one room into another the composition of this shot shows a frame within frame as he sits down the three characters sit in a close space in the bottom right screen and the audience looks in through the doorway. The main character's back is to the audience and the siblings face him with concerned expressions. With this composition, the audience feels disconnected in a sense almost as if they are eavesdropping into the conversation. This shot remains static for the duration of 2 minutes as the two characters try to convince Kiku to not leave due to the public humiliation of the family name. In a heated moment, Kiku dismisses the family name claiming he doesn’t need it, disrespecting his father. After this moment a figure, his father, appears towering in the empty space on the left of the screen. The simplicity and duration of the long shot help to draw the audience’s attention to the familial nature and Japanese architecture in the scene. The audience is able to see the interaction between siblings and the nature/power of a traditional Japanese Father in the home. I think this scene reveals the alienating nature that Kiku is pursuing as he wants to detach from these ideals that his family has placed on him he also is visually detached from the audience. This detachment also illustrates the Japanese essence as it shows the importance of the family and the audience’s judgment as the long take allows the audience to take in the entire scene and make connections to the underlined elements of film language such as the mise en scene.