Different view of Oharu


The truth is, Oharu never resisted, or refused, anything at all that others had tried to push on to her, even when she knew their intentions. Sometimes she would feign and put up a brief fight, but then would quickly accept whatever it was that others tried to lay on her, be it sexual/romantic advances, manipulation and abuse, or other sorts of advice and persuasion. There is a difference between defeat and forfeit, and Oharu always chose the latter.

In making her seem as passive and helpless and victim-y as possible, Mizoguchi perhaps unwittingly made the events that happened to her seem all the more like the logical, necessary and "fateful" outcome of her own nature and character. They become the inevitable realization of her own inner, true ("passive") desires, which merely mirrored those of the people around her (ie, society).

For what was Oharu's greatest attribute in her life? It was her beauty, her looks. This was emphasized by Mizoguchi himself time and again. And Oharu knew this, and tried to somehow maintain it throughout her life. Just witness her flirting with and half-casting off would-be suitors from the very beginning. And what do you call someone who uses their beauty or looks to try to gain advantage in life, as an instrument of power? Really, in its barest (no pun intended) essence, it's a Prostitute. And that's what Oharu ended up being. Which was perhaps, as Mizoguchi shows us, her real nature all along.

Beauty has all the power of a dangerous explosive, but if you don't know how to use it properly, the first one you kill is always yourself.

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I just saw the film on TCM for the first time. To me, the wickedest, cruelest blow was reserved for the very end, when Oharu's mother announces that Oharu's son, now the lord, wants her brought to his mansion. Finally, Oharu will find not only a beautiful, comfortable "forever home" but will be reunited with her son. My heart leapt. Oh, no! Instead of being welcomed by her loving son, Oharu is to be punished for her life of prostitution--into which, ironically, she was forced by those who now want to punish her for it. Only a tiny glimpse of her son is afforded her, and he does not even cast a glance her way. The torture is prolonged as Oharu keeps wriggling out of her captors' clutches. At one point, she cries: "I gave him birth!" The guards recoil. Oharu rushes after her son. I am breathlessly hoping that mother and son will be reunited. No. At least Oharu is able to escape from a life of eternal imprisonment as she successfully evades the guards and sneaks out of the villa. The ending seems to tell us that all life is vanity, all attempts to find joy result in nothing. Nothingness. That is the perfect goal, the union with Buddha when all earthly snares have been shuffled off.

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Well put. Life is a bitch and then you die. Nihilism rules. Why not? Being that this is post WWII Japan when filmed the Japanese were going through quite a period of both pride and self loathing. This film reflects that.

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Oharu never used her looks to get anywhere, though her looks lead her everywhere, at least to what concerns the film. Her actions and further developments must be contextualised within the epoch the film delves on and probably the same era within it was made. I believe this film verses on subjects that go beyond just the looks and its consequences and what a magnificent piece of film-making it is.

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-You won't forget me now?

-No. I've got nobody else to remember.

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