The film Sisters of the Gion (1936) is among the masterpiece films ingeniously directed by Kenji Mizoguchi in prewar Japan. Mizoguchi's cinematic prowess and the mastery of cinematic aesthetics showcase the classic film in 1930s. The film inherently cuts across the 1930s patriarchal society highlighting the plight of women. This film depicts why Mizoguchi is often seen as a champion of the women and early feminist activist in Japan. The film revolves around the lives of two sisters; Omocha and Umekichi who are complete opposite of each other and differed significantly in the expectations and obligations of a woman in 1930s Japanese society. The film explores feminism ideals that vehemently challenge the economic and social problems that denied the progress of women in Japanese society.
Through Sisters of the Gion, Mizoguchi explores the disoriented and chaotic Japanese society which needed change if the plight of women was to be reversed. The unfair and brutal treatment of women in the patriarchal Japanese society as depicted by Omocha and Umekichi is dehumanizing. The character traits of the two sisters are juxtaposed through out the entire film where Mizoguchi uses long shots, narration, comprehensive mise-en-scene and setting, which explores the plight of Japanese women in 1930s. Through Umekichi, the viewers see the traditional norms and expectations of woman in Gion - loyal and submissive woman to her patrons. However, Mizoguchi used Omocha's character - an educated woman to explore the socio-economic inequality and exploitation in Gion. She views money is the key to survival and men are only out to exploit women. Omocha in the film is used to express feministic views because her enlightenment gives her better assessment of the male patronage in Gion. She is against men taking advantage of her elder sister's humbleness and generosity, and attempts to drive away men like the bankrupted wholesaler Mr. Furusawa (Mizoguchi 228).
The film's plot is built around the thematic conflict, which thrives on the viewpoint differences the sisters have especially on men and money. Mizoguchi brings out the conflicts in the film through cinematic devices as he explored the life of Gion which was a pleasure licensed area. Umekichi is quite humble and plays to the expectations of the male-dominated society in the money-oriented societal matrix. Omocha cannot understand why Umekichi is loyal to her ex-patron who is bankrupt (MacDonald 29). Omocha advices Umekichi to break the obligation she owes her customers and provide services only for money. In the scenes where Umekichi welcomes Furusawa to their squalor house, it brings conflicts between the two sisters. In a male-dominated society, women are supposed to agitate for respect and avoid being used as 'playthings'. The rebellious nature of Omocha depicts the feminist view where she is not ready to be submissive and loyal to abusive men. Even after Kimura revenge assaults, Omocha's spirit is not broken and she is ready to fight men's oppression. This clearly depicts the strong feministic spirit ready to defy all insubordination and oppression (MacDonald 26).
The life Umekichi and her sister live is one of paupers and thus Omocha is justified in refusing her sister to accommodate the bankrupt Furusawa. Undoubtedly, Furusawa never thought of helping his mistress (Umekichi) when he his business was doing okay. Mizoguchi employed long camera shots that exclusively show the Gion pleasure alley where Omocha and Umekichi live. The sprawling conditions depicting poverty, misery, and disillusionment are quite eminent in the film. Panning shots of the alley with shadows, dampness, and stinginess depict human destituteness. Even towards the end of the film, Furusawa never left a note thanking Umekichi despite all the sacrifices she made for him (Mizoguchi 227). This depicts women as just plaything to be used to the benefit of men discarded when they become useless. Omocha cannot stand men, which explains her indifference towards them.
Sisterhood is a major theme that many feministic films and novels address in the bid to express rights of women in male-dominated societies. Mizoguchi explores the theme of sisterhood in the way the two sisters live together despite their different viewpoint on men and money. As the film unfolds, Omocha though is the younger of the two sisters is worried about the welfare of her submissive and loyal sister Umekichi. In the scenes where Furusawa enters the lives of Omocha and Umekichi, Mizoguchi portrays moral conflict; on one side Umekichi welcomes Furusawa to stay with him, while on the other Omocha strives to drive him away (Gerow 1). She sees Furusawa as an economic burden to Umekichi who had to wash his clothes; buy him food on credit and satisfy his happiness. Omocha buys Furusawa out by giving 50 yen and lying she had agreed with her sister he should leave. Although the deceit angers Umekichi, in the end solidarity between the sisters is stronger than before (Mizoguchi 229). Moreover, Omocha schemes tricking the silk clerk Kimura for new cloth for Umekichi to attend party organized by her proprietress is a mark of sisterhood.
In conclusion, Mizoguchi's Sisters of the Gion explores the ideals of feministic text in context and setting where the male-dominated Japanese society in 1930s subjected women to ill-treatment and oppressions. In the film, Mizoguchi showcases deep sensibility as champion for the plight of women in the patriarchal society. Although the cruel predicament of women continues even humility efforts of Umekichi and guile attitude of Omocha, society has been transient and the feministic agitation was bound to bring the changes society has experienced today.
