UGETSU MONOGATARI FILMS. 4 EDITIoN two decades before, then his disappointment stands for all those whose aspirations have been frustrated. Flora Gomes named his youngest protagonist for Amilcar Cabral, the distinguished guerrilla leader and intellectual. Young Amilcar is quick and witty, boisterous and ingenious, full of initiative, mischief and energy. And he shows signs of following in the steps of his famous namesake. He is afraid of no one. his older sister. a truck driver, government authority. He leads the children in putting an evicted widow back into her house. If this rebellion against the callous disregard of people's needs suggests the prospect of a better future, Gomes does not tell us what it might look like:"'I do not suggest observations and remarks on issues. But with Nando and Ze he has firmly established that the country at large rejects the compromises that mark the capital Gomes created a beautiful and funny film. We follow the entan- discover Bissau. Through most of the film we revel in the caring among the adults and the prospect of romance among the young. Then, in the last fifteen minutes, the idyll unravels: Nando confronts Vincente with the betrayal of the ideals for which they fought, Vicente denounces Yonta and the consumer culture she represents and Ze rejects Yonta in turn. Only at the very end do the children reassure us that all is not lost The actors Gomes chose and trained are key to the success of his film. Bia Gomes, who appears in the role of Yonta's mother Belante had played a lead role in Those Whom Death Refused, but most of the actors in The Blue Eyes of Yonta were amateurs. Soon after he had ompleted Those Whom Death Refused, Gomes set out to search for actors amongst his friends, in the women associations, at the exit of Ugetsu monogatari schools, in poor neighborhoods, and also in some government minis- tries. He then spent nine months with the actors in regular work sessions. In the film they use the local Portuguese creole they are Sugisaku Aoyama(Old priest): Kikue Nori (Ukon): Mitsu comfortable with. Gomes complimented the beauty of his actors by Ramon( Commander of the clan NIWA): Ryosuke Kagawa using soft colors to good advantage chief); Kichijiro Tsuchida (Silk merchant): Syozo Nanbu priest): Ichiisaburo Sawamura( Genichi -Josef gugler Awards: Venice Film Festival. Silver Prize Winner and Italian Critics Award, 1953: Edinburgh Film Festival, Gold Medal wir UGETSU MONOGATARI ner,1955 Japan, 1953 Publications Director: Kenji Mizoguchi Production: Daiei studios; black and white, 35mm; running time: 96 minutes; length: 8622 feet. Released Filmed 26 January-13 Kawaguchi, Matsutaro, Les Contes de la lune vague apres la pluie, in March 1953 Avant-Scene du Cinema(Paris), 1 January 1977. Producer: Masaichi Nagata: screenplay: Matsutaro Kawaguchi, Books from Yoshikata Yodas adaptation of two stories, Asaji ga yado ("The Inn at Asaji")and"Jasei-no in("Serpent of Desire"), from the collection of stories Ugetsu monogatari by Akinari Ueda(1768); Tsumura, Hideo, A Certain Mizoguchi Kenji(in Japanese), Japan, 1958 photography: Kazuo Miyagawa; editor: Mitsuji Miyata; sound Anderson, Joseph, and Donald Richie, The Japanese Film: Art and Iwao Otani; production designer: Kisaku Ito; music: Fumio Hayasaka Industry, Rutland, Vermont, 1960; revised edition, Princeton, 1982 and Ichiro saito Ve-Ho, Mizoguchi, Paris, 1964. Mesnil, Michel, Kenji Mizoguchi, Paris, 1965; revised edition, 1971 Cast: Machiko Kyo(Wakasa); Kinuyo Tanaka(Miyagi): Mitsuki Yoda, Yoshikata, Mizoguchi Kenji no hito to geijutsu(Kenji Mizoguchi Mito(Ohama): Masayuki Mori(Genjuro): Sakae Ozawa(Tobei); The Man and His art), Tokyo, 1970 1254UGETSU MONOGATARI FILMS, 4th EDITION 1254 two decades before, then his disappointment stands for all those whose aspirations have been frustrated. Flora Gomes named his youngest protagonist for Amilcar Cabral, the distinguished guerrilla leader and intellectual. Young Amilcar is quick and witty, boisterous and ingenious, full of initiative, mischief, and energy. And he shows signs of following in the steps of his famous namesake. He is afraid of no one: his older sister, a truck driver, government authority. He leads the children in putting an evicted widow back into her house. If this rebellion against the callous disregard of people’s needs suggests the prospect of a better future, Gomes does not tell us what it might look like: ‘‘I do not suggest alternatives. As a ‘contester,’ I am someone who, above all, makes observations and remarks on issues.’’ But with Nando and Zé he has firmly established that the country at large rejects the compromises that mark the capital. Gomes created a beautiful and funny film. We follow the entan￾glements of our protagonists, relish their grace, enjoy the music, and discover Bissau. Through most of the film we revel in the caring among the adults and the prospect of romance among the young. Then, in the last fifteen minutes, the idyll unravels: Nando confronts Vincente with the betrayal of the ideals for which they fought, Vicente denounces Yonta and the consumer culture she represents, and Zé rejects Yonta in turn. Only at the very end do the children reassure us that all is not lost. The actors Gomes chose and trained are key to the success of his film. Bia Gomes, who appears in the role of Yonta’s mother Belante, had played a lead role in Those Whom Death Refused, but most of the actors in The Blue Eyes of Yonta were amateurs. Soon after he had completed Those Whom Death Refused, Gomes set out to search for actors amongst his friends, in the women associations, at the exit of schools, in poor neighborhoods, and also in some government minis￾tries. He then spent nine months with the actors in regular work sessions. In the film they use the local Portuguese creole they are comfortable with. Gomes complimented the beauty of his actors by using soft colors to good advantage. —Josef Gugler UGETSU MONOGATARI Japan, 1953 Director: Kenji Mizoguchi Production: Daiei studios; black and white, 35mm; running time: 96 minutes; length: 8622 feet. Released 1953. Filmed 26 January-13 March 1953. Producer: Masaichi Nagata; screenplay: Matsutaro Kawaguchi, from Yoshikata Yoda’s adaptation of two stories, ‘‘Asaji ga yado’’ (‘‘The Inn at Asaji’’) and ‘‘Jasei-no in’’ (‘‘Serpent of Desire’’), from the collection of stories Ugetsu monogatari by Akinari Ueda (1768); photography: Kazuo Miyagawa; editor: Mitsuji Miyata; sound: Iwao Otani; production designer: Kisaku Ito; music: Fumio Hayasaka and Ichiro Saito. Cast: Machiko Kyo (Wakasa); Kinuyo Tanaka (Miyagi); Mitsuki Mito (Ohama); Masayuki Mori (Genjuro); Sakae Ozawa (Tobei); Ugetsu monogatari Sugisaku Aoyama (Old priest); Kikue Nori (Ukon); Mitsusaburo Ramon (Commander of the clan NIWA); Ryosuke Kagawa (Village chief); Kichijiro Tsuchida (Silk merchant); Syozo Nanbu (Shinto priest); Ichiisaburo Sawamura (Genichi). Awards: Venice Film Festival, Silver Prize Winner and Italian Critics Award, 1953; Edinburgh Film Festival, Gold Medal Win￾ner, 1955. Publications Script: Kawaguchi, Matsutaro, Les Contes de la lune vague après la pluie, in Avant-Scène du Cinéma (Paris), 1 January 1977. Books: Tsumura, Hideo, A Certain Mizoguchi Kenji (in Japanese), Japan, 1958. Anderson, Joseph, and Donald Richie, The Japanese Film: Art and Industry, Rutland, Vermont, 1960; revised edition, Princeton, 1982. Ve-Ho, Mizoguchi, Paris, 1964. Mesnil, Michel, Kenji Mizoguchi, Paris, 1965; revised edition, 1971. Yoda, Yoshikata, Mizoguchi Kenji no hito to geijutsu (Kenji Mizoguchi: The Man and His Art), Tokyo, 1970