Get 3 months of Audible free - Get this deal
To see product details, add this item to your cart. You can always remove it later.
Ships from
鶹.ca
鶹.ca
Ships from
鶹.ca
Sold by
鶹.ca
鶹.ca
Sold by
鶹.ca
Returns
Eligible for Return, Refund or Replacement within 30 days of receipt
Eligible for Return, Refund or Replacement within 30 days of receipt
This item can be returned in its original condition for a full refund or replacement within 30 days of receipt.
Read full return policy
Payment
Secure transaction
Your transaction is secure
We work hard to protect your security and privacy. Our payment security system encrypts your information during transmission. We don’t share your credit card details with third-party sellers, and we don’t sell your information to others. Learn more
Added to

Sorry, there was a problem.

There was an error retrieving your wish lists. Please try again.

Sorry, there was a problem.

List unavailable.

Kenji Mizoguchi: Fallen Women: Eclipse Series 13 (The Criterion Collection)

Isuzu Yamada (Actor), Machiko Kyo (Actor), Kenji Mizoguchi (Director) Rated: NR (Not Rated) Format: DVD
4.5 out of 5 stars 49 ratings
To see product details, add this item to your cart. You can always remove it later.
Additional DVD options Edition Discs
鶹 Price
New from Used from
DVD
Oct. 21 2008 		—
4
—
$65.88 —

Purchase options and add-ons

Genre Drama
Format Dolby, NTSC, Black & White, DVD-Video, Subtitled, Box set
Contributor Bontaro Miake, Yasuko Kowakami, Aiko Mimasu, Ayako Wakao, Machiko Kyo, Kenji Mizoguchi, Toranosuke Ogawa, Hiroko Machida, Kenji Sugawara, Isuzu Yamada, Eitaro Shinde, Michiyo Kogure See more
Language English
Number of discs 4
Runtime 4 hours and 59 minutes
Publication date Oct. 21 2008
UPC 715515033527
Global Trade Identification Number 00715515033527
Manufacturer Criterion

Frequently bought together

Kenji Mizoguchi: Fallen Women: Eclipse Series 13 (The Criterion Collection)
This item: Kenji Mizoguchi: Fallen Women: Eclipse Series 13 (The Criterion Collection)
$65.88
Get it by Monday, Jun 30
In Stock
Ships from and sold by 鶹.ca.
+
Oshima's Outlaw Sixties: Criterion Collection (Eclipse Series 21)
$68.39
Get it by Monday, Jun 30
In Stock
Ships from and sold by 鶹.ca.
+
The Warped World of Koreyoshi Kurahara: The Criterion Collection (Eclipse Series 28)
$74.49
Get it by Tuesday, Jul 1
Only 6 left in stock (more on the way).
Ships from and sold by 鶹.ca.
Total price:$00
To see our price, add these items to your cart.
Details
Added to Cart
Some of these items ship sooner than the others.
Show details Hide details
Choose items to buy together.

Customers who bought this item also bought

Page 1 of 1 Start again
Previous set of slides
Next set of slides

Product details

  • Aspect Ratio ‏ : ‎ 1.33:1
  • Is discontinued by manufacturer ‏ : ‎ No
  • Language ‏ : ‎ English
  • Product Dimensions ‏ : ‎ 1.78 x 19.05 x 13.72 cm; 317.51 g
  • Item model number ‏ : ‎ CRRN56DVD
  • Director ‏ : ‎ Kenji Mizoguchi
  • Media Format ‏ : ‎ Dolby, NTSC, Black & White, DVD-Video, Subtitled, Box set
  • Run time ‏ : ‎ 4 hours and 59 minutes
  • Release date ‏ : ‎ Oct. 21 2008
  • Actors ‏ : ‎ Isuzu Yamada, Machiko Kyo, Aiko Mimasu, Ayako Wakao, Michiyo Kogure
  • Subtitles: ‏ : ‎ English
  • Language ‏ : ‎ Unqualified (Dolby Digital 2.0 Mono)
  • Studio ‏ : ‎ Criterion
  • ASIN ‏ : ‎ B001CW7ZTE
  • Country of origin ‏ : ‎ Canada
  • Number of discs ‏ : ‎ 4
  • Customer Reviews:
    4.5 out of 5 stars 49 ratings

Customer reviews

4.5 out of 5 stars
49 global ratings

Review this product

Share your thoughts with other customers
Write a customer review

Top reviews from Canada

  • Helen F.
    1.0 out of 5 stars Disappointed.
    Reviewed in Canada on November 2, 2014
    Verified Purchase
    2 of the discs wouldn't t play. Disappointed.
    Helpful
     Report

Top reviews from other countries

  • john paradhis
    1.0 out of 5 stars Films unusable in the UK.
    Reviewed in the United Kingdom on December 11, 2012
    Verified Purchase
    The set of four films were expensive. They took a very long time coming - in excess of 5 or 6 weeks. I had to pay something like £7 import duty when they eventually arrived. In the event of tryiing to play them, they were formatted in such a way as to be unplayable in the UK. In summary, a costly mistake.
    Report
  • Mark
    5.0 out of 5 stars Mizoguchi classics
    Reviewed in the United States on May 23, 2025
    Verified Purchase
    These are classic Mizoguchi films that should interest anyone who likes the classic age of Japanese film
    Report
  • Fanshawe61
    5.0 out of 5 stars Street of Blame
    Reviewed in the United States on September 4, 2009
    Verified Purchase
    [I'm only reviewing Street of Shame here, though Osaka Elegy and Sisters of the Gion are both wonderful.]

    Mizoguchi's last film and one of the many where he examined the lives of either geisha or prostitutes (the line between the two gets blurry after WWII). Apparently made just before prostitution became illegal, it tells the stories of five prostitutes and their quite miserable lives, which are nevertheless filled with hope, as their present existences are seen as almost an escape from their backgrounds. The five different prostitutes' characters are heart-rendingly delineated one from the other. I had most empathy for the plain Hanae, who has a baby and a totally feeble husband who is ashamed of her. Machiko Kyo (from Rashomon, Mizoguchi's Ugetsu, and Teshigahara's Face of Another - she looks totally different in the latter two) plays the hard-nosed modern Mickey but in the end she's just as despairing of the forces that have led to her present life. Then there is the socially-ambitious and money-minded Yasumi (played by the beautiful Ayako Wakao), who seems to be in most control but whose schemes ultimately backfire. The oldest, Yorie, who escapes only to find further delusion is perhaps the most pathetic, in the strict sense of that word. The more I see of Mizoguchi, the more I see similarities with early Antonioni with their emphasis on women's roles, which is something I never thought I would say.
    One person found this helpful
     Report
  • William Shriver
    4.0 out of 5 stars Great Art, Missing Parts
    Reviewed in the United States on December 11, 2008
    Verified Purchase
    THE SET: I'm finding there is a sort of "as is" quality to Criterion's Eclipse Series. It appears from the running times of these films that Criterion has used the same versions that came out on VHS in 1979. Critic Tadao Sato, who wrote on Mizoguchi's work in 2006, was able to view complete copies of the films. That being the case, I wonder why these films are missing a collective total of 75 minutes?

    Here's the damage: 18 mins. missing from OSAKA ELEGY, 26 mins. from SISTERS OF THE GION, and 31 mins. from WOMEN OF THE NIGHT. Of the films collected here, only STREET OF SHAME is offered in its entirety. So, as I look at the films below, I have to view them as I do the Venus de Milo--parts are missing, yes, but the greatness of the art still shows.

    OSAKA ELEGY (1936) Isuzu Yamada stars in this and in SISTERS OF THE GION. She had recently come out as a lesbian and was in a great deal of family turmoil. Mizoguchi harnessed that defiance in the two films; had it not seeped in, the films would have been relatively simple stories about the victimization of women. Instead, in OSAKA ELEGY, Yamada (as Ayako) is a skilled passive-aggressor in her own right. The men surrounding her are weak. She manipulates situations to her advantage, but all in the interest in restoring her family's fortunes. Inevitably, she is rejected by the loved ones she has saved from ruin, and is left to an uncertain future. In style, the film is naturalistic, yet full of eloquent tracking shots. If Truffaut was right that every tracking shot is a moral judgment, then there is real shock in the final two shots, which cut from a tracking shot alongside the homeless Ayako to a frontal shot in which she purposefully charges the camera, looking directly into the lens. It is a great cinematic moment, one which launched Mizoguchi as a serious film director. [4 stars]

    SISTERS OF THE GION (1936) Locale is hugely important in these early films. Just as scenes of Osaka's bunraku puppet theatre counterbalance the melodrama of OSAKA ELEGY, the environs of Kyoto's medieval Yasaka Shrine are a meaningful setting for SISTERS. It is a feudal world hanging on in modern society, with it's pleasure-giving women the last class of slaves. Omocha (Yamada) is a geisha who has been educated in public school. She has freethinking ideas that don't conform to those of her highly traditional sister, Umekichi. Again, the mean are weak and short-sighted, and from Omocha's perspective, begging to be fleeced. Mizoguchi's reputation as a "feminist filmmaker" is solidified in Omocha's final speech, as she rails against the institution of the geisha. [4.5 stars]

    WOMEN OF THE NIGHT (1948) In this post-war film, Mizoguchi shifts his concern from the formal world of the geisha, to the underworld of the panpan girl. Seamlessly blending location work in bombed-out Osaka with studio sets, the director tells three intertwined stories in a way that feels very modern. Mizoguchi's later style is evident from the beginning, where a reverse angle suddenly turns a public market into a private space for intimate conversation. It is the sort of shift that recurs in all the later masterpieces. The three stories document three sisters' different trajectories into and out of prostitution. The men are not uniformly spineless, as in the two earlier films. Two male characters urge the women to a virtuous life, yet it is hard to know whether to take that at face value. They do offer alternatives out of prostitution, and Mizoguchi never shows the panpan girls as mere victims. Clearly, Mizoguchi does not subscribe to the theory of social determinism, and the subject of free will figures into the complexity of this masterpiece. [5 stars]

    STREET OF SHAME (1956) In the last film before his death, Mizoguchi uses five protagonists to examine prostitution in the broader context of the servitude of women in society at large. As the radio blares news of a parliamentary debate over anti-prostitution laws, Mizoguchi steps back to show dispassionately the day-to-day workings of a brothel. The movie seems to take human exploitation as a given, and when the five prostitutes try marriage or return to family, their lives actually get worse. After spending a career focusing on this particular societal ill, Mizoguchi seems to suggest that it may be better than the alternatives. Ironic that the anti-prostitution bill passed after the release of STREET OF SHAME, and just before Mizoguchi's death. [5 stars]

    It's interesting to watch these films in the order that they were made. OSAKA ELEGY has a single protagonist; SISTERS OF THE GION has two protagonists; WOMEN OF THE NIGHT has three; and, STREET OF SHAME has five. Mizoguchi seems to have been working from a micro perspective of his subject to a macro view, and in the process his subject went from being the stuff of a personal tragedy to that of a societal cancer. Even so, these films are not political tracts. Rather, they are personal films full of vivid female characters we cannot fully pity but who deserve much admiration.
    One person found this helpful
     Report
  • Michael Valdivielso
    5.0 out of 5 stars No, not the Twilight movie...
    Reviewed in the United States on March 4, 2011
    Verified Purchase
    Henji Mizoguchi's work is a study of how Japan treated women, and how they treated themselves, over a period of many years. In fact the first film in the collection is from 1936 and the last is from 1956, which means we follow the lives of women from before World War Two, and see how the war effected their lives aftwards. It is hard to do these films justice and, I have to say, they can get very depressing if watched all together. The endings rarely hold out any hope for the women, as they are really directed towards Japanese society do something to help them. They are mirrors he placed in front of the viewers to see a part of their nation that few dared to even notice. To understand them you do need to understand the times and settings they were made in, so be sure to read the inserts. I liked the fact that the women are not shown as weak, but strong characters trapped in ways they just can't deal with. They don't want to be lectured, sometimes they don't even want to be helped - they just want to be allowed to have a life. A normal life. If you enjoyed these films I would also suggest When a Woman Ascends the Stairs: Criterion Collection which is just as powerful but maybe not as depressing.
    One person found this helpful
     Report