Second Blossay: Sanshou the Bailiff Scene Analysis

https://youtu.be/yqzJaAYRfHM

For my second blossay, I wanted to take a look at the final scene in Sanshou the Bailiff when Zushio finally meets up with his mother. I found a good clip on YouTube (posted above) for reference. My analysis begins at 5:20.

Tamaki finally recognizes Zushiou after inspecting the Kannon figure

The first part of this sequence really hit me hard; the fact that his mother didn't recognize him at first was very hard to accept. However, after Zushiou gives Tamaki the Kannon statue and she realizes what it is, she finally takes the time to consider the possibility that 'this man could truly be my son'. Mizoguchi uses very close up/medium shots throughout this scene, especially as Tamaki looks at the statue. It gives it great weight and emphasis to the event as compared to the rest of the film, which tended to be longer shots or crane shots. 

The moment is quickly dampened by the loss of Anju as well as the father

Zushiou suddenly hugs Tamaki explaining how he had come for her, and the moment becomes very intimate and fulfilling for the first time throughout the whole film. The camera begins to zoom out slightly after the two embrace and Tamaki questions Zushiou on the whereabouts of the rest of the family. Zushiou struggles to find a good answer, and becomes extremely upset and unable to respond. It is at this point that the music comes in, slow and steady musical strings. He moves away from his mother and she clings to him desperately, still finding it hard to believe that they had been lost over the years. I feel as if this scene really depicts the theme of the movie--there is suffering after suffering, but still the characters believe that they will be free of it eventually. Tamaki is so sure that things have finally gotten better and the family can be whole again that she simply cannot fathom the situation getting any worse.

Zushiou brings Tamaki the crippling news

Zushiou finally brings himself to deliver the news bluntly to Tamaki, as this seems to be the only way she could understand the situation. The camera at this point is very zoomed out from when it was to start with. This acts to add distance from the characters, almost symbolically pulling the viewer away from the scene just as the characters are being pulled away from their loved ones. Also at this point, the moment Tamaki's hands hit the ground in helpless understanding, the dissonant flutes layer on top of the musical string ensemble. As discussed both in class as well as on the course blog, the dissonance in the music is used very well and extremely strategically, most notably in this scene. While the normal melodic music adds a sort of sweet yet sad feelings to the scene in the beginning, the crashing and stumbling flute that comes in and screeches out above it depicts a bitter and agonizing feeling that cuts through the viewers just as the recent news cuts through Tamaki.

Zushiou expresses his regret resigning as governor

The camera rotates at this point as Tamaki breaks away from Zushiou to fully comprehend the loss as well as take a moment to grieve, but does not zoom out any further. After a few moments, Zushiou turns to his mother to explain the situation, that he could have come to her as governor, but instead gave up his position to stay true to his fathers teachings. Tamaki finally turns to him then, stating that she doesn't know what he did, but she did know he had followed father's teachings and that is what had finally led them together in the end. 

Zushiou grabs his mother, finally truly embracing being back together.

Finally, in a burst of emotion, Zushiou clings to his mother in the greatest and one of the most emotional parts of the film. At this point in the film, I was happy they had found each other, and yet I still had a horrified expression frozen on my face--there was such small happiness deep within the pain that the scene showed, and it was hard to find it in all the chaos. I found myself clinging to that happiness just as Zushiou did his mother in an attempt to save myself from the depressing story line.

The film concludes with a very long shot before panning to the beach and rocks.

At the end of the film, the camera suddenly zooms all the way out, still focusing on the pair crumpled at the feet of the dilapidated shanty that they would now presumably call home. The music begins to crescendo, finally at its loudest as the camera stops panning and frames the beach, seaweed worker and horizon beyond the rocks. This really brings the scene together, as well as the film as a whole. It takes the viewers away from the characters themselves and into the world with which they now live in, almost redirecting the audience's thoughts from the situation that just unfolded to the future that lies ahead of them. It leaves a lot of room for contemplation of all the events that just occurred.