The Story of the Last Chrysanthemum

The Story of the Last Chrysanthemum (残菊物語, or Zangiku Monogatari) is a 1939 film by Kenji Mizoguchi. Running about 140 minutes, it’s longer than many of his other pictures, giving us a broader and more developed view of the major themes he’s known for: patriarchal Japanese society; women’s roles as harlot and/or mother, and to a lesser extent as sister and/or lover; sacrifice (especially that of women in the 1800s and early 20th century); and poverty as a catalyst for both self-sacrifice and moral decline. The film also depicts the world of theater as it once was, with the central sacrifice being that of a woman for a male actor who has yet to achieve anything like artistic greatness. Notably, Mizoguchi avoids close-ups entirely in this one. The frequent long takes, traveling shots, and richly detailed mise-en-scène give Last Chrysanthemum a distinct feel.

Set in Tokyo and Osaka in the 1880s, the film centers on stage actor Kikunosuke Onoe (Shotaro Hanayagi), the adopted son of a renowned Kabuki performer. While he’s praised to his face, his acting is criticized behind his back. Only Otoku (Kakuko Mori), a wet nurse in his father’s household, is honest with him, bluntly telling him he lacks talent. She does this to keep him from falling into self-delusion, and pushes him to improve. He quickly falls in love with her for that honesty and for her unwavering devotion.

Otoku is soon dismissed, and after bouts of family conflict, the two leave Tokyo to be together. On the road, both, and especially Otoku, endure a series of hardships and indignities. Their traveling troupe is even pushed out of a venue by a new act in town: female wrestlers in kimono!

Eventually, Kikunosuke gets his chance to demonstrate the skills he’s developed, largely through Otoku’s support. Audiences embrace him, and fellow actors praise his newfound talent. He can now return to Tokyo and likely regain his father’s respect. Otoku, however, is gravely ill. She’s content to see Kikunosuke succeed but it’s clear she won’t survive. She has given herself entirely to him, and in the end, as he stands elevated on a parade float before adoring crowds, Otoku lies on her deathbed.

The film gives us a lot to take in. Many scenes are dense with theatrical or domestic detail. The kabuki sequences are especially striking, offering a glimpse of stage performance rarely seen in Mizoguchi films. The varied camera angles and fluid tracking shots, moving from one space to another, help build a vivid sense of place. The narrative also feels fuller than in some of his earlier films, such as The Downfall of Osen (1935) and The Water Magician (1933), which similarly depict women sacrificing themselves for men. This added depth likely comes from the greater attention given to both lead characters and the more nuanced portrayal of their relationship.