The vengeance of the retainers of Lord Asano in 1703, following his forced hara-kiri, forms the basis for one of the most successful Kabuki dramas, as well as several film versions. Mizoguchi's, made in the middle of the war, was based on a more recent Kabuki version by Seika Mayama.
“A girding of the spirit is recommended for this wraparound experience in the same way that the best of the long-form classics from Children of Paradise to Tess are to be savored. At three hours and 39 minutes, Mizoguchi has transformed a basic samurai legend of Japanese folklore into an essential historical drama of Japanese cinema. The boxed courtyards and formal gardens of the eighteenth century are tracking paradises that Mizoguchi's dolly-and-crane shots exploit fully, and the tale of loyal vassals avenging their lord's honor is rendered subtly throughout by a highly disciplined Expressionism.” --Tom Allen, Village Voice

(Chushingura will be repeated Sun. Aug. 16, at 2:00.)

The following is longer but unpublished original note:

The vengeance of the retainers of Lord Asano in 1703, following his forced hara-kiri, forms the basis for one of the most successful Kabuki dramas, as well as several film versions. Mizoguchi's, made in the middle of the war, was based on a more recent Kabuki version by Seika Mayama. Yoshikata Yoda, once again Mizoguchi's scriptwriter, explains, “Mayama's work is a veritable chronicle of the life of the 47 ronin, already very different from the other versions of ‘Chushingura.' Mizoguchi agreed to direct the film on two conditions: that it be based on Seika Mayama's play, and that it be acted by the members of the Zenshin-Za troupe, formed by the great Sadanji. The Shochiku company wanted a more popular, more spectacular, more traditional Chushingura, one liable to touch a people plunged into war. Seika Mayama's play is more austere, and turns around the personal drama of Kuranosuke Oishi, who suffered having to play a false role while waiting for the day of vengenace. With a subject like that, Shochiku was risking a failure. Furthermore, Mizoguchi had declared that he didn't want to make a big spectacle film. Shooting great action scenes was not his forte. Doubtless he felt that, however great his efforts along those lines, he'd meet with only mediocre success. In short, he wanted to make HIS Chushingura a dense and sober film.”
“A girding of the spirit is recommended for this wraparound experience in the same way that the best of the long-form classics from Children of Paradise to Tess are to be savored. At three hours and 39 minutes, Mizoguchi has transformed a basic samurai legend of Japanese folklore into an essential historical drama of Japanese cinema. The boxed courtyards and formal gardens of the eighteenth century are tracking paradises that Mizoguchi's dolly-and-crane shots exploit fully, and the tale of loyal vassals avenging their lord's honor is rendered subtly throughout by a highly disciplined Expressionism.” --Tom Allen, Village Voice