Alan G. Chalk Guides to Japanese Films
Lesson 3: Kesa and Morito/Gate of Hell
Readings: "Kesa
and Morito." 1918 story. Akutagawa, based on a tale
from the 13th c. Rise and fall of the Minamoto and Taira Clans.
Films:
Gate of Hell, 1953, Kinugasa (Academy Award, Best Foreign Film,
1954.)
Suggested grades: 11-12 and college (film also
discussed in "History" section)
Themes:
Comparing and contrasting two very different
works based
on the same plot from a 13th- century source; a study of self-sacrifice
as a traditional Japanese cultural ideal and as an act growing out of
the complex emotional states of love, guilt, anger and vengeance; also,
the film alone as a primer on traditional Japanese culture
and arts (manners,
morals, costumes, dance, music, beliefs).
The story:
Both the print and film versions tell the story of a
samurai's obsessive love for a beautiful noblewoman who is
already married.
While the film presents the story in a visually stunning
style which romanticizes
and idealizes Kesa's self-sacrifice for her husband's honor,
Akutagawa's
psychological study demythologizes the historical and
traditional ideal.
His Kesa and her obsessed lover Morito are revealed through
interior confessional
monologues which uncover the layers of conflicting emotions
and motives.
Planning to kill Kesa's husband, Morito reflects, "I despise
her. I fear
her. I hate her. And yet--and yet, all this may be because I love her."
Teaching:
Although it is possible to teach the works in
either order,
I suggest reading and analyzing the story first and following it with
the 86-minute film (or selected scenes). The class discussions can be
built on the analyses of the two characters in each work,
finally focusing
on Kesa's motive for self-sacrifice or suicide. With more
advanced classes,
it is possible to move the discussion-interpretation to the historical
and cultural levels. Akutagawa's story is a dark, personal,
disillusioned
view of traditional ideals in 1918 Japan, while the film is a
1953 postwar
view of the traditional cultural heritage, particularly of the Buddhist
moral views embodied in the ending. The final scene suggests
that Morito
has himself become a repentant, traveling monk sitting at the
gate beneath
the Buddhist vision of Hell, telling his own story. (This is discussed
further in the "History" section.)
copyright Alan G. Chalk 2000