I also have to recommend his adaptation of Silence which is probably my second favorite film of his after Double Suicide. Very different in a good way.

Despite my dislike I have to admit that Five Women Around Utamaro and Osaka Elegy are well worth looking into.

I'll second that. House is pretty weird and funny, but it also works effectively as horror in the emotional sense. Black Moon though…

Someone who doesn't know if "blase" is being spelled right.

I hope so. He deserves it. Possibly my second favorite director. Have you seen Flowing? It's phenomenal and features my favorite Tanaka performance.

I haven't yet and by the time I finally do it will probably be announced for US release.

I swear I am not playing contrarian (and never have). I just find his treatment of women super offensive. Like Griffith to black people offensive.

Ugetsu is actually my first Mizoguchi and I'm mostly indifferent to it.

I actually find Salo great as a comedy. It's clearly trying  to be funny with its situations. It just so happens that these situations are really gross.

I wouldn't be surprise if he was being literal.

Haven't seen it actually.

What does that have to do with my comment? I'm just saying his talk of working with Pasolini is more salacious.

Listen to him talk about Theroem and you'll explode in shock.

Unfortunately for you you are the only person to make this mistake. Now I will watch The Player with Terence Stamp.

All his roles are flawless darling. Even Get Smart.

He did however somehow prevent Pasolini from raping him which is an accomplishment in itself.

I guess this is where I will politely disagree. I find Mizoguchi to be one of the worst Japanese directors of any critical standing. His mis-en-scene is blase, the acting in his films can often be horrible (I'm looking at you Sansho the Bailiff), and his treatment of women is so toxic that feel like pulling hair. That…

As a warning to that Amazon has Rosetta (soon to be covered on this site) at half off too if you don't want to deal with BN on it. I'll probably grab Crumb, Safety Last, and The Kid with a Bike.

I'll dissent though I recognize there's no reason to given its critical standing. It's not my favorite Resnais, pretty close to the bottom actually, but I find that Duras dialogue and the ungodly shapes of the two in the first act to be some of the most evocative stuff to come out of the '50s.

Don't forget to see The Hit too which functions as a premature third part of the Stamp crime saga with The Limey and Poor Cow. I also very highly recommend his first film Billy Budd directed by none other than Peter Ustinov.