| Abstract |
Oyuki, the virgin (Maria no Oyuki, 1935), a film usually regarded as prior to the conso-lidation of Kenji Mizoguchi’s unique style, is noted for its formal heterogeneity. The filmmaker al-ready works with some of his recognizable features, such as long shots modulated by the movement of the actors, but he makes room for a wide range of resources that would hardly find continuity in his later films. There are examples of analytical decoupage, intellectual montage or shot-counter-shots, which, moreover, are not sus-tained throughout the film. This article aims to relate this vagueness to Boul de seuf, the short novel by Guy de Maupassant that the screenplay adapts, since the translation of the plot and the context of the book works in a similar fluctuation between the original text and its multiple divergences. © 2022, Universidad de Malaga. All rights reserved. |
