When looking for a filmmaker to be compared to John Ford is often used to Hawks and Walsh, I think mostly because the three were American, of the same generation, and the three filmed westerns. For me the closest Ford has always been Mizoguchi, if not in the way of filming, planning, yes at the bottom of their stories. The highlight of this film (and one of the most serene and beautiful Japanese film), where we see the beloved of the emperor addressed to the implementation, is proof of that. Mizoguchi closes the plane without showing his death, just as Ford does not show that of Dr. Cartwright at the end of seven women (Seven Women, 1965), the film that put an end to his filmography. The same love, the same respect for his characters, manages to unite the eyes of two of the greatest artists of the twentieth century.