The life of the titular Oharu may remind you of Job. Actually, I made that observation about another Mizoguchi film: "The family at the center of Sansho the Bailiff is filled with good people .... They suffer, oh do they suffer, like Job, or like Björk in Dancer in the Dark." Oharu (spoiler alert) loses her first love (played by Toshirô Mifune) to an execution. She is sent to be the mistress to a lord, meant to bring him an heir. When she succeeds, the lord sends her back home. Her father puts her out to be a courtesan ... she fails and returns home again. She goes to serve a family ... the wife tosses her out. She marries ... her husband is murdered. She tries to become a nun ... she is raped and thrown out of the convent. She becomes a prostitute, but she is aged and in rejected by potential customers.
It's all too much, and in some ways the comparison to a heroine from an early von Trier movie is apt. But Kinuyo Tanaka does remarkable things with Oharu. She feels the low points, at times she is overwhelmed, yet there is something about the actress that suggests inner strength. That strength might be almost comedic if Mizoguchi took a different approach. The film is on Oharu's side, and it paints a dismal portrait of life for a woman in 17th-century Japan. But I'm never sure about Mizoguchi's sympathies. #260 on the They Shoot Pictures, Don't They list of the top 1000 films of all time.