This film is immensely powerful. Kenzo Mizoguchi is a master of cinema and mise-e-scene. You see the magic now of constructing sets for camera movements that maintain composition and establish a thematic unity or mise-e-scene. The camera movements are becoming far more complex and representative of the greater themes of the story rather than the story itself. This is attributable to the medium changing to differentiate itself going forward.
The long takes are remarkable. You see how foreign films such as this one will influence and impact later American directors as it has before. The long take will become more commonly adopted by American directors as it is shown to be successful in foreign films first. This is an influence on American movies in the way German Expressionism was.