In this shot, and throughout the film, Mizoguchi closely observes the compositional rules of classic cinema. Movement to left suggests backward in time, to the right, forward. Diagonals move in the direction of their sharpest angle. Upward movement is hopeful, downward ominous. By moving from upper left to lower right, they are descending into an unpromising future.

They stop for the night, build a rough shelter from tree limbs, and start a small fire. In the darkness, wolves howl. Their little domestic circle in the firelight is a moment of happiness, however uncertain, that they will not feel again. Then an old priestess finds them, and offers them shelter in her nearby home. In the morning, discovering their destination, she suggests that a boat journey will greatly diminish the distance. She knows some friendly boatman. As they leave her house, a furtive dark figure, almost unseen, darts behind them in the shrubbery.

The delivery to the boatmen is a betrayal. The woman and servant are captured by body merchants, the women to be sold into prostitution, the children into slavery under Sansho. He runs a barbaric prison camp of forced labor, and it here that the children will spend the next 10 years. Sansho is an unlovely man, a bully and sadist, who is surrounded by servile lackeys, all except for his son.

Flashbacks have shown us something of the captured children's early life under their father, a good man who gave his son an amulet representing the Goddess of Mercy, and taught him that all men are created equal. That same familiar concept is enshrined in the Japanese Constitution, imposed by the American occupation in 1947 and still in force, not a word changed, 60 years later. When Mizoguchi made his film in 1954 the words must have been alive in his mind, reflecting his obsession with the rights of women throughout his career, and serving to condemn Sansho's slave camp (which mirrors those the Japanese ran in the Second World War). The story, we're told in a prefatory note, took place in "an era when mankind had not yet awakened as human beings." By that Mizoguchi may be referring both to the story and to aspects of traditional Japanese totalitarian society, in which everyone's role was rigidly defined, and authority flowed from the top down.

As the plot unfurls, we see Zushio and Anju trying to escape, lured by an evocative song that is sung to them by a recent prisoner from their village, and echoed too in a bird cry: "Zushio, Anju, come back, I need you." It is their mother's ghostly voice. The film incorporates this mystical summons into images of startling cruelty under Sansho, who causes prisoners to be branded on their foreheads if they try to escape. One who does not agree with this practice is Sansho's son, Taro, and it is an irony of the film that while Taro embraces resistance, Zushio begins to identify with Sansho and becomes the tyrant's surrogate son. Then he has a conversion, in a scene of surpassing beauty and emotion, as the film moves toward its final journey.