Nackt und verdammt

Seijun Suzuki's portrayal of Taijiro Tamura's, "Shunpu den" articulates Tamura's philosophical notion that "nikutai koto ha subete da" (the body is all there is). Harumi attempts to flee the despair of her situation as a comfort woman in Manchuria by rejecting the ideological and the transcendental; notions that bind her future lover Mikami. Mikami, a solider for the Imperial Japanese army, despite his love of philosophy and ideas (in a time when outside thought was strictly forbidden), is bound by nationalistic virtues of honor and duty; virtues essential to the foundation of the Imperial Japanese ideologies kokutai (national polity) and tennosei (the emperor system).

Harumi, who wants to, "throw herself against as many bodies as possible", finds that she can only know others through the physical sensations of the body: physical pleasure, touch, and sex. Although she falls in love with Mikami, she is outraged by his devotion to the Imperial Will, which appears hypocritical. Consequently, this hypocrisy proves fatal for Mikami.

In the spirit of Tamura's philosophy, we are left with the notion that there is no honor in dying; that only in the struggles of life can one derive honor, and that nothing is more important than continuing one's existence.

Presumably one of the "movies that didn't make sense" that led Nikkatsu Studios to promptly fire Suzuki after BRANDED TO KILL, in the process turning him into an icon of artistic defiance that inspired may, STORY OF A PROSTITUTE is at the same time a war melodrama, a rather conventional love story that you could see come out from Hollywood in the 50's, but also a Seijun Suzuki film. A genre director who slaved away from b-movie to b-movie working from scripts that had little difference from one to the next, Suzuki developed, out of artistic frustration with the trappings of cookie cutter studio film-making, an irreverent visual grammar which existed for its own pleasure. In his own way, perhaps unwittingly, he was making New Wave before most.

Here we find both facets of his work, a crowdpleasing genre film and a sumptuous celebration of a visual cinema.

But unlike stuff like TOKYO DRIFTER, or indeed Branded to Kill, films that often appeared to be little more than empty exercises in stylish bravura where the only reward possible for the viewer was a confirmation of Suzuki's bold, audacious approach, Story has a dramatic heart. The director approaches the love story between Mirakami, an orderly to an abusive adjutant who is brainwashed to docile acceptance of military authority, and Harumi, a passionate prostitute working a Japanese camp somewhere in Manchuria in the days of WWII, with sincerity and honesty.

In the same time he punctuates the main plot with set-pieces that truly dazzle with their inventiveness. Harumi running through a shellshocked battlefield to an injured Mirakami; Harumi's fantasy of Mirakami rushing in slow-motion through a white-washed scene to save her from the abusive officer. All this filmed in stark black and white, with fast tracking shots around walls and behind wooden panels, beautiful exterior shots of Manchurian landscapes which dwarf the figures walking them, intricate framing in depth and poignant symbolic touches that give an almost existential air to proceedings.

Most likely the closest Suzuki ever got to making a prestige film. It probably wasn't viewed as such at the time, as it was a remake of a movie called Escape at Dawn that was generally considered a classic at the time (it was scripted by Akira Kurosawa and directed by Senkichi Taniguchi in 1950). Story of a Prostitute seemed like a much more lurid version of the older film. Both were anti-war pictures, but Escape at Dawn was romantic and tragic. Story of a Prostitute is harsh and cynical. Its scenes are often comic, which clashes with the standard view of war. In an interview on the new Criterion disc, Suzuki, a veteran himself, says that he found a lot of black humor and absurdity in his wartime experience. All three of WWII-themed films I've seen from him, which cover the pre-war (Fighting Elegy), the actual war (Story of a Prostitute), and post-war (Gate of Flesh) periods all incorporate some level of absurd, black comedy. The three films actually make a good trilogy (the rest I've seen are all yakuza or crime films). Story of a Prostitute is a very powerful anti-war film, though it is lurid and not nearly as powerful as something like, say, Kobayashi's The Human Condition. Yumiko Nogawa, who also starred in Gate of Flesh, gives a fantastic performance. But it is, as usual, Suzuki's supreme visual skills – in black and white in this instance – that make the film a stunning and memorable experience. His artistic imagination in cinematographic matters is nearly unsurpassed in the entire realm of cinema.

Sunpu Den is a remake of AKATSUKI NO DASSO wrote by Kurosawa in 1950, then Seijun Suzuki approaches it more deeply than a dramatic romance that was his forerunner, whereby didn't show the sexual relationship at army's bro.thel, so Sunpu Den is too much daring for its period of time, by this the movie was hard beaten by the critics at release time, regarded as a cheap sexploitation, also Suzuki imposes a slight nihilism narrative to counteract the ruthlessness of the war, the plot is underpinned in the legendary Japanese inexorable honor code where no soldier shouln't go back alive if caught in enemy hands, such act is punished by death.

As Seijun Suzuki was a former soldier exposes some oddities carried out at wartime, it somewhat became more realistic from a vision whom stayed there and witnessed such real facts, as those soldiers refusing kill Mikami (Tamio Kawaji) in a desert area in a phony battle to conceal his guilty for being prisoner of war and some funny moments at Chinese's village when the squad returning from the front fight themselves by the best girls, actually as anti-war offering Suzuki imposes an overview less gloomy on the drama.

Oddly enough as B-production of Nikkatsu studio it overcame the bad reputation on sixties thru the times, today Sunpu Den earned several defenders and became a mandatory peace nowadays, many aspects assert such thing as the unusual cinematograph made by Suzuki's old acquaintance and partnership Kazue Nakatsuka, a must to see.

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First watch: 2024 / How many: 1 / Source: DVD / Rating: 8.5.

Reviews of a Seijun Suzuki film tend to be dominated by discourse on the director's much-vaunted iconoclastic stylistics and Nikkatsu failure of vision in their treatment of him. While Suzuki's arrhythmic editing, bold use of effects, slow-motion, and emotive performances differentiate the film from the generic fare of the time, there is as much miss as hit regarding enhancement of narrative in Suzuki's helming.

Story of a Prostitute is about Harumi, a working girl cruelly dumped by her lover who takes vengeance by throwing herself into the grueling world of the so-called 'comfort women' servicing the Imperial Army in China. There she meets Mikami, an unreformed nationalist, and their ill-fated love plays out against a backdrop of WWII endgame.

Harumi is certainly a force, and her power, drive extremes of agony and ecstasy give her a powerful on-screen presence. She wails, uncontrollably, in close-up, a slow-motion shot no less, and the raw anguish is viscerally present. The fact that the situation she and Mikami find themselves in is hopeless drains the film of dramatic tension. The compensation is keenly observed characters who comment on their situation without finger-wagging. The absurdity of Japan's war effort is best captured by Ono, a deserter who takes up with the Chinese and preaches the 'dishonorable' credo that it is better to live. Officers spout that it is more dignified to die in battle for the Emperor, the irony being these are words spoken while sprawled drunk on the floor of a brothel. A Chinese prostitute whines that she is paid less than her Japanese counterparts. Soldiers drink, fornicate and hope they can make it to the next day. The landscape is almost lunar, begging the question of what, exactly, they are fighting for possession of.

The futility of war is an expertly painted background, but overshadowed by the melodramas of lives lived. Without Suzuki's unconventional approach this film would be quickly forgotten, but the camera movement, stark sets revealed in deep focus, and humanity and absurdity of the minor characters keeps this film fresh. Harumi is the embodiment of the will to live, if not exactly to live well. Having said that, the histrionics begin to grate after a while, and a stronger plot would raise this film to greater heights.

Neither a B-film nor a masterpiece, but simply another watchable outing from a unique filmmaker.