Histoire d'une prostituée

Although it's not quite as satisfying as Suzuki's gangster films, I was drawn in by the power struggle for the loyalty of Mikami. Harumi (the prostitute) loves him and wants him to abandon his duty to imperial japan to run away with her. Narita (Mikami's commander) treats Mikami like a dog but knows he will never shirk his duties to the military. Eventually Mikami's foolish loyalty to the army results in disaster for himself, Harumi and even his battalion. Like "Gate of Flesh", this is also based on a novel by Tajiro Tamura.

"Sunpu Den" is a film from director Seijun Suzuki is both anti-war and anti-prostitution, as it paints a bleak story of a young woman, Harumi. The story begins with Harumi being dumped by her boyfriend. In reaction, she volunteers to be a 'comfort woman' on the Japanese front lines in China. The comfort women were prostitutes provided by the government for the troops--and this small group of women are to satisfy the sexual needs of a thousand men! To make things worse, the Adjutant in charge is a brutal jerk who mistreats the women. Harumi hates him, though she later falls in love with this man's assistant. What happens next is a tragic waste of life and is an indictment of the Japanese war machine.

This is what you might call a 'feel-bad movie'. It is meant to be sad and awful and it is. The film is compelling viewing but isn't nearly as good as other Japanese anti-war films like "Burmese Harp" or "Fires on the Plain". Very good but not great.

This film centers on Harumi (the great Yumiko Nogawa), who is a "comfort woman" who goes to the Manchurian Front in China during the war to service the men fighting there. From the beginning you know she has nothing left to lose. As you would expect, this movie has scenes which are pretty brutal, including violence and rape. However, Mr. Suzuki makes this film's pacing so superb, you can look beyond this and just keep watching to see what will happen next. Harumi's reactions and expressions in this film are amazing, Ms. Nogawa gives a performance of a lifetime. You understand her struggle, but more so you understand her heart. She falls in love and you know its no lie. You want her to have some measure of happiness in what is depicted here as a very cruel world. Not everyone can watch this of course, its violent and its a war picture. But this film had me spellbound to the last frame, and that is a ringing endorsement.

Based on a novel written by Tamura Taijiro, and is actually a remake of 1950 Toho film Escape at Dawn directed by Taniguchi Senkichi with stars Ikebe Ryo and Shirley Yamaguchi, director Suzuki Seijun transformed a Nikkatsu ready-made routine script with low budget and tight schedule into one of his finest arts. Without digressing from the script or the novel, he recreated his signature world that is abstractive and ideological. Even though this is a B-movie, or maybe because it is, Suzuki with the production designer Kimura Takeo displays fantastic backdrops using some painstaking techniques of visual effects, superb studio sets and location filming behind outstanding performances acted by Kawaji Tamio, Nogawa Yumiko and Tamagawa Isawo. Compare to the Escape that has altered some elements from the Tamura's original this Suzuki version is essentially true to it, therefore Suzuki version has quite important elements such as the prostitution in the Army, multiple stratum of knotty personae and complicated layers of grotesque psychological characterizations concomitant to their bizarre relationships all of that are omitted in the Taniguchi's "fine literary effort." Along with his sense of unique humor these deep feelings the film radiates might be inspired from his own war experiences as a soldier during the WW II and it could be said that, in this regard, some similarity might be in Samuel Fuller's, many of these films are also deeply affected by Fuller's own war experiences.

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.