Yoru no onnatachi (1948)

Note Générale:

7,5/10   

Réalisateur:

Kenji Mizoguchi

Scénaristes:

Eijirô Hisaita (novel)
Yoshikata Yoda (story)

Date de sortie:

28 février 1979 (USA)

Genre:

Drame

Intrigue:

Fusako Owada, a young woman in postwar Japan, is the mistress of a notorious drug dealer. Fusako's tenuous...

Plot Keywords:

Based On Novel

Récompenses:

1 win

Avis des utilisateurs:

Forceful and powerful

Ensemble

Kinuyo Tanaka	...	Fusako Owada
Sanae Takasugi	...	Natsuko Kimijima
reste de la distribution par ordre alphabétique:
Hiroshi Aoyama
Fusako Maki
Kikue Môri
Mitsuo Nagata	...	Kenzô Kuriyama
Sadako Sawamura
Ken Tanaka
Mimpei Tomimoto
Tomie Tsunoda	...	Kumiko Owada
Kumeko Urabe	...	brothel-keeper

Autre(s) titre(s):

Women of the Night

Durée:

105 min | USA:75 min

Pays:

Japan

Langue:

Japonais

Couleur:

Noir et Blanc

Rapport de forme:

1,37 : 1

Son:

Mono

Classification:

Hong Kong:I

Société:

Shôchiku Eiga

Connexions:

Référencé sur Aru eiga-kantoku no shogai (1975)

Forceful and powerful

Startling, forceful tale of women descending into a life of prostitution in post-war Osaka. Kinuyo Tanaka, who would play the lost mother of the protagonists in Sansho the Bailiff, stars as a woman who lost both her husband and son to illness long after the war has ended. When her younger sister, Sanae Takasugi, steals the man she's having an affair with, she joins the streetwalkers. Mizoguchi was heavily influenced by Italian Neorealism here, and most of it was filmed in the ruined streets of Osaka. It's blunt as Hell, and arguably exploitative. Mizoguchi disowned it later in his career. The two best sequences in the film, one where a group of prostitutes denudes a young rape victim, and the final one where Tanaka comes to the rescue of the same girl when another group of prostitutes is attacking her, are the seeds that would spawn Seijun Suzuki's Gate of Flesh. That's definitely a compliment, in my book. That final sequence in particular, despite more than a little heavy-handedness (it takes place in a burnt-out church), is one of the most emotionally draining in the director's career.