| 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 | |
Réalisé par | |||
| Kenji Mizoguchi | |||
Scénaristes(dans l'ordre alphabétique) | ||
| Eijirô Hisaita | novel "Joseimatsuri" | |
| Yoshikata Yoda | story | |
Produit par | |||
| Hisao Itoya | .... | producer | |
Musique originale | |||
| Hisato Osawa | |||
Image | |||
| Kôhei Sugiyama | |||
Montage | |||
| Tatsuko Sakane | |||
Création des décors | |||
| Hiroshi Mizutani | |||
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| Gion no shimai | Kiraware Matsuko no isshô | Oyû-sama | Hotaru no haka | Saikaku ichidai onna |
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IMDb Note Générale:
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IMDb Note Générale:
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IMDb Note Générale:
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IMDb Note Générale:
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IMDb Note Générale:
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| Casting et équipe complète | Remerciements de la Société | Revues externes |
| IMDb Drame section | IMDb Japan section | Add this title to MyMovies |
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.