Yoru no onnatachi (1948)

Fusako Owada, a young woman in postwar Japan, is the mistress of a notorious drug dealer. Fusako's tenuous grasp on meaningful life is shaken when she learns that her lover is having an ... See full summary »

Director:

Kenji Mizoguchi

Writers:

Eijirô Hisaita (novel), Yoshikata Yoda (story)

Stars:

Kinuyo Tanaka, Sanae Takasugi, Tomie Tsunoda

1 win.

Cast

Credited cast:
Kinuyo Tanaka	...	Fusako Owada
Sanae Takasugi	...	Natsuko Kimijima
Tomie Tsunoda	...	Kumiko Owada
Mitsuo Nagata	...	Kenzô Kuriyama
Rest of cast listed alphabetically:
Hiroshi Aoyama
Fusako Maki
Kikue Môri
Sadako Sawamura
Ken Tanaka
Mimpei Tomimoto
Kumeko Urabe	...	brothel-keeper

Storyline

Fusako Owada, a young woman in postwar Japan, is the mistress of a notorious drug dealer. Fusako's tenuous grasp on meaningful life is shaken when she learns that her lover is having an affair with her sister.

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Plot Keywords:

based on novel

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Genres:

Drama

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Details

Country:

Japan

Language:

Japanese

Release Date:

28 February 1979 (USA)

Also Known As:

Az éjszaka asszonyai

Company Credits

Production Co:

Shôchiku Eiga

Technical Specs

Runtime:

75 min

Sound Mix:

Mono

Color:

Black and White

Aspect Ratio:

1.37 : 1

Did You Know?

Connections

Referenced in Kenji Mizoguchi: The Life of a Film Director (1975)

User Reviews

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.