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Yoru no onnatachi (1948)

 |  Drama  |  28 February 1979 (USA)
7.4
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Ratings: 7.4/10 from 642 users  
Reviews: 9 user | 18 critic

A mistress of a drug dealer in post-war Japan is shocked when she discovers that he is having an affair with her sister.

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Cast

Credited cast:
...
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
Minpei Tomimoto
Kumeko Urabe ...
brothel-keeper
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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. Written by Jim Beaver <jumblejim@prodigy.net>

Plot Summary | Add Synopsis

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based on novel | See All (1) »

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Drama

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Release Date:

28 February 1979 (USA)  »

Also Known As:

Mulheres da Noite  »

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Aspect Ratio:

1.37 : 1
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Connections

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

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User Reviews

 
Forceful and powerful
9 November 2008 | by (Saint Paul, MN) – See all my reviews

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.


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