IMDb > Yoru no onnatachi (1948)

Yoru no onnatachi (1948) More at IMDbPro »

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7.4/10   598 votes »
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Down 6% in popularity this week. See why on IMDbPro.
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Release Date:
28 February 1979 (USA) See more »
Genre:
Plot:
Fusako Owada, a young woman in postwar Japan, is the mistress of a notorious drug dealer. Fusako's tenuous... See more » | Add synopsis »
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Awards:
1 win See more »
User Reviews:
Forceful and powerful See more (8 total) »

Cast

  (in credits order)

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
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Directed by
Kenji Mizoguchi 
 
Writing credits
(in alphabetical order)
Eijirô Hisaita  novel "Joseimatsuri"
Yoshikata Yoda  story

Produced by
Hisao Itoya .... producer
 
Original Music by
Hisato Osawa 
 
Cinematography by
Kôhei Sugiyama 
 
Film Editing by
Tatsuko Sakane 
 
Production Design by
Hiroshi Mizutani 
 

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Additional Details

Also Known As:
"Women of the Night" - International (English title) (literal English title)
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Runtime:
75 min
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Language:
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Certification:

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6 out of 8 people found the following review useful.
Forceful and powerful, 9 November 2008
Author: zetes from Saint Paul, MN

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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