7.9/10
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Street of Shame (1956)

Akasen chitai (original title)
The personal tales of various prostitutes who occupy a Japanese brothel.

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2 wins & 1 nomination. See more awards »
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Cast

Cast overview, first billed only:
Machiko Kyô ...
Mickey
Ayako Wakao ...
Yasumi
Michiyo Kogure ...
Hanae
Aiko Mimasu ...
Yumeko
Kenji Sugawara ...
Eiko
Yasuko Kawakami ...
Shizuko
Eitarô Shindô ...
Kurazô Taya
Bontarô Miake ...
Nightwatchman
Haruo Tanaka
Sadako Sawamura ...
Tatsuko Taya
Daisuke Katô ...
President of Brothel Owners' Association
Hisao Toake ...
Shiomi
Jun Tatara ...
Yumeko's client
Osamu Maruyama ...
Sato Yasukichi
Hiroko Machida ...
Yorie
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Storyline

Five prostitutes work at Dreamland, in Tokyo's Yoshiwara district. As the Diet considers a ban on prostitution, the women's daily dramas play out. Each has dreams and motivations. Hanae is married, her husband unemployed; they have a young child. Yumeko, a widow, uses her earnings to raise and support her son, who's now old enough to work and care for her. The aging Yorie has a man who wants to marry her. Yasumi saves money diligently to pay her debt and get out; she also has a suitor who wants to marry her, but she has other plans for him. Mickey seems the most devil-may-care, until her father comes from Kobe to bring her news of her family and ask her to come home. Written by <jhailey@hotmail.com>

Plot Summary | Add Synopsis

Taglines:

Men were their prey! Beauty was their lure!

Genres:

Drama

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Details

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Release Date:

4 June 1959 (USA)  »

Also Known As:

Street of Shame  »

Company Credits

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Technical Specs

Runtime:

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Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

The film was so popular with Japanese audiences upon its initial release, and so poignant in its portrayal of the lives of prostitutes that when an anti-prostitution law was passed in Japan just a few months later, some said it was a catalyst. See more »

Connections

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

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User Reviews

 
'we are really like social workers'.
28 June 2008 | by (Ireland) – See all my reviews

Watching this movie almost makes me feel like delivering an apology to Mizoguchi. Thanks to the wonderful Masters of Cinema releases of his movies I've been slowly working my way through his late period movies. I love them, but I felt that the failure of so many was an excessive formality - a feeling that his characters were not real people, more symbols of various levels of society. This movie is totally different, it is packed with wonderfully realized, vivid characterizations. Ironically, its his last film, but rather than being a swansong it was absolutely cutting edge - the film has a thoroughly modern feel to it, even down to its weirdly avant garde music (the one thing about it I have to say grated with me). And I understand it was one of his biggest commercial hits, a huge success in its day.

The story follows a group of prostitutes in 'Dreamland' a typical brothel of its day in the nighttime quarter of Toyko, shortly before they were made illegal. At the time, brothels were seen as mildly disreputable, but still legitimate businesses. The women work 'voluntarily', but most are trapped due to debts and poverty. They range from the tough, selfish and westernized 'Mickey', a wonderful Machiko Kyo (unrecognizable from the ghost in Ugetsu), the very beautiful Ayako Wakao as the angelic looking but thoroughly ruthless Yasumi, Aiko Mimasu as the aging Yumeko, and a variety of other characters, all without exception wonderful and believable performances.

While humanizing all his characters, Mizuguchi doesn't pull punches about the desperate poverty of the time and the dire straits the women are in. The brothel owner repeatedly insists he is like a social worker, looking after poor women - and he is so convincing he believes it himself. The script never falls into the trap of didactic sermonizing, it simply lets the stories speak for themselves. Maybe Mizoguchi, who was no stranger to brothels in his private life had deeply ambiguous feelings for them himself.

Its interesting to compare this movie to another similar one of this period (and a personal favourite of mine) - Mikio Naruse's 'Flowing', which is much less direct and harsh, with more of an air of sadness at how a part of Japanese society was fading away - but then again, that film was set in a more genteel upmarket geisha house.

This is an immensely fine movie - structurally its amazing that such a complex story with so many characters could be so convincingly told in a relatively short run time - a lesson to all modern film makers. Its absolutely riveting and a masterclass in film making and acting.

But as a final point, films like this are often difficult to end - there is no clear way of finishing a story without a clear narrative arc and how many times have we all seen great movies that let us down with a contrived or poorly thought through ending? I won't give it away, but the ending of 'Akasen Chitai' is quite unexpected and absolutely devastating. Its starkness should by rights leave it up there with the famous last scene in '400 Blows' as one of the greatest in cinema history.


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