IMDb > Street of Shame (1956)

Street of Shame (1956) More at IMDbPro »Akasen chitai (original title)

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Overview

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8.0/10   1,782 votes »
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Down 4% in popularity this week. See why on IMDbPro.
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View company contact information for Street of Shame on IMDbPro.
Release Date:
4 June 1959 (USA) See more »
Genre:
Tagline:
Men were their prey! Beauty was their lure!
Plot:
The personal tales of various prostitutes who occupy a Japanese brothel. Full summary » | Add synopsis »
Plot Keywords:
Awards:
2 wins & 1 nomination See more »
User Reviews:
An Abstract See more (15 total) »

Cast

  (in credits order) (complete, awaiting verification)
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
Kumeko Urabe ... Otane
Fujio Harumoto ... Aoki
Yosuke Irie ... Kadowaki Shuichi, Yumeko's son
Ken'ichi Miyajima ... Hanae's client
Toranosuke Ogawa ... Mickey's Father (cameo)
Kuninori Kôdô ... Kadowaki Keisaku, Yumeko's father-in-law (cameo)
Eiko Miyoshi ... Kadowaki Saku, Yumeko's mother-in-law
Toshiyuki Obara
Joe Ohara
Shiroyuki Miyajima
Kyôsuke Shiho
Mitsuko Takesato
Sachiko Meguro

Directed by
Kenji Mizoguchi 
 
Writing credits
(in alphabetical order)
Masashige Narusawa 
Yoshiko Shibaki  novel "Susaki no Onna"

Produced by
Masaichi Nagata .... producer
 
Original Music by
Toshirô Mayuzumi 
 
Cinematography by
Kazuo Miyagawa 
 
Film Editing by
Kanji Suganuma  (as Kanji Sugawara)
 
Production Design by
Hisao Ichikawa 
Hiroshi Mizutani 
 
Set Decoration by
Shigeharu Onda 
 
Costume Design by
Tsugio Tôgô 
 
Makeup Department
Noboru Ishizaka .... key hair stylist
Umeka Shinozaki .... hair stylist
 
Production Management
Keiichi Sakane .... executive in charge of production
Hiromitsu Ôoka .... production supervisor
 
Second Unit Director or Assistant Director
Yasuzô Masumura .... assistant director
Bainari Nakamura .... assistant director
 
Art Department
Taijirô Gotô .... assistant art director (as Taijiro Goto)
Kiichi Ishizaki .... set designer
Ichirô Kanda .... props
Tarô Kawahara .... background artist
 
Sound Department
Katsutarô Hanaoka .... sound effects editor (as Katsujirô Hanaoka)
Mitsuo Hasegawa .... sound
Yasutarô Shimizu .... sound recordist
 
Camera and Electrical Department
Yukio Itô .... gaffer
Shôzô Kanaya .... decorative illumination (as Shôgo Kanaya)
Yoshitami Shigemori .... still photographer
Gentarô Takuma .... lighting technician
Shôzô Tanaka .... camera operator
 
Other crew
Ayako Irie .... archivist
Ôtei Kaneko .... title designer
Tomekichi Kumazawa .... movement director
Hiroaki Okumura .... stage manager
Otojirô Sakane .... garden
 

Production CompaniesDistributors

Additional Details

Also Known As:
"Akasen chitai" - Japan (original title)
"Red Light District" - International (English title) (alternative title)
See more »
Runtime:
87 min
Country:
Language:
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Certification:
Argentina:13 | Australia:M | Portugal:M/16 (Qualidade) | UK:12 (2008) | UK:X (1958)

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6 out of 7 people found the following review useful.
An Abstract, 5 January 2005
Author: Daniel Hayes (dphayes@dal.ca) from Halifax, NS

Upon first glance, this may seem like Mizoguchi re-hashing the themes and methods from his more successful films. And a lot seems to be read into the fact of this being his last film and, consequently, it somehow has to stand as a "swan song" or a culmination of his work. But it must be recognised that, form what I can tell, it was never meant to be so. This isn't like Kurosawa's "Madadayo" or Bergman's "Fanny and Alexander," but rather a more specific look at something he had always incorporated (the role of women in Japanese society) but had never attacked as specifically and focused as here. His famous female characters were appropriate vessels for his universal humanism, and he used their plights to make some of the more moving films of his era. But there is little universal going on in this film, it is a direct and poignant attack on a lack of change in a progressive area. The characters misfortunes all reinforce this ethical treatment, as opposed to examining any intrinsic leanings in the human soul. The film is more interesting than truly moving, and you won't see the emotional superlatives that are heaped on his other masterpieces. Still, it is an important film and it would have been interesting to see in which direction he would have gone after this.

4 out of 5 - An excellent film

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