After World War II, some Tokyo prostitutes band together with a strict code: no pimps, attack any street walker who comes into our territory, defend the abandoned building we call home, and... See full summary »
After World War II, some Tokyo prostitutes band together with a strict code: no pimps, attack any street walker who comes into our territory, defend the abandoned building we call home, and punish whomever gives away sex (who falls in love). Maya, a young woman whose family has died, joins the group. Into the mix comes Shin, a thief who's killed a G.I. The women allow him to hide while recovering from wounds, but then he won't leave. Maya is drawn to him, discovering as she falls in love that she can feel again; she's now more fully human, but at the same time, she's endangered herself and her livelihood. Can she and Shin make it out of Tokyo to establish life as a couple? Written by
A jump and you meeting like in a film of Oshima or Mizogouchi. Nikutai Mon (1964) can not be seen like a scandal or like a true masterpiece. The personage, nearly a samurai bankrupt, played by the hounded man is exemplar in order to understand like Japan same changing, in the forecasts of Mishima, worse. For being more clear I will say Japan in free fall. An example is the here impotent police while in group the young people kill and stole. Under this optical the worlds formed from this man and these three women is parallel, peculiar, sadist. Turned always holding the cinema camera to level of the human eye: Nikutai not Mon (1964) a little reassuring neorealism, the land rendered fertile from the tragedy of Seppuku, directed from Kobayashi time before. Now Japanese cinema has nothing more to say while collects the fragments of its tradition.
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