IMDb > Story of a Prostitute (1965)

Story of a Prostitute (1965) More at IMDbPro »Shunpu den (original title)

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Release Date:
28 February 1965 (Japan) See more »
In WW2 Manchuria, a prostitute grows to resent an abusive adjutant and falls in love with his aide. | Add synopsis »
User Reviews:
New Wave war melodrama, with a heart of style See more (14 total) »


  (in credits order)

Directed by
Seijun Suzuki 
Writing credits
(in alphabetical order)
Hajime Takaiwa 
Taijirô Tamura  story

Produced by
Kaneo Iwai .... producer
Original Music by
Naozumi Yamamoto 
Cinematography by
Kazue Nagatsuka 
Film Editing by
Akira Suzuki 
Production Design by
Takeo Kimura 
Production Management
Banri Sonoyama .... executive in charge of production
Second Unit Director or Assistant Director
Masami Kuzû .... assistant director
Sound Department
Toshimi Katagiri .... sound
Special Effects by
Keiji Kaneda .... special effects
Camera and Electrical Department
Masahiro Takashima .... gaffer

Production CompaniesDistributors

Additional Details

Also Known As:
"Shunpu den" - Japan (original title)
See more »
West Germany:96 min | Japan:96 min
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Germany:16 (re-rating) (uncut) | USA:Not Rated | West Germany:18 (cut)

Did You Know?

Movie Connections:
Remake of Desertion at Dawn (1950)See more »


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10 out of 11 people found the following review useful.
New Wave war melodrama, with a heart of style, 3 June 2009
Author: chaos-rampant from Greece

Presumably one of the "movies that didn't make sense" that led Nikkatsu Studios to promptly fire Suzuki after BRANDED TO KILL, in the process turning him into an icon of artistic defiance that inspired may, STORY OF A PROSTITUTE is at the same time a war melodrama, a rather conventional love story that you could see come out from Hollywood in the 50's, but also a Seijun Suzuki film. A genre director who slaved away from b-movie to b-movie working from scripts that had little difference from one to the next, Suzuki developed, out of artistic frustration with the trappings of cookie cutter studio film-making, an irreverent visual grammar which existed for its own pleasure. In his own way, perhaps unwittingly, he was making New Wave before most.

Here we find both facets of his work, a crowdpleasing genre film and a sumptuous celebration of a visual cinema.

But unlike stuff like TOKYO DRIFTER, or indeed Branded to Kill, films that often appeared to be little more than empty exercises in stylish bravura where the only reward possible for the viewer was a confirmation of Suzuki's bold, audacious approach, Story has a dramatic heart. The director approaches the love story between Mirakami, an orderly to an abusive adjutant who is brainwashed to docile acceptance of military authority, and Harumi, a passionate prostitute working a Japanese camp somewhere in Manchuria in the days of WWII, with sincerity and honesty.

In the same time he punctuates the main plot with set-pieces that truly dazzle with their inventiveness. Harumi running through a shellshocked battlefield to an injured Mirakami; Harumi's fantasy of Mirakami rushing in slow-motion through a white-washed scene to save her from the abusive officer. All this filmed in stark black and white, with fast tracking shots around walls and behind wooden panels, beautiful exterior shots of Manchurian landscapes which dwarf the figures walking them, intricate framing in depth and poignant symbolic touches that give an almost existential air to proceedings.

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