Shunpu Den


1h 36m 1965
Shunpu Den

Brief Synopsis

A working girl seeks revenge by throwing herself into a life of prostitution.

Film Details

Genre
Drama
Foreign
War
Release Date
1965

Technical Specs

Duration
1h 36m
Color
Black and White
Theatrical Aspect Ratio
2.35 : 1

Synopsis

A working girl seeks revenge by throwing herself into a life of prostitution.

Film Details

Genre
Drama
Foreign
War
Release Date
1965

Technical Specs

Duration
1h 36m
Color
Black and White
Theatrical Aspect Ratio
2.35 : 1

Articles

Story of a Prostitute (Shunpu Den) - Story of a Prostitute


Seijun Suzuki was a maverick of 1960s cinema in Japan, but he didn't begin that way. He started as a company man, apprenticing as an assistant director at Shochiku in the late 1940s and then moving over to Nikkatsu Studio where he graduated to directing his own films in 1956. He was prolific, cranking out one assignment after another in the low-budget end of Nikkatsu -- war movies, youth dramas, yakuza thrillers -- on tight shooting schedules, and he managed to inject them with madcap energy, inventive style and wicked wit. But as his confidence grew, so did his creative drive, and soon he was transforming his pulp fictions into audacious melodramas of stylistic audacity. His experiments often got him into trouble from the front office ("I was getting warned every time I made a picture," he told Chris D. in an interview) but they also got him noticed.

Suzuki had a critical and commercial success with Gate of Flesh (1964), a lusty adaptation of Taijiro Tamura's novel about desperate survivors scrambling for a living through prostitution, black market trading, and murder on the waterfront of post-World War II Tokyo, so Nikkatsu handed him another Tamura novel to adapt. Set on the Manchurian front of World War II, Story of a Prostitute (1965) is a melodramatic tale of sexual possession, revenge, and all-consuming passion under fire. The novel was previously filmed in 1950 as Escape at Dawn, albeit in a highly-sanitized form. Suzuki embraced the subject matter, bringing perhaps some of his own experience to the film. The director fought in the South Pacific during World War II and was shipwrecked twice during his service. "There were things he saw that darkened his vision," writes Chris D. in Outlaw Masters of Japanese Cinema, "things absurd in their stupidity and irony that colored what would strike him as funny." Story of a Prostitute is not a comedy, mind you, but it is audacious and unusual.

Yumiko Nogawa, who starred in Gate of Flesh, plays the wistful heroine Harumi, a woman who flees romantic heartbreak by volunteering to serve her country as a "comfort woman" for the troops. Suzuki brings an elegant, at times traditionally classic beauty to her introduction, opening on grand, gorgeous vistas with Harumi framed perfectly in the foreground, equating her with the magnificence of the natural landscape, establishing her pride, moral strength, and profound sadness. Her romantic ideals of service are quickly shattered when she's whisked away to the grubby military camp and finds herself one of seven prostitutes expected to serve a garrison of 1,000 men. Her experience becomes more servitude than existential freedom as she endures the sexual sadism of the brutal base Adjutant, who claims her as his personal property and delights in her degradation.

Nogawa's performance becomes increasingly hysterical as Harumi's serenity gives way to desperation and she seduces the Adjutant's loyal, straight-arrow attendant (Tamio Kawaji) to help her plot his demise. Suzuki matches the emotional storm with the violence of war. During one tryst, a brief escape from the nightmare of servitude, Suzuki sends fiery rockets shooting overhead followed by swarms of Chinese soldiers leaping over the trenches like rushing water, images both dramatically potent and strikingly beautiful.

For the tragic climax, Suzuki calls upon the wind to storm through the scene, a favorite device of his. "God is wind. It transcends human beings, making them as insignificant as insects," he explained in an interview. "Nagatsuka Kazue, the cameraman of Story of a Prostitute, was familiar with my habit of suddenly getting the wind to blow. He reminded me, 'The wind must blow at the correct moment, right?' There was nothing about wind in the script. But Nagatsuka was way ahead of me: 'Either the people are sad, poor, miserable, nasty or ridiculous, or they show themselves to be stronger than the wind, as if they're rebelling against God.'"

It becomes a powerful, potent condemnation of militarism, a theme that Suzuki would further develop in his 1966 social satire Fighting Elegy. There's no satire here, merely a grim portrait of idealism brought low to the most primal human drives: desire, revenge, survival.

By Sean Axmaker

Sources:
Outlaw Masters of Japanese Cinema, Chris D. I.B. Taurus, 2005.
Branded to Thrill: The Delirious Cinema of Suzuki Seijun, edited by Simon Fields and Tony Rayns. Institute of Contemporary Arts, 1994.
Interview with Seijun Suzuki conducted by Brian Puterman and Robert Graves, Asian Cult Cinema No. 61, 1998.
Story Of A Prostitute (Shunpu Den) - Story Of A Prostitute

Story of a Prostitute (Shunpu Den) - Story of a Prostitute

Seijun Suzuki was a maverick of 1960s cinema in Japan, but he didn't begin that way. He started as a company man, apprenticing as an assistant director at Shochiku in the late 1940s and then moving over to Nikkatsu Studio where he graduated to directing his own films in 1956. He was prolific, cranking out one assignment after another in the low-budget end of Nikkatsu -- war movies, youth dramas, yakuza thrillers -- on tight shooting schedules, and he managed to inject them with madcap energy, inventive style and wicked wit. But as his confidence grew, so did his creative drive, and soon he was transforming his pulp fictions into audacious melodramas of stylistic audacity. His experiments often got him into trouble from the front office ("I was getting warned every time I made a picture," he told Chris D. in an interview) but they also got him noticed. Suzuki had a critical and commercial success with Gate of Flesh (1964), a lusty adaptation of Taijiro Tamura's novel about desperate survivors scrambling for a living through prostitution, black market trading, and murder on the waterfront of post-World War II Tokyo, so Nikkatsu handed him another Tamura novel to adapt. Set on the Manchurian front of World War II, Story of a Prostitute (1965) is a melodramatic tale of sexual possession, revenge, and all-consuming passion under fire. The novel was previously filmed in 1950 as Escape at Dawn, albeit in a highly-sanitized form. Suzuki embraced the subject matter, bringing perhaps some of his own experience to the film. The director fought in the South Pacific during World War II and was shipwrecked twice during his service. "There were things he saw that darkened his vision," writes Chris D. in Outlaw Masters of Japanese Cinema, "things absurd in their stupidity and irony that colored what would strike him as funny." Story of a Prostitute is not a comedy, mind you, but it is audacious and unusual. Yumiko Nogawa, who starred in Gate of Flesh, plays the wistful heroine Harumi, a woman who flees romantic heartbreak by volunteering to serve her country as a "comfort woman" for the troops. Suzuki brings an elegant, at times traditionally classic beauty to her introduction, opening on grand, gorgeous vistas with Harumi framed perfectly in the foreground, equating her with the magnificence of the natural landscape, establishing her pride, moral strength, and profound sadness. Her romantic ideals of service are quickly shattered when she's whisked away to the grubby military camp and finds herself one of seven prostitutes expected to serve a garrison of 1,000 men. Her experience becomes more servitude than existential freedom as she endures the sexual sadism of the brutal base Adjutant, who claims her as his personal property and delights in her degradation. Nogawa's performance becomes increasingly hysterical as Harumi's serenity gives way to desperation and she seduces the Adjutant's loyal, straight-arrow attendant (Tamio Kawaji) to help her plot his demise. Suzuki matches the emotional storm with the violence of war. During one tryst, a brief escape from the nightmare of servitude, Suzuki sends fiery rockets shooting overhead followed by swarms of Chinese soldiers leaping over the trenches like rushing water, images both dramatically potent and strikingly beautiful. For the tragic climax, Suzuki calls upon the wind to storm through the scene, a favorite device of his. "God is wind. It transcends human beings, making them as insignificant as insects," he explained in an interview. "Nagatsuka Kazue, the cameraman of Story of a Prostitute, was familiar with my habit of suddenly getting the wind to blow. He reminded me, 'The wind must blow at the correct moment, right?' There was nothing about wind in the script. But Nagatsuka was way ahead of me: 'Either the people are sad, poor, miserable, nasty or ridiculous, or they show themselves to be stronger than the wind, as if they're rebelling against God.'" It becomes a powerful, potent condemnation of militarism, a theme that Suzuki would further develop in his 1966 social satire Fighting Elegy. There's no satire here, merely a grim portrait of idealism brought low to the most primal human drives: desire, revenge, survival. By Sean Axmaker Sources: Outlaw Masters of Japanese Cinema, Chris D. I.B. Taurus, 2005. Branded to Thrill: The Delirious Cinema of Suzuki Seijun, edited by Simon Fields and Tony Rayns. Institute of Contemporary Arts, 1994. Interview with Seijun Suzuki conducted by Brian Puterman and Robert Graves, Asian Cult Cinema No. 61, 1998.

Seijun Suzuki's The Story of a Prostitute on DVD


Eccentric director Seijun Suzuki scores big with this endlessly inventive tale of war and personal destinies. Before being fired for making a purposely chaotic yakuza picture called Branded to Kill, Suzuki did a series of films bitterly criticizing Japan's militaristic traditions. Story of a Prostitute is a perverse take on a woman's picture. Already a prostitute, the heroine undergoes such a soul-defeating ordeal at the hands of military zealots that the film's violent ending comes as a welcome release.

Synopsis: Jilted by her lover, prostitute Harumi (Yumiko Nogawa) volunteers to be a 'comfort worker' servicing Japanese soldiers on the Chinese front. She finds the job brutalizing, and especially hates the offensively cruel commander Narita (Isao Tamagawa). Harumi at first seduces Narita's adjutant Shinkichi Mikami (Tamio Kawachi) for revenge, but falls in deeply in love with the troubled soldier and they become a fated couple. Harumi is already living on the edge of existence and the disaffected Mikami takes terrible punishments from his superiors as a kind of perverse atonement.

Story of a Prostitute presents sensational subject matter with taste and sensitivity far outpacing anything found in American films of 1965. Hollywood's production code view of prostitution produced toothless sniggering comedies or dramas warped into vague abstractions, like the trashy Walk on the Wild Side.

Suzuki's film deals frankly with traditions that have followed every army since war was invented. Few societies publicize camp-following prostitutes or the houses that are allowed to exist near most military bases; besides hiring voluntary 'comfort girls,' the Japanese have been accused of forcing captured women into similar service.

Suzuki's approach is partly realistic, with frequent forays into expressive image stylization. We see split-screen images of her rage at being jilted by her lover, who has married another. For some sequences the screen breaks into staggered still frames or changes to slow motion. Erratic jump cuts express frenzied horror as she feels herself being degraded by the men she sleeps with. Her thoughts become 'real' in subjective wish-fulfillment scenarios, often slightly overexposed or in slow motion. Idealized lovemaking with Mikami surrounds the pair in a softening aura of happiness. When Harumi expresses her desire to kill a tormenting officer to pieces, pixillated animation makes his image literally tear apart before our eyes. None of these effects come across as a gimmick or faddish experimentation; each communicates Suzuki's specifically ironic point of view.

Most importantly, there is nothing truly exploitative or cheap about Story of a Prostitute. The film's nudity is neither mere decoration, nor emphasized as a subject unto itself. We're far too immersed in the characters to pay it much mind.

Seeing the Army brutalities from the point of view of a woman makes militarism of any stripe seem doubly obscene. The soldiers have no rights and are helpless under the will of their immediate superiors, many of whom are sadistic fanatics. The officer corps murders civilians just to save face, let off steam and to maintain a level of terror among their own troops. Their inhuman notion of feudal honor makes desertion or aiding the enemy a more desirable alternative than being captured and escaping. Mikami fights nobly but is taken prisoner while unconscious. The Chinese don't even bother to kill him but instead leave their captive behind as they retreat, knowing his own Army will do the job for them.

Harumi and Mikami are helpless victims stranded in a barren Chinese landscape. The cruel Narita torments Mikami for having a will of his own and uses Harumi as an emotional punching bag. The comfort women are desirable but disposable objects, even when their soldier clients are respectful. One manages to make a hopeful marriage but soon returns, rejected by her new husband's family. Under the mounting pressure, Mikami becomes resigned to a dark fate, while Harumi is given to erratic fits of hysteria. It's no surprise when their final choice comes down to the empty desert and a double suicide.

Criterion's beautiful DVD of Story of a Prostitute gives us an impressive enhanced B&W image transferred at an extra-wide Nikkatsu-Scope 2:40. We can almost feel the cold mystery of the Chinese deserts, and the sweaty intimacy of Harumi's workplace.

Disc producer Abbey Lustgarten has assembled an interesting and well-organized interview docu moderated by film critic Tadao Sato. It's fleshed out with pointed and playful interviews from production designer Takeo Kimura and director Suzuki, who in his 80s is still actively making pictures. David Chute provides a cogent insert essay. The amusing original trailer sells Story of a Prostitute as a 'scandalous' film offering, Japanese-style.

Seijun Suzuki's wild crime tales have their exotic and bizarre qualities but his Story of a Prostitute is a more deeply felt drama, perhaps because its military setting is universally understood. The director may have been the Wild Man of his day, but this is a world-class piece of cinema.

For more information about Story of a Prostitute, visit Criterion Collection. To order Story of a Prostitute, go to TCM Shopping.

by Glenn Erickson

Seijun Suzuki's The Story of a Prostitute on DVD

Eccentric director Seijun Suzuki scores big with this endlessly inventive tale of war and personal destinies. Before being fired for making a purposely chaotic yakuza picture called Branded to Kill, Suzuki did a series of films bitterly criticizing Japan's militaristic traditions. Story of a Prostitute is a perverse take on a woman's picture. Already a prostitute, the heroine undergoes such a soul-defeating ordeal at the hands of military zealots that the film's violent ending comes as a welcome release. Synopsis: Jilted by her lover, prostitute Harumi (Yumiko Nogawa) volunteers to be a 'comfort worker' servicing Japanese soldiers on the Chinese front. She finds the job brutalizing, and especially hates the offensively cruel commander Narita (Isao Tamagawa). Harumi at first seduces Narita's adjutant Shinkichi Mikami (Tamio Kawachi) for revenge, but falls in deeply in love with the troubled soldier and they become a fated couple. Harumi is already living on the edge of existence and the disaffected Mikami takes terrible punishments from his superiors as a kind of perverse atonement. Story of a Prostitute presents sensational subject matter with taste and sensitivity far outpacing anything found in American films of 1965. Hollywood's production code view of prostitution produced toothless sniggering comedies or dramas warped into vague abstractions, like the trashy Walk on the Wild Side. Suzuki's film deals frankly with traditions that have followed every army since war was invented. Few societies publicize camp-following prostitutes or the houses that are allowed to exist near most military bases; besides hiring voluntary 'comfort girls,' the Japanese have been accused of forcing captured women into similar service. Suzuki's approach is partly realistic, with frequent forays into expressive image stylization. We see split-screen images of her rage at being jilted by her lover, who has married another. For some sequences the screen breaks into staggered still frames or changes to slow motion. Erratic jump cuts express frenzied horror as she feels herself being degraded by the men she sleeps with. Her thoughts become 'real' in subjective wish-fulfillment scenarios, often slightly overexposed or in slow motion. Idealized lovemaking with Mikami surrounds the pair in a softening aura of happiness. When Harumi expresses her desire to kill a tormenting officer to pieces, pixillated animation makes his image literally tear apart before our eyes. None of these effects come across as a gimmick or faddish experimentation; each communicates Suzuki's specifically ironic point of view. Most importantly, there is nothing truly exploitative or cheap about Story of a Prostitute. The film's nudity is neither mere decoration, nor emphasized as a subject unto itself. We're far too immersed in the characters to pay it much mind. Seeing the Army brutalities from the point of view of a woman makes militarism of any stripe seem doubly obscene. The soldiers have no rights and are helpless under the will of their immediate superiors, many of whom are sadistic fanatics. The officer corps murders civilians just to save face, let off steam and to maintain a level of terror among their own troops. Their inhuman notion of feudal honor makes desertion or aiding the enemy a more desirable alternative than being captured and escaping. Mikami fights nobly but is taken prisoner while unconscious. The Chinese don't even bother to kill him but instead leave their captive behind as they retreat, knowing his own Army will do the job for them. Harumi and Mikami are helpless victims stranded in a barren Chinese landscape. The cruel Narita torments Mikami for having a will of his own and uses Harumi as an emotional punching bag. The comfort women are desirable but disposable objects, even when their soldier clients are respectful. One manages to make a hopeful marriage but soon returns, rejected by her new husband's family. Under the mounting pressure, Mikami becomes resigned to a dark fate, while Harumi is given to erratic fits of hysteria. It's no surprise when their final choice comes down to the empty desert and a double suicide. Criterion's beautiful DVD of Story of a Prostitute gives us an impressive enhanced B&W image transferred at an extra-wide Nikkatsu-Scope 2:40. We can almost feel the cold mystery of the Chinese deserts, and the sweaty intimacy of Harumi's workplace. Disc producer Abbey Lustgarten has assembled an interesting and well-organized interview docu moderated by film critic Tadao Sato. It's fleshed out with pointed and playful interviews from production designer Takeo Kimura and director Suzuki, who in his 80s is still actively making pictures. David Chute provides a cogent insert essay. The amusing original trailer sells Story of a Prostitute as a 'scandalous' film offering, Japanese-style. Seijun Suzuki's wild crime tales have their exotic and bizarre qualities but his Story of a Prostitute is a more deeply felt drama, perhaps because its military setting is universally understood. The director may have been the Wild Man of his day, but this is a world-class piece of cinema. For more information about Story of a Prostitute, visit Criterion Collection. To order Story of a Prostitute, go to TCM Shopping. by Glenn Erickson

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