A moving study about a group of prostitutes in Tokyo's Yoshiwara red-light district.

Love the music, and love Machiko Kyo.

In his last film, Mizoguchi depicts five women from Tokyo's red light district without sentimentality but with great compassion. Machiko Kyo gives a superb performance as the Americanized Mickey, but the four other actresses give fine performances as well, showing us how four very different women end up making their living as sex-workers. Mizoguchi condemns the economic and patriarchal system that create this life, but he shows the woman realistically too, with all their vanity and venality.

Wonderful character-focused piece that was both humanist and realist. Mizoguchi's careful treading to avoid drawing obvious moral lines both in the interpersonal and political realms really gave the film life and sensitivity. I wasn't that positive about the score and some of the acting from the lesser characters (Yumeko's son, e.g.), but it was truly excellent overall.

Mizoguchi's final film is one of his most detailed explorations of character. His ability to humanize was unmatched in Japanese cinema, and here he deals with a very motley group. Some are more likable than others, but all are presented in a sympathetic manner. The ensemble acting is wonderful, Kazuo Miyagawa's sense of composition is striking, and the score is really something else.

# 807

Mizoguchi's final film revisits one of his favorite themes: struggling women, specifically prostitutes. There is a feeling of repetition here, and it lacks the stunning emotional impact of his better films, but it may be his best work technically. It looks wonderful, and a lot of the camera setups are really interesting. The avant-garde music is an unusual touch as well, sparsely used but startling. The story is also briskly paced, managing to juggle a large cast without getting too confusing.

It's a shame you don't really hear Japanese music of this era outside of these films. It really is wonderful.