aka Story of a Prostitute
Japón - 1965 - 96m - Drama

Criterion - DVDbeaver
Dirigida por:

El hermano de Fu-Manchú que hacía pelis bizarras para Nikkatsu en los años 60
reparto
Yumiko Nogawa .... Harumi
Tamio Kawaji .... Shinkichi Mikami
guión
Hajime Takaiwa
(a partir de una historia de Taijiro Tamura)
fotografía
Kazue Nagatsuka
diseño de producción
Takeo Kimura
Código: Seleccionar todo
ÛÛÛ² PRESENTS: STORY OF A PROSTITUTE (1965)
ÛÛÛ± ° Shunpu Den °
ÛÛÛÛ °
ÛÛÛÛ MOViE iNFORMATiON
ÛÛÛÛ
ÛÛÛß [ THEATRE DATE....: 2/28/1965 ]
ÛÛÛÛ [ RELEASE DATE....: 8/4/2005 ]
ÛÛÛÛ [ STORE DATE......: 7/26/2005 ]
ÛÛÛÛ° [ GENRE...........: War/Drama ]
ÛÛÛÛ [ RUNTiME.........: 96 minutes ]
ÛÛÛÛ [ RATiNG..........: 7.4/10 (35 votes) ]
ßÛÛÛ [ NO. SCREENiNGS..: ??? ]
ÛÛÛÛ°
ßÛÛÛ° [ ViDEO BiTRATE...: 928 kBit/s XviD at 23.976FPS ]
ÛÛÛÛ± [ AUDiO BiTRATE...: 79 kBit/s Mono MP3 at 48KHZ, JA ]
ÛÛÛÛ± [ ASPECT RATiO....: 2.44:1 ]
ÛÛÛÛ² [ RESOLUTiON......: 624x256 ]
ÛÛÛÛ² [ ARCHiVES........: sph-prostitute.rar *49x15* ]
²ÛÛÛÛ [ AVi SiZE........: 700 MB * 717,024 KB * 734,232,576 B ]
ÛÛÛÛ² [ SUBTiTLES.......: EN ]
- David Chute
The first shot of the protagonist in Story of a Prostitute will look oddly familiar to fans of Japanese action films: an isolated, kimono-clad figure striding across a barren, almost volcanic landscape. It harks back to the conventional introductory images of rootless heroes in countless films about ronin (masterless samurai), outcast warriors adrift in an existential wasteland. The difference here, as we soon discover, is that the protagonist, Harumi (Yumiko Nogawa), is a woman, and a very real one at that—not just a “woman warrior” fantasy figure, like the sword-swinging paragons of the Crimson Bat and Lady Snowblood B action series. This is, after all, a film by Seijun Suzuki—a director famous for twisting genre conventions—so we shouldn’t be surprised that he has added chambara (swordplay) overtones to what is essentially a melodrama, a lacerating, sardonic tragedy about a “comfort woman” servicing Japanese imperial soldiers on the Manchurian front, in China, in 1937.
Harumi is an extraordinary creation: ferocious, willful, fearless. Even without ever wielding a sword or striking an imitative pose, she qualifies as a genuine warrior. At times almost terrifying in her vehemence, she is explicitly associated with the mythical masked demons of the stylized Kabuki theater productions Suzuki loved. Indeed, there is an operatic grandeur to her intensity. In a startling early shot, the director uses extreme slow motion to extend one of her cries of anguish into something primal, tendrils of hair eddying around her face like the serpent locks of Medusa. And at every phase of the story, it is Harumi who supplies the narrative’s driving energy. There is no denying that her trajectory is self-destructive, but this is a story with a military backdrop, a context in which we take for granted that men who make the supreme sacrifice are doing something glorious. Suzuki’s view of that sort of glory is sarcastic in the extreme, and Harumi’s story is a perfect subversive vehicle for his pitch-black irony. ...sigue leyendo
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