Selling Out on the Street of Shame

Over at Shadowplay, David Cairns’ The Late Show – a blogathon devoted to directors’ late and last movies – rages on. Since I contributed to it on Sunday with a post about Eric Rohmer’s The Romance of Astrea and Celadon (2007), I’d like to travel back half a century and halfway around to the world, to postwar Japan. While the legislature debates banning their trade, a group of prostitutes working side by side must fight both poverty and the stigma attached to their profession in Kenji Mizoguchi’s final film, Street of Shame (1956) or Akasen chitai – more accurately translated, according to the Eclipse DVD case, as the nonjudgmental “Red Light District.”

Released just months before Mizoguchi’s tragically early death from leukemia, Street of Shame is a fitting capstone to a career spent chronicling the abuses suffered and sacrifices made by Japanese women. Although it might not reach the aesthetic heights of such incomparable masterpieces as Ugetsu Monogatari (1953) and Sansho the Bailiff (1954), it still contains all the marks of Mizoguchi at his prime: deep focus photography (by Kazuo Miyagawa) used for visually dense storytelling; the evocation of extreme pathos coupled with a flickering hope for future happiness; and richly drawn female characters, both good and evil.

In less than 90 minutes, Mizoguchi juxtaposes the stories of five women working at Dreamland, a brothel in Tokyo’s Yoshiwara pleasure district. Each has her own attitudes toward her job, and motivations for taking it, but they all have one thing in common: an uphill battle. They’re oppressed enough as women, but as sex workers, they’re directly told, “You’re merchandise.” Socially marginalized beyond the point of visibility, and with the government threatening to cut off their only source of income, they have to take desperate measures just to survive. Poor Yorie (Hiroko Machida) gets married, thinking of it as an escape, but returns when her husband turns out to be as dictatorial as any pimp.

Yume (Ayako Wakao), meanwhile, tries to keep her son from seeing her at work; his shame later leads to a confrontation where he renounces her as a mother. Mizoguchi doesn’t sugar-coat anything, nor does he exaggerate the extent of his characters’ miseries. He just honestly shows every one of the pressures converging on these women as they’re simultaneously exploited by their managers and customers, and rejected by their families in their hours of need. But, in the midst of all of this grim realism, he finds a possible silver lining – the tight-knit community formed by the women, for better or worse.

When their ties with the outside world are cut and the future promises nothing but self-commodification and inescapable debt, at the very least the women still have each other. Like the cast of Pedro Almodóvar’s comparable Volver (2004), the women don’t always support or even like each other, but the basis of their relationships are shared experiences; they each have the same understanding of what it’s like to be coerced into selling yourself. This works both ways, though, as the sly, enterprising Yasumi (Aiko Mimasu) lends out money to her impoverished sisters and makes a killing in interest, earning herself the nickname “Lady Shylock.”

Yasumi’s story is the most telling of the five, since at the end of the film, she’s the only one who successfully leaves the black hole that is the brothel. Her escape, however, comes only through her readiness to play the femme fatale, extorting and betraying those around her when necessary. She knows better than anyone the value of a yen, and she’s bitterly justified in her callous actions. She’s no more “evil” than Ugetsu‘s Lady Wakasa, willing to sacrifice those around her for the sake of self-preservation. Yasumi’s story arc reveals the cruel flip side to Mizoguchi’s vision of female camaraderie.

And speaking of Lady Wakasa, Machiko Kyo reappears here as the brassy young Michiko, who takes on the Americanized name “Mickey” (like the mouse). She’s introduced wearing a flashy, low-cut dress, dancing around in a giant shell à la The Birth of Venus. If Street of Shame‘s women were the seven samurai, Mickey would be Kikuchiyo (Toshiro Mifune): the spunky, frivolous newcomer who doesn’t yet understand the group’s complex dynamics. She initially showcases her sexual allure and seduces away the other women’s customers, but over the course of the film, the routine grinds her down and her vulnerabilities start to show. By the final minutes of the film, she’s an old hand who readily shows the ropes to a shy teenage neophyte.

Thus, Street of Shame (and Mizoguchi’s career) concludes with a disturbing reminder that all this sacrifice and oppression is cyclical. Not only that, but unsolvable, unless economic opportunities and the treatment of women improve. It’s a far cry from the grand, all-for-love melodrama that ended his pre-war masterpiece Story of the Last Chrysanthemums (1939). The new prostitute hesitantly tries to attract potential customers wandering through Yoshiwara, calling out quietly as she retreats behind a wall. With that lingering image, Mizoguchi’s thirty-plus years of filmmaking fade into open-ended darkness.

What do you think of Mizoguchi, or his representations of women’s suffering? Any and all comments welcome.

1 Comment

Filed under Cinema, Sexuality

One response to “Selling Out on the Street of Shame

  1. Pingback: The Late Show Round-Up « shadowplay

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