As Criterion continues to excavate the back catalogue of trippy Japanese cult-auteur Seijun Suzuki they have begun to move into less typical example of his work, or at least works less typical of the color and acid drenched gangster madness we tend to associate with the man once fired by a studio for turning in a film judged just too damn strange. The most recent Suzuki releases from Criterion are a pair of World War II themed films - Gate of Flesh, which is reviewed elsewhere on this site, and The Story of a Prostitute.
Prostitute tells the story of Harumi, a woman pressed into service as a ‘comfort girl’ on the Japanese war front in China. One of a small handful of women available for an entire battalion of men Harumi, and each of the other girls, has literally hundreds of soldiers demanding service. However, Harumi quickly falls into an intense love triangle. Narita, an abusive but high ranking officer demands that she be his and his alone; Harumi, wanting to challenge his power, seduces Narita’s faithful subordinate Mikami with whom she promptly falls in love. Once true love enters the picture the power struggle begins in earnest: will Mikami choose love or loyalty? Either choice will destroy him.
Shot in stark black and white The Story of a Prostitute is, for lack of a better word, the ‘straightest’ entry in the Suzuki canon I have yet come across. The rampant theatricality that marks most of Suzuki’s work is almost entirely muted here, limited to little more than some multiple exposures and split screen work. The implication is obviously that this is a serious film about a serious topic and Suzuki wants you paying attention to the characters rather than the dazzle. How well this pays off depends largely on your response to the characters. Many point to this film as one of Suzuki’s absolute finest and it is undoubtedly a powerful piece of social criticism but personally I was left cold by both Harumi and Narita, finding them both petty, selfish and generally unsympathetic. Narita is obviously supposed to be thought of this way but it’s a more significant issue with Harumi, who is meant to be your entry point into this world.
As always the Criterion edition of the film is stellar. The centerpiece is a beautiful new transfer with the film restored as near to pristine condition as you’re ever going to see it. Also included are new interviews with director Suzuki, production designer Takeo Kimura, and film critic Tadao Sato. Given the general state of Suzuki’s health right now every interview he gives has a fighting chance of being his last and they must be treasured accordingly. Plus the man’s just mighty entertaining. He may be old and frail but the mind is still clearly nimble.
While my own response to the film was fairly middle of the road I am more than aware that I am in the minority on this one and brighter minds than mine consider it essential viewing. God knows you’re not going to get a better viewing experience of it than the one Criterion has provided. Call this a cautious recommendation. Take a look and make up your own mind.