Presumably one of the "movies that didn't make sense" that led Nikkatsu Studios to promptly fire Suzuki after BRANDED TO KILL, in the process turning him into an icon of artistic defiance that inspired may, STORY OF A PROSTITUTE is at the same time a war melodrama, a rather conventional love story that you could see come out from Hollywood in the 50's, but also a Seijun Suzuki film. A genre director who slaved away from b-movie to b-movie working from scripts that had little difference from one to the next, Suzuki developed, out of artistic frustration with the trappings of cookie cutter studio film-making, an irreverent visual grammar which existed for its own pleasure. In his own way, perhaps unwittingly, he was making New Wave before most.
Here we find both facets of his work, a crowdpleasing genre film and a sumptuous celebration of a visual cinema.
But unlike stuff like TOKYO DRIFTER, or indeed Branded to Kill, films that often appeared to be little more than empty exercises in stylish bravura where the only reward possible for the viewer was a confirmation of Suzuki's bold, audacious approach, Story has a dramatic heart. The director approaches the love story between Mirakami, an orderly to an abusive adjutant who is brainwashed to docile acceptance of military authority, and Harumi, a passionate prostitute working a Japanese camp somewhere in Manchuria in the days of WWII, with sincerity and honesty.
In the same time he punctuates the main plot with set-pieces that truly dazzle with their inventiveness. Harumi running through a shellshocked battlefield to an injured Mirakami; Harumi's fantasy of Mirakami rushing in slow-motion through a white-washed scene to save her from the abusive officer. All this filmed in stark black and white, with fast tracking shots around walls and behind wooden panels, beautiful exterior shots of Manchurian landscapes which dwarf the figures walking them, intricate framing in depth and poignant symbolic touches that give an almost existential air to proceedings.
Here we find both facets of his work, a crowdpleasing genre film and a sumptuous celebration of a visual cinema.
But unlike stuff like TOKYO DRIFTER, or indeed Branded to Kill, films that often appeared to be little more than empty exercises in stylish bravura where the only reward possible for the viewer was a confirmation of Suzuki's bold, audacious approach, Story has a dramatic heart. The director approaches the love story between Mirakami, an orderly to an abusive adjutant who is brainwashed to docile acceptance of military authority, and Harumi, a passionate prostitute working a Japanese camp somewhere in Manchuria in the days of WWII, with sincerity and honesty.
In the same time he punctuates the main plot with set-pieces that truly dazzle with their inventiveness. Harumi running through a shellshocked battlefield to an injured Mirakami; Harumi's fantasy of Mirakami rushing in slow-motion through a white-washed scene to save her from the abusive officer. All this filmed in stark black and white, with fast tracking shots around walls and behind wooden panels, beautiful exterior shots of Manchurian landscapes which dwarf the figures walking them, intricate framing in depth and poignant symbolic touches that give an almost existential air to proceedings.