Street of Shame

Set in the post-war Japan during the 1950s, Masashige Naruyama's 1965 film, Street of Shame, offers a poignant examination of the lives of five sex workers employed at the Matsubaya – a small and unassuming brothel in Tokyo. While the nation is preoccupied with the impending passage of an anti-prostitution law, the women of the Matsubaya navigate the complex and often harsh realities of their profession. The film begins with HANA (played by Ayako Wakao), an intelligent and independent sex worker who serves as the de facto leader of the group. Her sharp wit and unapologetic attitude have earned her a certain level of respect from her colleagues, who admire her unwavering commitment to the brothel and its women. HANA's strength and resilience are further underscored by her ability to maintain a sense of independence in a world where women are often seen as powerless. The Matsubaya is a small, family-owned brothel, catering to a loyal clientele of working-class men who can afford the modest rates. The women who work there are not high-class courtesans, but rather ordinary women who have turned to prostitution out of economic necessity. They are not merely sex workers, but individuals with their own stories, hopes, and dreams, which are slowly revealed as the film progresses. In addition to HANA, the group of sex workers at the Matsubaya includes SHINYE (played by Nobuko Otawa), a timid and reserved young woman; FUYU (played by Chieko Nakakita), a vibrant and outgoing sex worker with a penchant for gossip; YAE (played by Kyoko Kishida), a middle-aged woman with a stern expression and a mysterious past; and MIZU (played by Yumeji Tsukioka), the brothel's newest and most innocent member. As the film unfolds, we are introduced to the daily routines and rituals of the women at the Matsubaya. We witness their interactions with the brothel's proprietor, HIDE (played by Eitaro Shindō), as well as with their clients, who range from gruff and rough to gentle and kind. We also see the women's attempts to balance their work and personal lives, often with comical and poignant results. Throughout the film, Street of Shame raises important questions about the nature of sex work and its place within society. Naruyama is not judgmental or condemnatory, but rather seeks to understand the motivations and desires of the women who work at the Matsubaya. The film is not a romanticized or glamorized portrayal of prostitution, but rather a nuanced and empathetic exploration of the complex emotional and psychological landscapes that exist beyond the surface level of the sex trade. One of the most striking aspects of Street of Shame is its portrayal of the relationships between the women at the Matsubaya. Despite their differing personalities and backgrounds, they form a close-knit community, supporting and caring for one another in ways that transcend their professional lives. The bond between HANA and FUYU, in particular, is a highlight of the film, as their playful banter and deep affection for one another is both heartwarming and authentic. The film is also notable for its historical context, which highlights the societal pressures and expectations that led women to become sex workers in the post-war Japan. The impending passage of the anti-prostitution law serves as a backdrop to the women's stories, as they face the very real possibility of losing their livelihoods and the security they have struggled to achieve. Street of Shame is a thought-provoking and deeply moving film, offering a powerful exploration of the human condition and the complexities of sex work. Through its portrayal of five remarkable women, Naruyama sheds light on the lives of those who are often overlooked or marginalized by society, and reminds us that, despite the challenges they face, they are individuals with dignity, worth, and a deep desire to be seen and understood.