In the aftermath of World War II, Japan had been completely devastated. Their economy was in ruins and that resulted in high unemployment, hunger and disease. To make ends meet some women had to resort to prostitution simply to survive. This was frowned upon in Japanese society and those caught were sent to prison. But there was one particular rehabilitation center known as the "White Lily" which took in a small number of prostitutes and tried to give them a new set of skills and a more wholesome outlook. As it so happens, a young woman named "Keiko Yukawa" (Mitsuko Miura) is sent to this rehabilitation center but unlike the other inmates she has no feelings of shame or remorse. She also refuses to accept anybody else's view of morality. Additionally, some of the other women take an immediate dislike to her because she comes from a higher class than they do. While they are obedient (for the most part) she is rebellious and shows disdain for the rules. Now, while this film shares many common traits with other "Women in Prison" (WIP) movies, what I like about it is the way it portrays Japanese society during this particular time in history. And while the fact that this is an older movie filmed in black and white and entirely in Japanese (with English subtitles) might turn off some viewers, I think that those who are familiar with most movies made during this time will probably find this one to their liking. Personally, I found this movie to be quite impressive and have rated it accordingly. Above average.
4 Reviews
A tad boring, but interesting film
fa-oy22 December 2011
Warning: Spoilers
Before starting off this small review, I would like to remark that I am really acquainted with Japanese cinema, and I generally appreciate everything that comes from there. Having said that, I will feel more comfortable justifying the title of my review.
White Beast is a film directed by Mikio Naruse, an unsung director outside Japan, but greatly appreciated by fans of Japanese cinema. I wouldn't venture to say this film is one of his most revered efforts, though. (The lack of any reviews firmly backs up my statement.) Furthermore, there doesn't seem to be many prints of this film.
The main theme of the film mostly focuses on the daily life inside a women's prison, whereby Japanese society attempted to reform prostitutes. The main and only activity the women had to perform was sewing. As a main character there is a somewhat conceited, arrogant lady who tries to seduce the chief of, if I may name it like that, the rehabilitation center. As a secondary character we have said chief (So Yamamura) trying to run things right inside the center, so that the women allegedly learn how to work honorably, in an otherwise discriminating society against prostitutes (not that nowadays it is not a frowned upon activity). Then there is the doctor of the center, a woman whose role is not really clear to me, as it adds little to no importance to the main plot.
Becoming tiresome on some occasions, ranging from interesting to uninteresting scenes and commentaries, the film kind of disappoints and fails at whatever it was supposed to convey. On the one side, we have the main character whose actions are childish at times, and that is not quite certain as to what role is correct to take in society; on the other side, we have the righteous and kind chief who apparently does his best to help the women, but that wouldn't in anyway hesitate to approve an abortion. In one of the last scenes the main character, when she becomes aware that she has been infected with syphilis, she overreacts at it and crawls all around the place. I understand that it most be shocking to find out about it, but the scene was exaggeratedly overacted.
The film is supported, however, by great and believable acting in general (except, of course, for the scene explained above), no matter how useless some characters might be. Also, in regards to directing techniques, the film is neither riveting nor dreadful; it is actually a nicely done film.
I would recommend people who would be willing to watch this film to only do so if they are honestly interested in immersing in Naruse's filmography; otherwise this might be a great disappointment not only to folk not familiarized with him and Japanese cinema as a whole, but also to those already knowledgeable in the field.
My score: 6.3/10
White Beast is a film directed by Mikio Naruse, an unsung director outside Japan, but greatly appreciated by fans of Japanese cinema. I wouldn't venture to say this film is one of his most revered efforts, though. (The lack of any reviews firmly backs up my statement.) Furthermore, there doesn't seem to be many prints of this film.
The main theme of the film mostly focuses on the daily life inside a women's prison, whereby Japanese society attempted to reform prostitutes. The main and only activity the women had to perform was sewing. As a main character there is a somewhat conceited, arrogant lady who tries to seduce the chief of, if I may name it like that, the rehabilitation center. As a secondary character we have said chief (So Yamamura) trying to run things right inside the center, so that the women allegedly learn how to work honorably, in an otherwise discriminating society against prostitutes (not that nowadays it is not a frowned upon activity). Then there is the doctor of the center, a woman whose role is not really clear to me, as it adds little to no importance to the main plot.
Becoming tiresome on some occasions, ranging from interesting to uninteresting scenes and commentaries, the film kind of disappoints and fails at whatever it was supposed to convey. On the one side, we have the main character whose actions are childish at times, and that is not quite certain as to what role is correct to take in society; on the other side, we have the righteous and kind chief who apparently does his best to help the women, but that wouldn't in anyway hesitate to approve an abortion. In one of the last scenes the main character, when she becomes aware that she has been infected with syphilis, she overreacts at it and crawls all around the place. I understand that it most be shocking to find out about it, but the scene was exaggeratedly overacted.
The film is supported, however, by great and believable acting in general (except, of course, for the scene explained above), no matter how useless some characters might be. Also, in regards to directing techniques, the film is neither riveting nor dreadful; it is actually a nicely done film.
I would recommend people who would be willing to watch this film to only do so if they are honestly interested in immersing in Naruse's filmography; otherwise this might be a great disappointment not only to folk not familiarized with him and Japanese cinema as a whole, but also to those already knowledgeable in the field.
My score: 6.3/10
Reformation
boblipton1 September 2019
Sô Yamamura is the head of an institute for treating and reforming prostitutes. The 'White Beast' is syphilis, a disease which understandably terrifies the inmates. Over the course of the movie, one goes mad from tertiary syphilis, another is diagnosed with it, and one finds out she is pregnant and insists on having the baby. Yamamura and his staff treat the girls compassionately, trying to deal with their conditions, medical and spiritual and maintain a positive, uplifting, professional attitude throughout.
Director Mikio Naruse makes fine use of the techniques of storytelling to offer the problems in context -- that's why one of the girls is terminally syphilitic, while one is newly diagnosed; it allows the movie to show the stages of the disease almost simultaneously. However, the movie is more didactic than story. It is Augustinian in its philosophy, holding that sin arises from error, rather than nature. It presents prostitution as a problem that can be solved humanely, and not by lecturing people on right and wrong and insisting that people who do bad things can change, repair themselves, and become good people. The movie never indicates that it is easy, but that it is possible.
Director Mikio Naruse makes fine use of the techniques of storytelling to offer the problems in context -- that's why one of the girls is terminally syphilitic, while one is newly diagnosed; it allows the movie to show the stages of the disease almost simultaneously. However, the movie is more didactic than story. It is Augustinian in its philosophy, holding that sin arises from error, rather than nature. It presents prostitution as a problem that can be solved humanely, and not by lecturing people on right and wrong and insisting that people who do bad things can change, repair themselves, and become good people. The movie never indicates that it is easy, but that it is possible.
social problems and "sensationalism"
kekseksa3 March 2018
Naruse is sometimes accused in this film of confusing a social problem with a sensational issue in the manner of a so-called "exploitation" film . But this begs he question concerning what is the social problem (I assume prostitution) and what the sensational subject (I assume venereal disease). But prostitution per se, never a taboo subject in Japan, was not necessarily considered a social problem and the social problem being considered here is precisely that of venereal disease, the danger of which was increased by exactly the kind of non-traditional forms of prostitution that became common in the wartime and postwar period.
In ordinary times the problems of venereal disease are frequently overlooked although i practice diseases like syphilis and gonorrhea remain as common as ever. The exception is during times of war, when they become particularly widespread (and represent a threat to the efficiency of the armed forces).
Even in puritan USA this "sensational" subject was treated, exceptionally, as a serious problem as early as 1919 (post-war in exactly the same way as Naruse's film) in the film The End of the Road , which is in fact very similar in many ways, to Naruse's 1950 film (although a shade more hysterical about the gruesome effects of syphilis) and was actually sponsored by the US army.
This is not really Naruse's natural style nor really what he does best but Naruse attempted after the war in several films to engage with social issues in a less detached way than he had done in his much better pre-war films. Personally I can respect the effort but much prefer the rather cool, anti-sentimental (but not necessarily cynical) style of his earlier films. However, Floating Clouds (1955), another take on postwar problems is said to be Naruse's most popular film in Japan.social problems and sensational issues
Even here however he shows a typical unwillingness too take tragedy too tragedy so that his consideration of a problem that might have been sensational is anything quite the reverse (even compared to the officially sponsored 1919 US film).
His real return to form, however, comes for me with the film Nagareru/Flowing in 1957, a rather different take on Japanese postwar problems (as seen from the perspective of a rundown geisha house), beautifully acted by a dream cast (largely feminine), wonderfully filmed and told in a much more typically Narusian tone of wry irony.
In ordinary times the problems of venereal disease are frequently overlooked although i practice diseases like syphilis and gonorrhea remain as common as ever. The exception is during times of war, when they become particularly widespread (and represent a threat to the efficiency of the armed forces).
Even in puritan USA this "sensational" subject was treated, exceptionally, as a serious problem as early as 1919 (post-war in exactly the same way as Naruse's film) in the film The End of the Road , which is in fact very similar in many ways, to Naruse's 1950 film (although a shade more hysterical about the gruesome effects of syphilis) and was actually sponsored by the US army.
This is not really Naruse's natural style nor really what he does best but Naruse attempted after the war in several films to engage with social issues in a less detached way than he had done in his much better pre-war films. Personally I can respect the effort but much prefer the rather cool, anti-sentimental (but not necessarily cynical) style of his earlier films. However, Floating Clouds (1955), another take on postwar problems is said to be Naruse's most popular film in Japan.social problems and sensational issues
Even here however he shows a typical unwillingness too take tragedy too tragedy so that his consideration of a problem that might have been sensational is anything quite the reverse (even compared to the officially sponsored 1919 US film).
His real return to form, however, comes for me with the film Nagareru/Flowing in 1957, a rather different take on Japanese postwar problems (as seen from the perspective of a rundown geisha house), beautifully acted by a dream cast (largely feminine), wonderfully filmed and told in a much more typically Narusian tone of wry irony.
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