IDFA 1990
The Making of a Prostitute
Karayuki-san
Imamura Shohei
Japan
1973
90 min
n.a.
Kikuyo, a Japanese teenage girl in the first decade of this century, accepts the invitation to come to Malaysia. She arrives in Singapore and discovers the deception of the offer: she is expected to work as a prostitute in a Japanese brothel. She is forced to take in her first customer.
After World War I, Kikuyo obtains her freedom: only in 1919, the Japanese consulate prohibits prostitution in the Japanese brothels of Malaysia. Now, she is free to marry, but her first marriage with a photograper fails. The second marriage lasts for even a shorter while because her husband suddenly dies. She never returned to Japan.
At the time of the film being shot, Kikuyo seems to be happy in the house that she shares with her stepson and his wife. Imamura Shohei interviews Kikuyo, who has then turned seventy, in order to shed light on the miserable situation of the Japanese prostitutes in this century. Kikuyo clearly remembers the details of her life in the foreign brothel and talks nineteen to the dozen. In no way does she express the wish to return to her homecountry. In contrast to other Japanese 'karayuki-san' Imamura visits, Kikuyo does not feel a bond with Japan.
Imamura becomes so fascinated by her striking past and present opinions that he pays a visit to the former brothel and films every corner of the now delapidated house. He even goes to the small village near Hiroshima to see Kikuyo's native land. He discovers that this village had been completely shut off from the neighbouring communities in her youth. The villagers were considered 'outcasts'. Imamura believes to have found the cause of her aversion to Japan.
When Imamura has returned, an acquaintance tells him that Kikuyo is not happy at all with her present situation, but sees no better alternative. She is maltreated by her stepson and his wife, who abuse her and want her to leave.
Kikuyo takes Imamura along to the graves of 'karayuki-san' who died young. The filmmaker films the sad woman in the magnificent tropical scenery, in the midst of her deceased friends.
After World War I, Kikuyo obtains her freedom: only in 1919, the Japanese consulate prohibits prostitution in the Japanese brothels of Malaysia. Now, she is free to marry, but her first marriage with a photograper fails. The second marriage lasts for even a shorter while because her husband suddenly dies. She never returned to Japan.
At the time of the film being shot, Kikuyo seems to be happy in the house that she shares with her stepson and his wife. Imamura Shohei interviews Kikuyo, who has then turned seventy, in order to shed light on the miserable situation of the Japanese prostitutes in this century. Kikuyo clearly remembers the details of her life in the foreign brothel and talks nineteen to the dozen. In no way does she express the wish to return to her homecountry. In contrast to other Japanese 'karayuki-san' Imamura visits, Kikuyo does not feel a bond with Japan.
Imamura becomes so fascinated by her striking past and present opinions that he pays a visit to the former brothel and films every corner of the now delapidated house. He even goes to the small village near Hiroshima to see Kikuyo's native land. He discovers that this village had been completely shut off from the neighbouring communities in her youth. The villagers were considered 'outcasts'. Imamura believes to have found the cause of her aversion to Japan.
When Imamura has returned, an acquaintance tells him that Kikuyo is not happy at all with her present situation, but sees no better alternative. She is maltreated by her stepson and his wife, who abuse her and want her to leave.
Kikuyo takes Imamura along to the graves of 'karayuki-san' who died young. The filmmaker films the sad woman in the magnificent tropical scenery, in the midst of her deceased friends.
Credits
Director
Cinematography
Narrator
Production