The third film that Naruse made in 1950, White Beast (Shiroi yaji, 1950), was described by Kinema Junpo critic Tsumura Hideo three years later as "so indescribably miserable as to haunt me even today." Tsumura represents the bulk of Japanese critics of the time, who felt that Naruse experienced a terrible slump throughout the 1940s and this film seemed to be the "bottom of the ...$成濑的女子监狱片，《白い野獣》这名字起的要不要这么霸气呀。The main theme of the film mostly focuses on the daily life inside a women's prison, whereby Japanese society attempted to reform prostitutes. The main and only activity t...$打架、色诱、自杀，梅毒导致精神病发……多角度全方位突破了标准成濑女性电影的行为尺度与情绪极限，却又较为符合风化改造这一特定敏感题材所应承载的情节要求。立新而不违和。只是整体观感尚不及那部同年次同题材作品铁窗红泪。还是1950年，日本影坛问世过另一部结尾以婴儿寓意希望的作品——罗生门。$竟然是监狱题材，跳舞那段很有意思，不自觉想起了监狱风云，成濑少有的类型片，不过依然是女性视角$三星半//成濑对女性题材的专注实在是好看 从各种角度入手观察似乎都游刃有余 在监狱这样较为狭窄的空间里描绘各色形象 这里的女性形象感觉上比成濑其他作品中的更有烟火气//“改造”这个词就很微妙 以及 打架抓头发还真是普世招数$女性・貞操・体など。和我们研的一学姐的课题挨一个道德观念的边了。所以女たちは白い野獣なの。（女医生👩⚕️好高帅啊？）
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