Only on Mondays

In the thought-provoking 1964 drama Only on Mondays, we are introduced to Yuka, a spirited “good-time girl” from Yokohama who navigates the complexities of her identity within a patriarchal society. Persuaded by her father, Yuka is thrust into an uncomfortable situation where she must seduce a foreign business executive to help him close a crucial deal. This arrangement serves as a catalyst for a deeper exploration of her character, revealing the emotional turmoil and moral dilemmas faced by women in a rapidly changing post-war Japan. The film adeptly captures the tension between personal agency and societal expectation, showcasing Yuka’s struggle to assert her independence while also grappling with the sacrifices she must make to survive.

Director Kōji Nakahira masterfully weaves themes of sexual assertiveness and exploitation throughout the narrative, presenting Yuka as a complex figure who defies traditional gender roles. While some may view her choices as a betrayal of her dignity, the film invites viewers to consider the broader implications of her actions within a society that often limits women's autonomy. As Yuka navigates her dual existence—balancing her desires with the demands placed upon her—audiences are left to ponder the price of ambition and the painful realities many women face in pursuit of their goals. Only on Mondays is not just a story about one woman's journey, but a poignant commentary on the evolving dynamics of gender and power in a world still clinging to old norms.