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Their work in progress was shipped to France where the film could be processed without fear of criminal prosecution. The cast and crew had to work in secrecy and were not permitted to even view daily rushes, as developing the film in Japan would have been an illegal act. Oshima had no intension of following such laws and wanted to remain true to the story and its explicit characteristics. The modest success of his films in France prompted a unique relationship with producer Anatole Dauman at Argos Films, who had previously worked with notable filmmakers including Jean-Luc Godard.Ĭensorship laws in Japan at the time of filming were notably strict when dealing with nudity and directors had to overcome such confines through inventive lighting, camera angles and item placement. After a prolific decade, Oshima had removed himself from the Japanese studio system and the influential Arts Theatre Guild. Previously known for seminal films such as Death by Hanging, Naked Youth and The Sun’s Burial all of which I’ve discussed in earlier Eastern Promise entries Oshima was forthright in his views.įor Nagisa Oshima, In the Realm of the Senses marked a return to film making after several years in the wilderness. In comparison Nagisa Oshima was a serious director, confident to tackle issues of the day and thereby challenge authorities and the issue of censorship. Teruo Ishii is known for his work in the Pink genre and general exploitation themes, as can be seen in my earlier piece on ‘Inferno of Torture’. Working in Tokyo for several decades she slowly slipped away from the public eye, but not before appearing in Teruo Ishii’s History of Bizarre Crimes by Women.
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The case and Sada herself unsurprisingly gained notoriety in Japan, becoming the focus of several books including her own autobiography. Convicted for second degree murder and mutilation of a corpse, she served only five years having been pardoned by the Emperor. It is based on the true story of 1930’s Tokyo prostitute Sada Abe who strangled her lover and then castrated him. This premise is nothing new but it was the first film to truly show the intimacy of such a relationship and the extreme spiral that ensues.
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In the Realm of the Senses is a classical toxic love affair that engulfs both participants and binds them together in a vicious circle that can only be broken through extreme measures. However with Studio Canal releasing the film uncut in the UK on Blu-ray, it seemed an appropriate moment to return to a challenging and provocative film that I hadn’t seen in several years. That is an entirely different debate and not one for this column. Even today it crosses the boundaries of what many deem acceptable in cinema and is often (wrongly) seen as little more than hardcore pornography.
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To be frank In The Realm Of The Senses wasn’t a film that I was really intending to cover in Easter Premise this early into our journey. Remove the unsimulated aspect and you’re left with a film that would proudly sit on many directors’ filmographies. Along with the graphic ‘Guinea Pig’ series, these were the only Asian representatives on my dealers list and both polar opposites. The production standards were impressive particularly the cinematography which still stood out on a murky transfer and confirmed this was more than another entry in the thriving 70’s pornography genre which was breaking into the mainstream. Even back then it was an oddity, being French financed but created by an entirely Japanese crew and cast. This is where I first stumbled across the film amongst an ocean of Italian exploitation, dubious ‘uncut’ offerings and third generation copies. Although shown under strict private member club conditions upon its release in the UK, its general unavailability and scenes of unsimulated sex played into the hands of VHS bootleggers who prospered on such reputations. The common misconception is that Nagisa Oshima’s infamous Ai no Korida (UK title In the Realm of the Senses) was one of the films caught up in the inaugural video nasty list in 1983.