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In the Realm of the Senses (1976) [The Criterion Collection #466] [ReUp]

Posted By: Someonelse
Date: 7 Mar 2015 14:08:00
In the Realm of the Senses (1976) [The Criterion Collection #466] [ReUp]

In the Realm of the Senses (1976)
DVD9 | ISO | NTSC 16:9 | 01:42:20 | 7,90 Gb
Audio: Japanese AC3 1.0 @ 192 Kbps | Subtitles: English
Genre: Drama, Romance | The Criterion Collection #466

Director: Nagisa Oshima
Stars: Tatsuya Fuji, Eiko Matsuda, Aoi Nakajima

Still censored in its own country, In the Realm of the Senses (Ai no corrida), by Japanese director Nagisa Oshima, remains one of the most controversial films of all time. A graphic portrayal of insatiable sexual desire, Oshima’s film, set in 1936 and based on a true incident, depicts a man and a woman (Tatsuya Fuji and Eiko Matsuda) consumed by a transcendent, destructive love while living in an era of ever escalating imperialism and governmental control. Less a work of pornography than of politics, In the Realm of the Senses is a brave, taboo-breaking milestone.

IMDB | Criterion | DVD Beaver | Wikipedia

Shocking in its graphic sexual content and riveting in its portrayal of passion run amok, Nagisa Oshima's brilliant, notorious Ai no Korrida is a cinematic landmark. No film up to that time had seriously explored the potent gray area between art and pornography; in so doing, Oshima exposed and overturned many of the conventions of both. Like vintage Luis Buñuel, Oshima skewers expectations of "proper" art by shocking the audience; instead of Buñuel's slashed eyeballs and cross-dressing lepers, Ai presents the viewer with the actual act of sex. Oshima also exposes the voyeurism inherent in both pornography and cinema in general: virtually every sex scene (and there are many) is either witnessed by a third party or photographed through a window, so that the audience itself feels like a witness. Moreover, Oshima overturns heterosexual pornography's prevailing convention of women's serving men by having Ai's female protagonist dominate her willingly submissive lover.

In the Realm of the Senses (1976) [The Criterion Collection #466] [ReUp]

This story was based on a sensational true tale in which an ex-prostitute turned maid wandered the streets of Tokyo, clutching the dismembered organ of her lover after a particularly ecstatic round of lovemaking. She was quickly elevated into a folk heroine for Japan's nascent feminist movement, and least two other films based on her were made: Noboru Tanaka's masterful Jitsuroku Abe Sada (1975) and Nobuhiko Obayashi's post-modern Sada (1998). In Ai, Oshima focuses on how Sada and her lover and boss Kichi transgress all social conventions, from the hierarchical relationship between servant and master to even the distinction between male and female (Kichi at one point wears a woman's kimono and, by the film's end, Sada has a penis).

In the Realm of the Senses (1976) [The Criterion Collection #466] [ReUp]

Though Ai no Korrida can be viewed as part of the pinku eiga genre that was quite popular in Japan at the time, its graphic sexual content sparked a number of landmark censorship lawsuits. Sadly, it has never been seen in its native country in its unexpurgated form, though the film did garner much acclaim abroad and cemented Oshima's international reputation as one of Japan's master filmmakers. Though it has accured the musty-sounding title "film classic," Ai no Korrida has lost none of its subversive power to incite, offend, disturb, and arouse.
Jonathan Crow, Rovi
In the Realm of the Senses (1976) [The Criterion Collection #466] [ReUp]

The story strictly revolves around the relationship between maid Sada Abe (Eiko Matsuda) and her “master”, playboy Kichizo (Tatsuya Fuji). Sada initially spies Kichizo making love to his wife Toku (Aoi Nakajima). He later seduces her, perhaps intrigued by her past dalliances as a prostitute, and they plummet into a love affair. They make love constantly, eventually retreating to an inn where they can spend all their time together.

Their world is totally defined by sensual pleasures and they become emaciated from lack of any other sustenance. In order to maintain an intense level of involvement they pursue kinkier acts including public sex, S&M, and sex with an elderly geisha. Eventually this leads to a game of choking. When Kichizo is no longer able to become aroused he lets Sada choke him to death saying, “Don’t worry about me only worry about enjoying yourself.” She then cuts off his penis.

In the Realm of the Senses (1976) [The Criterion Collection #466] [ReUp]

Incredibly, In the Realm of the Senses is based on a true events that happened in Japan in 1936. The real Sada became something of a folk hero in her country and only served four years on a six-year sentence because of it. In a documentary that Criterion includes with this release, it is implied that Sada’s individuality appealed to the Japanese public at a time of militarized conformity. (It also points to a relationship between death and sex in Japanese culture that I, frankly, don’t understand and won’t attempt to interpret.)

In the Realm of the Senses (1976) [The Criterion Collection #466] [ReUp]

In his film Oshima uses Sada’s story to explore the couple’s relationship as contrasted with Japanese society. At the beginning, groups of characters representing societal figures are frequently shown mocking individuals, such as an old drunk. Glimpses of rising sun Japanese flags place the events in the historical context of a war time Japan becoming increasingly brutal and homogenized. Later, the workers at the inn frequently chastise the couple for their lewd behavior, calling them perverts. As individuals these same workers frequently spy on them, out of jealously, fear, or arousal. In a crucial scene that makes this theme explicit (the only scene that isn’t about sex) Kichizo walks defiantly down a street past a group of marching soldiers.

In the Realm of the Senses (1976) [The Criterion Collection #466] [ReUp]

Criterion includes an interview conducted with actor Tatsuya Fuji who says that Oshima had wanted to cut this scene but he insisted on its inclusion. Fuji interpreted it as the soldiers were marching to their collective destruction while Kichizo walks in the opposite direction, indifferent to them. Fuji does not say that Kichizo is also heading towards his destruction, even if he chooses it as an individual and is conscious of the consequences.

Kichizo and Sada enter their “realm of the senses” as an act of rebellion and self-exclusion from the outside world, but their private world of sex is as unsustainable as the society of war that they are rebelling against. This is the ultimate tragedy of the film and it spins the pared down story into myriad thematic complications of sex, politics, class, and gender.

In the Realm of the Senses (1976) [The Criterion Collection #466] [ReUp]

As quoted in Donald Richie’s A Hundred Years of Japanese Film Oshima once said, “I’m very self-indulgent. I like to do extreme things—the more enthusiastic I am, the more extreme my technique becomes.” His decision to have his actors actually engage in sex gave the film’s politics real-life resonance. Like Sada and Kichizo, the film as an entity experiments with what happens when one places oneself outside the accepted norms of a conformist society.

What happens is that society labeled the film as pornographic and against the laws of decency. The film was banned in many countries and still cannot be legally shown in its entirety in Japan. (There are additional real life resonances as well. The actress Matsuda was shunned for playing the part of Sada and has since lived the majority of her life in France.)

In the Realm of the Senses (1976) [The Criterion Collection #466] [ReUp]

But while watching In the Realm of the Senses, one is struck by how far from pornography the film actually is. In an essay included with the booklet Richie analyzes how the movie is determined in its aesthetics not to be pornography. The camera angles are never intrusive. Oshima uses long takes that impassively observes the action from eyesight level. “We cannot objectify them because we have subjectively seen that our similarities make us identical.” It is clear that Oshima meant to provoke, but not titillate the audience.

Pornography is so widely available now that it is hardly provocative, but the issue of obscenity and the effects on whom and what we label as being forbidden is still a powerful issue in society because it has the power to alienate us from ourselves and each other. It’s the reason In the Realm of the Senses still has such remarkable resonance.

In the Realm of the Senses (1976) [The Criterion Collection #466] [ReUp]

Oshima was primarily a political filmmaker and a film essayist in the style of Jean-Luc Godard and Peter Watkins. Political essayists don’t create a lot of warmth in the relationship with their audience and they tend to date themselves. It is perhaps because of this that Oshima’s films have not been discussed much outside academic criticism and have not been made available on DVD.

In the Realm of the Senses (1976) [The Criterion Collection #466] [ReUp]

However, his work is starting to be revived. The New York Film Festival ran a retrospective of his work last year and the Cinematheque Ontario has curated a touring series of his films that just finished playing at the Brooklyn Academy of Music. In the Realm of the Senses is one of his more outré films, but given the salability of its sex (where legal), it has been the most available. Here’s hoping Criterion plans to release some of his other works, which on the whole are so calmly realized beneath their provocative surface that they contain a more timeless universality that deserves to be made widely available for discovery.
Michael Buening , PopMatters
In the Realm of the Senses (1976) [The Criterion Collection #466] [ReUp]

Disc Features:
• New, restored high-definition digital transfer
• New audio commentary with film scholar Tony Rayns
• New interview with actor Tatsuya Fuji (17:16)
• A 1976 interview with director Nagisa Oshima and actors Fuji and Eiko Matsuda (5:39), and a 2003 program featuring interviews with consulting producer Hayao Shibata, line producer, Koji Wakamatsu, assistant director Yoichi Sai, and film distributor Yoko Asakura (38:47)
• Deleted footage (6 scenes - 12:19)
• U.S. trailer (2:19)
• New and improved English subtitle translation

All Credits goes to Original uploader.

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