Oshima Nagisa

[Steven H]

I've recently been introduced to a few of this director's films, and the more I see the more I like.

Most recently viewed Hakuchi to Torima (Floating Ghost in Broad Daylight, or as it's internationally known, Violence at Noon (I much prefer the former, a more literal translation, according to Desser)) by Oshima Nagisa (1966). Probably my favorite Oshima film yet. Beautiful cinematography, and an excellent mystery/melodrama by this (usually) overtly political director (many comparisons to Godard usually follow his name.) His frame never misses it's mark in this, and it's fluiditiy complements the fragmented editing style * perfectly*. I have to admit, the first time I viewed this film I didn't think too highly of it, but something must have changed in me because I loved every second of it this time. Maybe the editing threw me a bit, I've been enjoying more "long take" films lately (I've been meaning to pick up the Panorama Night and Fog in Japan which is supposedly more oriented towards the long take.)

The story is fairly complex, but I'll try and pair it down to the basics. A small village (the use of which deconstructs much of the Japanese small town mystique) and two couples form a strange relationship which ends in suicide, serial murder, infidelity, post mortem rape (off screen, strangely this film avoids anything remotely explicit, other than a single shot of an exposed pair of breasts, only for checking for a heartbeat). The internal struggles of these characters are laid bare before the camera in a way few films can boast. The two female characters, Shino and Matsuko (played by Oshima's wife Koyama Akiko) are both in love and hate with Matsuko's husband Eisuke (Sato Kei, who Criterion DVD fans might recognize from Kwaidan, Onibaba, and Sword of Doom, and I only recognized (at first) from Teshigahara's Pitfall.)

The plot is fragmented chronologically, and there is much play with repetition in editing and dialogue. Some of the most beautiful shots in the film are the most repetitive, concerning a night walk that Shino and Matsuko take together (after they've realized their many connections which revolve around Eisuke and Shino's late husband, who commited suicide.) The camera let's each pass by, from right to left, just long enough (in some cases * not* long enough) to let them say a few words. These are intercut together which produces an effect of a rapid fire conversation that's visually stimulating, compared to the usual tracking shot down a sidewalk that's usually used for scenes like this. The effect is much more intimate. There is another instance of Oshima “spicing upâ€

[Gregory]

I haven't had the chance to view any of his 1960s films, unfortunately, and your comments made me want to do so even more. Do you know whether any of the DVDs of his they have at YesAsia (e.g. Naked Youth or Night and Fog in Japan) are worth buying?
Also, I've recently been trying to find the time to read The Films of Oshima Nagisa: Images of a Japanese Iconoclast by Maureen Turim. It's been remaindered and can be found for $3-$5 plus shipping online.

[Lino]

I've only seen 4 of his films - Empire of the Senses, Empire of the Passions, Merry Christmas Mr. Lawrence and Taboo aka Gohatto - although I would love to see the ones Steven mentioned. Guess I'll wait a little more until someone in the US starts releasing them.

From the four I've seen, Empire of the Passions is the one that has made a more lasting impression on me as it has all the right elements that I look for in a film: great cinematography (in this case, it's gorgeous), brilliant soundtrack (one of Toru Takemitsu's finest scores and my personal favorite of his), competent acting (the two leads are on top form) and an intriguing story.

It's curious to note that this film forms a kind of dyptic with the previously made Empire of the Senses (easily his most recognizable film and a touchstone of his filmography), in that they both focus on the arguable dangers of getting lost in the pleasures that the flesh can give you or getting too wrapped up in love that your whole existence revolves around it (at least, that's my take on them). This also seems to be a recurring theme on his work and Gohatto seems to explore to some extent part of this philosophy while at the same time bringing back some of the themes explored in Merry Christmas(...): those of the abuse of authority and the absurdity of war and military rankings.

I'm somewhat curious about his Max mon Amour who is available in the UK - any comments on this one?

[iangj]

I haven't had the chance to view any of his 1960s films, unfortunately, and your comments made me want to do so even more. Do you know whether any of the DVDs of his they have at YesAsia (e.g. Naked Youth or Night and Fog in Japan) are worth buying?
Also, I've recently been trying to find the time to read The Films of Oshima Nagisa: Images of a Japanese Iconoclast by Maureen Turim. It's been remaindered and can be found for $3-$5 plus shipping online.

The Panorama DVDs of Night and Fog in Japan and Street of Love and Hope are both worth getting. I've always loved Night and Fog as a film - complex, intricate, with a fantastic long take/moving camera aesthetic.

I guess Naked Youth is the Hong Kong VCD - a cheap but hardly satisfying way of getting to see the film.

The first Oshima films I saw, many years ago, were Diary Of A Shinjuku Thief and The Ceremony, both very impressive but light years apart from one another in style. Diary is sixties-style radical politics/sex youth cinema; The Ceremony is an anti-Ozu deconstruction of the Japanese family, patriarchy and male identity. I'd love to see a Ceremony DVD.

[Gregory]

Can anyone shed light on what happened to the R1 rights to most of New Yorker's Japanese Masters series of VHS releases? There were quite a few Oshimas and Mizoguchis, and other films I'm not sure from which company or companies to expect DVD releases.

[Steven H]

I haven't had the chance to view any of his 1960s films, unfortunately, and your comments made me want to do so even more. Do you know whether any of the DVDs of his they have at YesAsia (e.g. Naked Youth or Night and Fog in Japan) are worth buying?
Also, I've recently been trying to find the time to read The Films of Oshima Nagisa: Images of a Japanese Iconoclast by Maureen Turim. It's been remaindered and can be found for $3-$5 plus shipping online.

I'm not sure about the quality of the Panorama Night and Fog in Japan, and Town of Love and Hope, but if Iangj doesn't think they're horrible, I'm sure they're adequate for film appreciation. I would half-heartedly suggest looking into the Raro video release of Cruel Story of Youth and Sun's Burial. The transfers are a little washed out, but more than "watchable." But the price is a little high.

It seems that the best Oshima films have yet to reach a really broad audience. Shinjiku Theif, Ceremony, and The Man Who Left His Will On Film all sound fantastic. Actually, almost every film that *isn't* readily available sound very interesting. Funny how that worked out.

It's curious to note that this film forms a kind of dyptic with the previously made Empire of the Senses (easily his most recognizable film and a touchstone of his filmography), in that they both focus on the arguable dangers of getting lost in the pleasures that the flesh can give you or getting too wrapped up in love that your whole existence revolves around it (at least, that's my take on them).

I have to admit, I've never seen Empire of Passion or In The Realm of the Senses (neither have ever sounded too interesting), but I'll be sure and rent or buy them soon. It will take some convincing for me to go too far out of my way for Max mon Amour...

Though I haven't seen the films, David Desser (from his book Eros Plus Massacre, which I stronly suggested in the "books on film" thread) basically says that In the Realm of the Senses mixes the sexual with the political (probably the central motif of Oshima's work), and that by practicing the ritual of lovemaking they are reenforcing the status-quo, and therefore are not truly liberated. It renders them helpless in the face of persecution. Again, I'm paraphrasing, and have little context, but you might find it useful (as it's mostly agreeable with your take.)

The first Oshima films I saw, many years ago, were Diary Of A Shinjuku Thief and The Ceremony, both very impressive but light years apart from one another in style.

From what I've gathered, Oshima attempted many varied and differing styles, which follows from his apparent line of thinking in In The Realm of the Senses, that repetition (sounds like Ceremony more than resembles this) pulls you back into the status-quo. Maybe he was right, I'm not sure, but it makes for a very interesting filmography.

Can anyone shed light on what happened to the R1 rights to most of New Yorker's Japanese Masters series of VHS releases? There were quite a few Oshimas and Mizoguchis, and other films I'm not sure from which company or companies to expect DVD releases.

I think I remember it being mentioned somewhere that NYer *does* own the rights to a few Oshima, but which specifically I'm not sure. Probably most of those Video rights lapsed.

[zedz]

I find it really frustrating that Oshima's most fertle period, in the mid- to late-sixties, is so hard to see. I've seen Shinjuku Thief several times and it's one of the most formally startling and intriguing films of the decade, but reading about his other films of the period makes it clear that the director was striking out in all sorts of different directions at the same time. The basic description of many of these films make them sound like nothing I've ever seen (which is certainly true of Shinjuku Thief).

Cruel Story of Youth and The Sun's Burial are really interesting genre films in which Oshima is clearly aching to do something more radical, and I've seen quite a few of his later films, but they've all been rather staid compared to Shinjuku Thief - yes, even In the Realm of the Senses.

Beyond its high concept, Max, mon amour is pretty disappointing. Part of the joke is that the film is developed and delivered pretty much like your standard French bedroom comedy (but the Other Man is an ape), which doesn't exactly make for exciting cinema (I think there's even some deliberately appalling back-projection scenes in there - at least I hope they're deliberate). It comes off as sub-Bunuel: one of the skits from Discreet Charm or Phantom of Liberty stretched out to feature length. I found Merry Christmas, Mr Lawrence a bit of a mess as well, and I could make out hardly a trace of the formal invention that floods Shinjuku Thief.

It's probably rash to generalise on the basis of my patchy familiarity with his work, but here's a hypothesis that the rest of you might be able to test:
In the sixties, Oshima was tackling radical content and matching it to radical form; later in his career, he was still tackling radical content (if there's one recurrent motif of his work, it seems to be the breaking of taboos), but in cinematic forms that were far more classical and conventional.

Any thoughts on this?

By the way, I second Steven H's recommendation of the book Eros Plus Massacre, but it's an extremely frustrating read: so many incredible-sounding films, so few opportunities to see them!

[Steven H]

I find it really frustrating that Oshima's most fertle period, in the mid- to late-sixties, is so hard to see. I've seen Shinjuku Thief several times and it's one of the most formally startling and intriguing films of the decade, but reading about his other films of the period makes it clear that the director was striking out in all sorts of different directions at the same time. The basic description of many of these films make them sound like nothing I've ever seen (which is certainly true of Shinjuku Thief).

The few times I've seen Death By Hanging have been inspiring. It's a very dense film, but I'll have to watch it again before I write anything about it. Shinjiku Thief sounds fantastic, but hard to find a subtitled copy. Maybe a bootleg will crop up someday, but for now I believe there's an unsubbed Japanese disc (I don't think I would advise unsubbed Oshima for anyone but the most adventurous.)

By the way, I second Steven H's recommendation of the book Eros Plus Massacre, but it's an extremely frustrating read: so many incredible-sounding films, so few opportunities to see them!

I enjoyed the book so much I bought the (expensive) R2 DVD of the Yoshida film that bears its name. Recieved the set today, actually, and it looks stunning. I can't imagine any Japanese film fan watching five minutes of a Yoshida film and saying "I'm not crazy about this."

Suzuki is probaby the most well represented Japanese New Wave director in the west. There are a number of Japanese releases of Oshima, Imamura, and Yoshida films without subtitles, and quite a few Shinoda, Matsumoto, and Teshigahara *with* subs. Wakamatsu and Hani seem to be completely missing, for now, and there are large gaps for most of the previously mentioned artists. I believe the slow discovery of this era's filmmaking will make a lot of people happy.

[viridiana]

So, after months of being haunted and stalked by Nagisa Oshima (long story), I finally buckled down tonight to watch both In the Realm of the Senses and Cruel Stories of Youth.

The former, while definitely well-made and while I understand why it was made, didn't precisely 'click' with me. It's definitely interesting, in the very least, for the simple fact that it was made to alienate Japanese audiences with its crude suckerpunchin' subject matter (and, from what I understand, did not fail), but it still feels lacking in the end. Certain scenes drag on way too long giving the aforementioned word of alienation an entirely new meaning. Not a bad film, but certainly not one I'll return to over and over again. Oh, and the Fox-Lorber DVD is complete and utter shit, but I digress.

Cruel Stories of Youth, on the other hand, I completely adore. The characters are completely engaging, and I never really felt otherwise throughout the entire film. Oshima truly has voice and its presentation here is completely marvelous, especially considering it is his first film. I also can't mention this film without mentioning the beautiful, if a bit shaky at times, cinematography. Each shot in the film is breathtaking and truly inspiring.

So, I'm definitely aching for some more Oshima films. I'm thinking of going with The Sun's Burial or Night and Fog in Japan next. Any suggestions?

[shirobamba]

considering it is his first film

It´s his second. He made "The Town of Love and Hope" the year before (1959).

the beautiful, if a bit shaky at times, cinematography

It´s sort of a trade mark of the 60´s New Wave to use cinemascope + handheld camera. Part of it is a formal way of critique of the static tableaus of the classics (Ozu, Mizoguchi, Kurosawa). The intention is to subjectivize the point of view. The camera eye almost becomes another character, stressing the dynamics of change (assotiated with youth), critisizing the (socio-political) status quo , that was upheld by the transcendental style of the classics.

[Steven H]

I managed to watch Oshima's Ceremonies and The Man Who Left His Will On Film recently and i'm completely stunned. How such different films could be made so near to one another is remarkable. I feel like I'm going to be digesting them for some time, and I'm also pretty close to feeling like 60s Oshima ranks with the best cinema has to offer. Both of their Takemitsu scores are suited to the film, and great in their own right.

Ceremonies is about the decline of an influential Japanese family (the Sakurada clan), and in some ways resembles some of Ozu's later home dramas, though shows much of what Ozu would have *usually* ellided (ceremonies, sexuality, confrontations, the last two of which there are exceptions, but I'm not too interested in debating whether Oshima was *right* about Ozu or not.) Where Ozu would mock father figures with lighthearted jabs (again, usually) at them being out of touch, or ineffectual, Oshima stabs at them fiercely (much like the hot-headed Terumichi of the film.) Sato Kei is fantastic as the head of the Sakurada clan, and a number of other actors I recognise from Death By Hanging turn in excellent performances. About the ending...

SpoilerShow

I think Oshima explicitly condemns Masuo by having him revert back to childhood, and sympathizes and/or identifies with Terumichi for making the ultimate sacrifice in the name of destroying the "family".

It is said that there are biographical parallels between some of the characters in this film and Oshima, and I think he is working out some of his demons (after being disillusioned/dissapointed by the lack of energy in post-1968 student rebellion). I connected with this film as a drama, and the color cinemascope cinematography was beautifully lit and gorgeous to look at.

How many names is Tokyo Sense Sengo Hiwa known by? I count at least five. The Japanese title, previously mentioned, it's direct translation, A Secret History of the Post-Tokyo War, it's initial US exhibition title He Died After the War, The Battle of Tokyo (or The Battle of Landscapes, though I'm not sure where exactly those came from) and the subtitle (also paraphrasing the name of the film it's loosely based on) The Man Who Left His Will On Film (which Oshima said described the film perfectly.) It's entirely appropriate that this film have so many names, as it's so many *things* at once. A lament for the decline in activism (or more aptly, activism that really means something), a film about film, and a film about the director (these three *at least*, though more meanings about self-expression, political affiliations, personal relationships, perception, death, and who knows what could also be equally true.)

The first two times I viewed it, I appreciated on the level of Film about Film (self referentiality needing the least amount of context, just the film itself.) The film begins with an act of filming, who is filming is left open (and becomes a key component of the story arc, only to be altered and left open to question throughout). Borrowing cameras, filming, viewing films, and contemplating cinema art dominate the dialogue. There is a narrative structure, but it is changed, manipulated, and experimented with so often and at such levels that its constantly thrown into question. This is a film about film which operates only on "dream logic", and in this way also repeats itself without answering important questions. Whether or not what's happening is *really* happening, doesn't matter. The film says much about the pointlessness of filming landscapes, but in the end *its* a landscape all the same, with no real action. Hard to explain, and much better "said" by the film. Gorgeous full frame, flattened black and white cinematography. Whatever you have to do to see this, do it.

[htdm]

Oshima's television work is as impressive as his filmwork but nearly impossible to see. I've only seen a few but can highly recommend The Greater East Asian War, Mao Tse-Tung and the Cultural Revolution, Life of a Railway Worker, The Emperor's Forgotten Soldiers, and A Youth in Ice. But there are many, many more that are just as (or perhaps more) important.

His films are actually quite well represented on home video in Japan and now that most video stores are selling off their VHS stock you might try to find these titles before they disappear completely (if the lack of subs isn't an issue):

Kaette kita yopparai (The Drunkard Came Home, 1968)
Yunbogi no nikki (Yunbogi's Journal, 1965)

Since Drunkard was something of a cult hit (or at least that's how Shochiku tried to sell it because of the "mod" soundtrack) I hope that Shochiku will release it and have half expected it to show up on Panorama's Century of Japanese Film series.

About six years ago Pony Canyon released nearly a dozen Oshima titles on DVD in Japan. None were subbed, but all were "director-approved" and looked fantastic (OAR, etc.). Each carried an interesting disclaimer stating that the films were being presented "in their original format at the wish of the director" which turned out to mean that none were chaptered. This can be frustrating when trying to access a certain scene, but I like the idea from an aesthetic point of view. I've noticed that some of these titles have been quietly going out of print over the last couple of years so die-hard Oshima fans may want to check out YahooJapan auctions or other avenues to see if you can still get them:

Shiiku (1961)
Ninja bugei-cho (1967, animated)
Shinjuku dorobo nikki (1968)
Koshikei (1968)
Shonen (1969)
Tokyo senso sengo hiwa (1970)
Gishiki (1971)
Natsu no imoto (1972)
Ai no koriida (1976)
Ai no borei (1978)
Senjo no merii kurisumasu (1983)

Just some random comments.
I notice that no one here has mentioned Boy (Shonen) which I found to be one his more powerful films. This is probably his most extended examination of the effect of the postwar on the family unit and struck me as being extremely topical when I first saw it in the early 70s. Based on a true story about a family that traveled around Japan using its son to "fake" being hit by a car to extort money from drivers, you can immediately see connections with earlier works like Cruel Stories of Youth.

It is interesting to compare Oshima's radically different vision of Nobel-Prize winning Oe Kenzaburo's original short story, Shiiku (translated as the Catch in English). This is a film that really deserves the Masters of Cinema treatment with a comparison between both works and interviews from the artists (while they are still alive).

Finally, Summer Sister is powerful in a quiet sort of way and brings two issues into focus: the Japanese experience of the Vietnam War and the marginalized hinterland of Okinawa. Oshima has always been concerned with issues of marginalization and alienation which is one reason why so many of his films deal with disenfranchised peoples (resident Koreans, women, children, the handicapped, etc.) and of course, the War, which Oshima would argue alienated everyone. Oshima's political take on the Vietnam war makes for an interesting comparison with such other contemporary works as Teshigahara's Summer Soldier or the novels of Kaiko Ken/Takeshi like Into a Black Sun (Kuroi Taiyo).

[Steven H]

Oshima's television work is as impressive as his filmwork but nearly impossible to see.

His television work sounds interesting, but I've never come across any (or even really read about it.) Thanks for the heads up about the R2 versions of those films, I'll certainly look into it.

I have yet to see Boy, Yunbogi's Diary, or Dear Summer Sister, but hopefully that will change. I *have* seen Death by Hanging, and being familiar with that I can see/understand how deeply they might involve the "korean problem" (as I understand the former two films largely deal with.)

Very lucky that you were around to see their initial (I guess) releases. It looks like his films might be close to being forgotten.

I've been thinking a bit about the comparisons between Oshima and Godard (I think Oshima said something like "we're both political, but that's it" though I forget the exact quote.) It seems that, in my opinion, while both directors were extremely specific about what time their films take place, that where Godard (occasionally) becomes dated, Oshima's films seem to *gain* importance. The anti-Stalinism, anti-apathy, rebellion against status-quo seem vital in this time, while some of Godard's feelings about upper-middle class seem almost naive (especially in comparison.) However, Godard's hatred of commercialism is especially true now, and his films still seem "raw" and full of surprises. Oshima though, seems to have surprises hidden within surprises, waiting to pop out at any time. I can't think of any Godard film that's perplexed and intrigued me the way The Man Who Left His Will on Film has. This has been on my mind, and it may be silly to compare them (as the cultures are so incredibly different) but I do.

[shirobamba]

It is interesting to compare Oshima's radically different vision of Nobel-Prize winning Oe Kenzaburo's original short story, Shiiku (translated as the Catch in English). This is a film that really deserves the Masters of Cinema treatment with a comparison between both works and interviews from the artists (while they are still alive).

As much as I wish that this would happen, I´m sure it will not. Oshima san`s state of health has constantly detoriated since his second stroke. He´s not giving any interviews anymore, for he´s barely able to speak, and hasn´t shown in public for a long time now.

But that should not mean, that MoC should not try to release any of his films. Every one of them is worth it.

[davida2]

I think I remember it being mentioned somewhere that NYer *does* own the rights to a few Oshima, but which specifically I'm not sure. Probably most of those Video rights lapsed.

NY'er held rights to most of the 60s and pre-Realm Of Senses 70s films; those rights have lapsed. I got a "we hope to release some Oshima, but nothing is certain at this time" over a year ago from Criterion.

[zedz]

NY'er held rights to most of the 60s and pre-Realm Of Senses 70s films; those rights have lapsed. I got a "we hope to release some Oshima, but nothing is certain at this time" over a year ago from Criterion.

Well, I'll take that as a positive sign. In the meantime, Night and Fog in Japan is forthcoming from Raro Video. They're generally reliable and provide good English subtitles.

[shirobamba]

In the meantime, Night and Fog in Japan is forthcoming from Raro Video. They're generally reliable and provide good English subtitles.

That´s really good news! Now there´s hope here, that they add new translated subs, for the existing Panorama subs are mere crap.

In the meantime, Night and Fog in Japan is forthcoming from Raro Video.

Just had a little email conversation w/ Raro, and they confirmed, that
Hakuchû no Tôrima / Violence at Noon is scheduled for a January/February 06 release. Let them keep comin'!

"Night and Fog in Japan" has been released by Raro. At the time being they have a special offer at € 12,99. Ordered it, and will report back about the quality etc.

[David Ehrenstein]

Kaette kita yopparai (The Drunkard Came Home, 1968)

I believe I know that one as Three Resurrected Drunkards.It's quite something. I was lucky to have caught ascreening in New York back in the early 70's at the local Japan Society. It's about anti-Korean prejudice -- a major theme of Oshima's work at the time, also figuring in his superb Death by hanging made the same year. Three Resurreced Drunkards is based on an actual incident in which a trio of schoolboys skipped class to go swimming. Their clothes were stolen and replaced with clothes commonly word by Korean boys their age. As a result the boys were mistaken for Koreans and treated as such. That's the set-up, but the film evolves in a quite Celine and Julie way as the boys threatened with death half way through suddenly find themselves back at the begining of the film. They proceed through each shot scene knowing "what comes next" in effort to escape the film. At the end they come face to face with a giant mural of the famous photo of a Vietcong prisoner being executed. This execution was mimed by the boys as a sort of private joke early in the action, but only at this conclusion do we understand what it means.

As for the "Pop soundtrack" it's a children's song written by "Tats" called "I Died."

Oshima's Boy (about a family of co artist who fake traffic accidents with their children to extort money from unwary drivers) is a masterpiece, as is The Ceremony, his epic about the disintegration of the japanese family. Diary of a Shinjuku Thief is quite good as well -- a portrait of sexually confused youth and the jaded adults who think they know what ails them.. Max Mon Amour is a minor film, but quite enjoyable. Merry Christmas Mr. Lawrence is a major film, but emotionally opaque to western tastes. L'empire des sens and L'empire de la passion are very attracttive potboilers. Gohatto, his last film, revisits the opacity of Mr. Lawrence. It's very fine.

[Steven H]

...the film evolves in a quite Celine and Julie way...

I haven't seen Three Resurrected Drunkards (yet, hopefully soon), but I'm glad you brought up the Rivette film. This aspect of his late 60s filmmaking, the smile-inducing farcical, Bunuel like sleight of hand surreal, is what makes my jaw drop while watching. Juggling this sort of thing, which in the hands of a great filmmaker is so "film", stuns me. Death By Hanging is relentless in this, and when I think of Celine and Julie and this side by side, they feel like unexpected companions. There's even more Celine and Julie in The Man Who Left His Will on Film, the moebius loop link can't be missed.

Oshima worked in waves, avoided using a consistent style, but there does usually seem to be a comic bending of reality, usually rooted in ideology (or maybe a lack of), and ripples of this seem to jump out in even his most straightforward work (part of me was waiting for everyone in the Ceremony to take a miserable walk down the road together a la Discreet Charm.) His films seem like head-scratchingly confusing political cartoons come to "life", and so much more.

[David Ehrenstein]

There's even more Celine and Julie in The Man Who Left His Will on Film

Correct, and I'm glad you mentioned it. Oshima has quite an audacious breadth of styles and its demonstratedmost sharply in The Man Who Left His Will on Film (also known as He Died After the War ) and The Return of Three Drunkards

[Steven H]

... The Man Who Left His Will on Film (also known as He Died After the War )...

Also (also) known as Tokyo Senso Sengo Hiwa, which can translate as "A Secret History of the Post 'Tokyo War' Period". A secret history as if it's something only he knows, again applying dream logic to political reality. The multiple names qualifying it in various ways making the meaning even more difficult to grasp. And it's a lot of fun to boot.

[htdm]

Amazon.co.jpis listing the first of a series of Oshima boxes from Shochiku (a la their Ozu and Kinoshita collections?). The first set arrives on Mar. 30 and will contain the following three feature films:

Ai to kibo no machi [Town of Love and Hope] (1959)
Seishun zankoku monogatari [Cruel Story of Youth] (1960)
Etsuraku [Pleasures of the Flesh] (1965)

The last film is being released for the first time on any home video format. Each of the titles will be available separately and it appears that none will have English subtitles.

[shirobamba]

Best news of the year so far! These are full-blown restorations. They should look gorgeous. Now, Criterion, what are you waiting for? No more excuses!

"Pleasures of the Flesh" has been released on VHS in France some years ago. It's long OOP, but still can be found on Ebay as awful nth generation copies.

Shochiku just announced the contents of the second OSHIMA box due on 27/04/06.
Again it will contain 3 restored films:

Burial of the Sun (1960)
Violence at High Noon (1966)
Treatise On Japanese Bawdy Song (aka: Sing a Song of Sex) (1967)

All w/out subs as usual.

I had hopes for "The Catch", but perhaps there's a 3rd box coming with The Catch, The Rebel and Double Suicide. (=random speculation)
But the significant missing link is "Night and Fog in Japan" the notorious classic, the mistreatment of which led Oshima to leave Shochiku and become an independent director.

"Night and Fog in Japan" has been released by Raro. At the time being they have a special offer at € 12,99. Ordered it, and will report back about the quality etc.

Beaver comparison with the Panorama release will be up soon incl. captures. Short summary in advance for those, who want to take advantage of Raro`s special offer: Recommended for die-hard Oshima fans only. Once again a non anamorphic, nonprogressive transfer from an analogue master w/ heavy combing and ghosting problems (especially severe in this case, for Oshima´s aesthetic main device were 360 degree lateral pans in this film). In addition the transfer is far too dark, due to contrast boosting... Only plus of this release are the excellent engl. subs. With them, it now, is possible, for the first time, to follow the complicated relations between the characters.
The video introduction is in Italian only. 12 page booklet is okay, but not great.

[David Ehrenstein]

Night and Fog in Japan is a truly amazing political film, documentating as it does the collapse of the Japanese postwar left.
That it was made at the same time at the same studio as Ozu's The Taste of Autmun Mackrel is utterly astonishing.

[shirobamba]

Night and Fog in Japan is a truly amazing political film, documentating as it does the collapse of the Japanese postwar left. That it was made at the same time at the same studio as Ozu's The Taste of Autmun Mackrel is utterly astonishing.

I agree, David. Taken both together demonstrates the incredible tensions in the Japanese society of the 60's, which exploded in 1968/69. The belatedness of most parts of the conservative/reactionary bourgoisie towards modernism was far more extreme in Japan, then in other industrialized Western countries at that time, due to the enormous speed of development. Oshima's film is a bitter account of the betrayals of the orthodox (stalinist at that time) JPC on the upcoming unorthodox, leftist student movement. They abandoned them in the middle of the anti-AMPO protests, literally "sold" them to the government. What makes things (and Oshima's film) so complicated is, that it wasn't only a conflict between the progressive and the conservative forces in Japan, but an internal conflict of the left along generations. Oshima always sided with the younger 60's generation, except when they radicalized themselves during the "Tokyo War" in 1970 (the Japanese Red Army Faction), went underground, and started the Tokyo and Osaka bombings.
This still seems to be a difficult film for the Japanese establishment. Shochiku's obvious neglect of the film adds to the troubled reception history of it in Japan. To my knowledge, it has been shown theatrically for 3 days ever.