[originally published in a slightly different form in the Oregon Daily Emerald in 1977]
Nagisha Oshima’s In the Realm of the Senses (1977) was a cause célèbre even before it officially opened in the United States, thanks to a bizarre Customs Office decision to confiscate a print rather than allow the film to be screened at the New York Film Festival. This censorship was particularly conspicuous directed, as it was, against the first film with hardcore sequences by a certifiably “serious” director; by 1977 Oshima was well-regarded, if not widely-known, for creative, pathmarking films like Boy, (1969)Death by Hanging, (1968) and his best film, The Ceremony (1971). Oshima’s projects had blended the roles of fearless provocateur and serious artist, most successfully in The Ceremony; in Senses, as in his earlier Night and Fog in Japan, the provocateur took center stage, with unhappy aesthetic results.
Commercially, though, the publicity could hardly have been more favorable: an award-winning director and subtitles to bring out the art film crowd, and censorship for the First Amendment crowd, with maybe also a genteel slice of the overcoat crowd (knowing it was the “real thing”). In combination with the acclaim the film garnered, it created what passes in the marginal realm of the art film an international sensation, becoming the first widely-distributed Oshima film; from there his career inflated with bigger budgets (Merry Christmas, Mr. Lawrence (1983), with David Bowie, no less)and more provocative themes (Max, Mon Amour, (1987) reportedly a tale of romantic attraction between a character played by Charlotte Rampling, and an ape named Max); after further work was interrupted by serious health problems he ended his career with one of his most compelling and effective films, Gohatto (Taboo) (1999), about gay sex in the military.
By the standards of domestic porn, even in its time, Senses was fairly tame stuff, with hardcore sequences too brief and intermittent for serious overcoaters, but it does include, by my unofficial count, along with heterosexual couplings: masturbation, gay sex, voyeurism, sado-masochism, bondage, rape, intergenerational sex, hints of sex play with a child, symbolic bestiality, dismemberment, castration, a sexual act of murder, and necrophilia. In addition, the soundtrack contains enough groaning, moaning, sighing, panting, grunting, and heavy breathing for a wrestling tournament.