In the Realm of the Senses

In the Realm of the Senses
Japanese theatrical poster
Directed by	Nagisa Ōshima
Written by	Nagisa Ōshima
Produced by	Anatole Dauman
Starring	Eiko Matsuda Tatsuya Fuji
Cinematography	Hideo Ito
Edited by	Keiichi Uraoka
Music by	Minoru Miki
Production companies	Argos Films Oceanic Oshima Productions
Distributed by	Argos Films
Release date	15 September 1976 (1976-09-15) (France) 16 October 1976 (1976-10-16) (Japan)
Running time	102 minutes (Producer's Cut) 108 minutes (Original Theatrical Cut)
Countries	France Japan
Languages	French Japanese
Box office	$7.65 million (France/Germany) 1,424,906 kr (Sweden)

In the Realm of the Senses (French: L'Empire des sens, Japanese: 愛のコリーダ, Ai no korīda, "Bullfight of Love"^[1]) is a 1976 pornographic art film written and directed by Nagisa Ōshima.^[2][3] It is a fictionalised and sexually explicit treatment of an incident from 1930s Japan, that of Sada Abe.^[4] An international co-production of France and Japan, the film generated great controversy during its release;^[4] while intended for mainstream wide release, it contains scenes of unsimulated sexual activity between the actors (Eiko Matsuda and Tatsuya Fuji, among others).

Plot[]

In 1936 Tokyo, Sada Abe (Eiko Matsuda) is a former full service sex worker who now works as a maid in a hotel. The hotel's owner, Kichizo Ishida (Tatsuya Fuji), molests her, and the two begin an intense affair that consists of sexual experiments and various self-indulgences. Ishida leaves his wife to pursue his affair with Sada. Sada becomes increasingly possessive and jealous of Ishida, and Ishida more eager to please her. Their mutual obsession escalates to the point where Ishida finds she is most excited by strangling him during lovemaking, and he is killed in this fashion. Sada then severs his penis. While she is shown next to him naked, it is mentioned that she will walk around with his penis inside her for several days. Words written with blood can be read on his chest: "Sada Kichi the two of us forever".

Cast[]

Title[]

The film was released under In the Realm of the Senses in the U.S. and the U.K., and under L'Empire des sens (Empire of the Senses) in France. The French title was taken from Roland Barthes's book about Japan, L'Empire des signes (Empire of Signs, 1970).^[1]

Censorship[]

Strict censorship laws in Japan would not have allowed the film to be made according to Ōshima's vision.^[4] This obstruction was bypassed by officially listing the production as a French enterprise, and the undeveloped footage was shipped to France for processing and editing. At its première in Japan, the sexual activity was optically censored using reframing and blurring.^[5][6]

In the United States, the film was initially banned upon its première at the 1976 New York Film Festival^[7] but later screened uncut, and a similar fate awaited the film when it was released in Germany. It was also banned because of a scene in which Kichi pushes an egg into Sada's vulva, forcing her to push it out of her vagina, with Kichi eating the egg. The film was not available on home video until 1990, although it was sometimes seen uncut in film clubs.

At the time, the only European country in which the film was banned was Belgium, where it was originally banned for its explicit sex scenes.^[8][9][10] The ban was lifted in 1994,^[11][12] and the country has not censored a film of any kind since.

At the time of its initial screening at the 1976 London Film Festival, the British Board of Film Censors recommended it be shown under private cinema club conditions to avoid the need for heavy cuts to be made, but only after the Obscene Publications Act had been extended to films (in 1977) to avoid potential legal problems.^[13] The film opened at the Gate Cinema Club in 1978. It was given an official countrywide cinema release in 1991, though the video release was delayed until 2000 when it was passed with an "18" certificate (suitable for adults only). All of the adult sexual activity was left intact, but a shot in which Sada yanks the penis of a prepubescent boy after he misbehaves was reframed, zooming in so that only the reaction of the boy was shown.^[14] In Australia, the film was originally banned because of obscenity; a censored version was made available in 1977. Only in 2000 did it finally become available in its complete cut.^[15][16] The pornographic content of the production also caused it to be banned in Israel in 1987.^[17][18]

The film is available in uncut form in France, Germany, the United States (including The Criterion Collection), the Netherlands, Belgium and several other territories.^{[citation needed]}

In Canada, when originally submitted to the provincial film boards in the 1970s, the film was rejected in all jurisdictions except Quebec and British Columbia. It was not until 1991 that individual provinces approved the film and gave it a certificate. However, in the Maritimes the film was rejected again as the policies followed in the 1970s were still enforced.

Controversy[]

Due to its sexual themes and explicit scenes, the film was the cause of great controversy in Portugal in 1991 after it aired on RTP.^[19] Some deemed it inappropriate even for the watershed slot, while others actually appreciated its airing. The film aired again on RTP2, almost unnoticed.^[20]

Box office[]

In France, the film sold 1,730,874 tickets,^[21] grossing approximately €4,673,360^[22] ($5,203,732).^[23] In Germany, where it released in 1978, the film sold 693,628 tickets,^[21] grossing approximately €1,803,433^[22] ($2,446,050).^[24] Combined, the film sold 2,424,502 tickets^[21] and grossed approximately $7,649,782 in France and Germany.

Critical reception[]

On review aggregator website Rotten Tomatoes, the film currently holds a rating of 86% based on 36 critic reviews, with an average rating of 7.7 out of 10. The website's critical consensus reads, "Sexual taboos are broken and boundaries crossed In the Realm of the Senses, a fearlessly provocative psychosexual tale."^[25]

Popular culture[]

Chaz Jankel of Ian Dury and the Blockheads fame, along with Kenny Young (Under the Boardwalk) made a pop song in 1980 called "Ai No Corrida" based on the movie's Japanese title. This song has since been recorded by many different artists, including Quincy Jones, whose version was a Top 20 hit in the UK.

British Industrial band Clock DVA reference the movie on their song 'Blue Tone' from their 1981 album 'Thirst'.

The opening track of Bassomatic's 1990 debut album Set the Controls for the Heart of the Bass is entitled In The Realm Of The Senses.^{[citation needed]}

See also[]

• Unsimulated sex
• Nudity in film (East Asian cinema since 1929)

References[]

Sources[]

• Buehrer, Beverley (1990). "In the Realm of the Senses (1976) Ai no Koriida". Japanese Films: a filmography and commentary, 1921–1989. Jefferson, North Carolina, and London: McFarland. pp. 222–225. ISBN 0-89950-458-2.
• Marran, Christine (2007). "Why Perversion Is Not Subversion: Tanaka Noboru's The True Story of Abe Sada and Oshima Nagisa's In the Realm of the Senses". Poison Woman: figuring female transgression in modern Japanese culture. Minneapolis, MN: University of Minnesota Press. pp. 150–161. ISBN 978-0-8166-4727-9.
• Kenny, Patrick T. M. (2007) Conflicting Legal and Cultural Conceptions of Obscenity in Japan: Hokusai's Shunga and Oshima Nagisa's "L'Empire des sens". Earlham College thesis
• Durgnat, Raymond (1985). "In the Realm of the Senses (Ai no Koriida)". In Frank N. Magill (ed.). Magill's Survey of Cinema: Foreign Language Films; Volume 3. Englewood Cliffs, N.J.: Salem Press. pp. 1475–1479. ISBN 0-89356-243-2.

Further reading[]

• Joan Mellen. L'Empire des sens. London: British Film Institute, 2004.

External links[]

• In the Realm of the Senses at IMDb
• In the Realm of the Senses at AllMovie
• In the Realm of the Senses at Rotten Tomatoes
• In the Realm of the Senses at the Japanese Movie Database (in Japanese)
• In the Realm of the Senses: Some Notes on Oshima and Pornography an essay by Donald Richie at the Criterion Collection
• Nagisa Oshima on In the Realm of the Senses an essay by Nagisa Oshima at the Criterion Collection