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Eclipse Series 21: Oshima's Outlaw Sixties (The Criterion Collection)
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Pleasures of the Flesh
Nagisa Oshima, 1965
A corrupt businessman blackmails the lovelorn reprobate Atsushi into watching over his suitcase full of embezzled cash while he serves a jail sentence. Rather than wait for the man to retrieve his money, however, Atsushi decides to spend it all in one libidinous rush.
Violence at Noon
Nagisa Oshima, 1966
Containing more than two thousand cuts and a wealth of inventive widescreen compositions, this coolly fragmented character study is a mesmerizing investigation of criminality and social decay.
Sing a Song of Sex
Nagisa Oshima, 1967
Four sexually hungry high school students prepare for their university entrance exams in Oshima’s hypnotic, free-form depiction of generational political apathy, featuring stunning color cinematography.
Japanese Summer: Double Suicide
Nagisa Oshima, 1967
A sex-obsessed young woman, a suicidal man she meets on the street, a gun-crazy wannabe gangster—these are just three of the irrational, oddball anarchists trapped in an underground hideaway in Oshima’s devilish, absurdist film.
Three Resurrected Drunkards
Nagisa Oshima, 1968
A trio of bumbling young men frolic at the beach. While they swim, their clothes are stolen and replaced with new outfits. Donning these, they are mistaken for undocumented Koreans and end up on the run from comically outraged authorities.
Top Customer Reviews
One of the founders of the Japanese New Wave, Oshima was known for taking on Japanese taboos and creating films against the status quo, the filmmaker has been doing his style of films since 1959 and working for the studio Shochiku in order to fulfill the studio's desire of creating edgier material for the youth market. Oshima would go on to create three films which were known as "The Youth Trilogy" ("Cruel Story of Youth", "The Sun's Burial", "Night and Fog in Japan").
After politics played a part in Oshima leaving Shochiku, the filmmaker would go on to create his own company known as Sozo-sha (Creation Company) and in celebration of his work from his new studio and many fans bombarding Criterion for more Nagisa Oshima, The Criterion Collection has chosen Nagisa Oshima's mid-to-late '60s films to be part of the latest Eclipse Series Collection known as "Eclipse Series 21: Oshima's Outlaw Sixties".
The latest DVD set "Oshima's Outlaw Sixties" for Criterion Collection's Eclipse Series featuring filmmaker Nagisa Oshima's works from 1966-1968 is magnificent!Read more ›
Director: Nagisa Oshima
Rating = ***
Film = three (3) stars; restoration = five (5) stars; cinematography/lighting = two (2) stars. Director Nagisa Oshima's test bed for experimenting/playing with filmic techniques at the expense of a credible story line, a plot without potholes, and not reining in free-ranging actresses/actors. This is a tale filled with many twists and turns most of which are telegraphed ahead (and far from surprising) or simply unbelievably dumb. On the surface, the plot appears almost Hitchcockian, but immediately disintegrates with even the most rudimentary analysis. The Director tries valiantly to use a wide- screen cinematic format for close-ups, but only ends up with chopped-off faces/heads. He also often fails to take full advantage of the format by not fully filling the screen from side to side. Lab-processed effects are interesting when first used, but quickly become seen-that-before boring as they ramble on and on. Cinematography (wide screen, color) comes across as little better than a home movie, and scene lighting is simply terrible (the major plot point of a killing on a train is impossible for the viewer to see--as are all dark/night scenes in the film--although one character claims to have witnessed it [using night-vision goggles, perhaps?]). Acting appears to be mostly adlib, the score is fine and adds impact to scenes, and the subtitle are okay. Overall a fascinating experience if you park your brain on the coffee table and just enjoy the ride. WILLIAM FLANIGAN, PhD.
HAKUCHU NO TORIMA (VIOLENCE AT NOON/VIOLENCE AT HIGH NOON/THE DAYLIGHT DEMON/MIDDAY'S DEMON/...). Frantic To Be Different; Boring Nonetheless!Read more ›
Most Recent Customer Reviews
These films are not representative of general 60s Japanese cinema trends, you should not expect them to be. These are not Akira Kurosawa films and do not claim to be. Read morePublished 13 months ago by Steven Rice
Fan of Japanese movies...but are you all watching the same ones I am? I really am trying to see what you 4 and 5 star watchers see, but honestly, these movies are very hard to... Read morePublished 13 months ago by Joseph C. Martinak
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