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Eclipse Series 21: Oshima's Outlaw Sixties (The Criterion Collection)

3.7 out of 5 stars 6 customer reviews

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Editorial Reviews

Often called the Godard of the East, Japanese director Nagisa Oshima was one of the most provocative film artists of the twentieth century, and his works challenged and shocked the cinematic world for decades. Following his rise to prominence at Shochiku, Oshima struck out to form his own production company, Sozo-sha, in the early sixties. That move ushered in the prolific period of his career that gave birth to the five films collected here. Unsurprisingly, this studio renegade was fascinated by stories of outsiders—serial killers, rabid hedonists, and stowaway misfits are just some of the social castoffs you’ll meet in these audacious, cerebral entries in the New Wave surge that made Japan a hub of truly daredevil moviemaking.

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.

Special Features


Product Details

  • Actors: Katsuo Nakamura
  • Directors: Nagisa Oshima
  • Format: Multiple Formats, Box set, Black & White, Color, NTSC, Subtitled, Widescreen
  • Language: Japanese
  • Subtitles: English
  • Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  • Number of discs: 5
  • Rated:
    Not Rated
  • Studio: Criterion Collection
  • DVD Release Date: May 18, 2010
  • Run Time: 471 minutes
  • Average Customer Review: 3.7 out of 5 stars  See all reviews (6 customer reviews)
  • ASIN: B00393SFQG
  • Amazon Best Sellers Rank: #26,009 in Movies & TV (See Top 100 in Movies & TV)
  • Learn more about "Eclipse Series 21: Oshima's Outlaw Sixties (The Criterion Collection)" on IMDb

Customer Reviews

Top Customer Reviews

By [KNDY] Dennis A. Amith TOP 500 REVIEWERVINE VOICE on June 16, 2010
Nagisa Oshima, one of Japan's most controversial filmmakers. A filmmaker who shocked the world with his 1976 film "In the Realm of Senses" based on the true story of Sada Abe and a film that showcased unsimulated sex and faced major censorship. In fact, even with the Criterion Collection's Blu-ray and DVD release of "In the Realm of Senses", viewers today still debate if the film was art or if the film was pornography. If anything, Oshima has caught the attention of many and many have wondered if his other films would ever reach US shores.

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!
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I love Oshima's no-holds-barred take on the Japanese society of the sixties. I find these films truly remarkable in that they show the incredible level of social and political awareness in Japan just fifteen years after the disasters of the Second World War. I admire the way Oshima decided to break ranks with a hostile studio system to forge his own path in a more creative way. This enabled him to make films which are very explicit (given the period) in their stark depiction of the dark nature of Japanese society just beneath the polite surface as shown in the works of Ozu and Mizoguchi for instance. Three cheers for brave cinema! Enjoy!
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ETSURAKU (PLEASURES OF THE FLESH). Rambling, Experimental, Fascinating!

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.

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