In the Realm of the Senses: Brazen Eros and Thanatos
Abe and Kinchizo
If one could pluck erotic tragedy from the vine, my guess is they would have a copy of In The Realm of the Senses (1976) in their fingers. What an audacious feast of carnal desires and social taboos. I dare say this film is meta: Not only do we see the actions within the film as taboo, we ourselves engage in societal taboos as we view a film. It still hasn’t been seen in its entirety in Japan, where it was made. In the Realm of the Senses was directed by Nagisa Oshima, who’s know for films that challenge society’s rules and standards.
In the Realm of the Senses is based on a true story in Japan of folk hero Sada Abe, who, after accidentally killing her lover, Kichizo Ishida, cut off his genitals and carried them around in her purse. Several films have been made about Sada Abe. In the Realm of the Senses is not a biography, nor does it explore Abe’s motivations for the death of her lover. What we have is a film that depicts themes of raw sexuality and tragedy.
Visually we’re witnesses to a tragic, yet erotic love affair that crosses social taboos not only of the time in the film, but to the real word’s censors. Make no mistake. This is a very explicit film, and the sex is real. It has a sublime effect as I went from spectator to voyeur multiple times. Often I felt as an intruder, watching people release their inhibitions.
Part of looking back at In the Realm of the Senses allows us to see where and how far censorship and depicting sex and sexuality in films progressed. This film definitely blurs the line between narrative and titillation with real sex scenes. Director Oshima makes it clear by the content this film, that there would be confrontations and daring even by today’s standard. In many films where the sex is faked and depicted as real, as much as the same manner as violence in film is depicted. In the Real of the Senses dares to break one taboo after another. The film has pornographic aspects, but it’s taken seriously with a strong narrative and tells a story, which doesn’t really happen in typical porn. We also have a tragic ending which is a far cry from XXX features. Even at the end of this film with tragedey and lose, Abe manages to cement her commitment to her lover for Kenchizo. With In the Realm of the Senses we, the viewers face the question of what it means to be sexual beings in a world set with limits and taboos.
Abe and Kinchizo have a lot of conversations during lovemaking that's a bit more than the typical pornspeak.
With In the Realm of the Senses we have an unflinching portrait and cautionary tale when Kichizo and Abe indulge in and are lead by their ID and libido. In fact I dare say the film functions as our ID, allowing us to see a world with explicit details. I applaud the frankness laid out before the viewer. The tragedy and havoc wrecked by this couple is not without consequence, neither is this film. If this is eroticism explored to dark and unsavory levels, I am curious about a film that could express a brighter theme with the use of unsimulated sex.
I admire the unflinching desire to capture graphic sex and sexuality on film while maintaining a narrative. I cringe where the passions of the couple lead the viewer to see how unrestrained a level sex brings to the fold. This is a film that is much more than what is seen on the surface. It’s not a film for everyone. It pushes the limits of what censorship, and the dangers of unleashing the ID, and reflecting actions that do happen in multiple societies. With this film, sex becomes the ultimate expression of love, as does death.
Sex works like an addiction for these two.
There is a willingness to explore penetration, the act of penetration as a skill and as a function of biology/sexuality. There’s also a willingness to be penetrated and explored sexually. Women brandish phallic objects as well. Abe threatens with a knife as wel as fantasizes about murdering Kichizo’s wife. Not all phallic tools are for killing. A group of women explore their own pleasures with a phallic shaped object. Ultimately Abe takes the source of pleasure from her dead lover. This tragic mix of mutilation and sexuality leaves a disturbing resonance of a destructive love.
One of the cooler aspects of seeing this film via the Criterion Collection are the essays in the film booklet. The cinema studies student that I am can’t resist reading them and exploring the discussion of said film. If you get a chance give them a peep. I also suggest Criterion’s website where you can see several of the essays. Oshima’s thoughts are printed in the booklet as well. In one section he speaks the insecurities of many of the actors looked at for the role of Kichizo.
There is a poetic elegance tied to the film, as sexuality is the main theme, but not the only aspect of the film. To label it as simply “pornographic” is a disservice to the material and offers only a limited understanding of the film. Yes it does push boundaries and yes if watching graphic sex is not your cup of tea in a film, I’d sincerely advise against seeing it. Likewise if you’re looking for a straightforward porn film, you may be dissatisfied.
There is a dark side to passion that’s explored here as well. As liberated as the characters, they are also in a toxic love affair. Our hero is married to another women and she; our heroine is a servant of lower standing. Still the fires ignite, that the sexual dependency and liberation clashes against the culture and possibly all the viewers’ sensibilities.
The desire to explore sex and attraction only intensifies from here.
The film’s tragic elements appear when the couple neglect to use restraint and set boundaries for their sexual passions. Had such limitations been part of their regiment, perhaps the tragedy could have been avoided in the first place. As I stated earlier, the ID is unleashed with no checks and balances. Passion became too much of a good thing. Sex does have thrills and exploring can be a healthy between two consenting adults, however there is a limit to surrendering to one’s passions. This is a cautionary tale as relevant as when the film was made in 1976.
The bodies encompass more than sexual desire. They are part of process of identification, and loss. There is vulnerability, aesthetic qualities, and frankness to the body. Sexual roles and identification cannot be hidden or restrained by society’s norms or our own inhibitions about viewing the nude and/or sexualized human body. Still, we live in worlds where there are norms and rules. We have a film where taboos broke down for our entertainment.
As tragic and explicit as this film is, I think it’s an amazing story that doesn’t sacrifice the narrative for the sake of depicting sex. Again, if this is not your kind of movie, I won’t recommend it. If you think the explicit scenes won’t bother you, give it a try.
Guilty
One of the things I often face when I write, is my own mind. It is as a friend described it, ”having an angel in the room.” This angel essentially guilts me for everything, even if a character slams a door. This angel is my own inner self on the outside having way too much fun with the chaos it brings to my life. I’ve always been aware of the angel, and often try to ignore him, but he’s there for a reason. I obviously invited him. he sits and listens to my concepts and gives his opinions (all ultra-conservative and prudish). He complains at the least bit of detail and edge. I don’t think I could write something wholesome and he’d approve. Why? Because the moment I do he will say “That story/idea/line is not something you’d write.”
No one wins with the angel in the room. You can’t kill him. He comes right back. He’s really not there to critique. He’s there to remind me that I am a writer and that I will hear these things. He’s challenge me to move beyond his point of view. At one point I’m sure he’s waiting for me to say “shut up, leave, or get on board.”
No one should have to apologize for their art. Works of art are not going to universally appeal to everyone. People are going to hate creative endeavors before they have a chance to see it for themselves. Why, cause their angel is with them and as loud as can be Our inner id has far more influence than we give it credit for. We are complex beings, and our methods of communication and expression allow us to share with the world many fantastic points of view. No angel can dictate that.
Back To Black, or What’s Wrong With My Head?
Did I ever mention how difficult I thought it would be “the Black Cinema Studies” major? This is me thinking that I’m expected to exclusively write write Black themes/issues in my papers. My professors never stated nor did they imply this at all. I was so darned adamant about not being the go to guy for such reactions. Why? This stems from way back as an undergrad artist and being told that its expected of me to paint about themes that relate exclusively to being a person of color. Why I’m all about themes, in some ways I felt put upon, that I was predestined to do only one thing and address only some issues when life encompasses so much more. Perhaps back them I looked at things with a limited point of view. Also I loved being rebellious. When i drew and painted, my figures were colored every color but natural colors. Perhaps that was psychological. I processed this information, like so many other things at the time, poorly.
Now that I’m older and wiser, I need to peel back my own layers and accept a few things. Being a person of color does not limit me. Nor does it limit my expectations of the world. In studying films I’ve seen some pretty racist imagery and representation. Yes, I was offended at times, but I’m also empowered because I know that’s not me on the screen. In many cases, it was poor representation then and now. In many cases the imagery NEEDS to be discussed and contextualized. Addressing the image of the ignorant, buffoonery, and plain out racist image is more than worthy of discussion, it has been lacking, in my opinion. Can I write about it? Yes, I can with every bit of integrity as I give all my research papers. Will it be the ONLY topic of discussion you see from me? Absolutely not. It was a mistake on my part to assume this is all I could bring to the table. Just know there is a lot more for all us us to bring to the table.
Any of you who have ever read my blog posts know I love a variety of topics and the reoccurring topics include psychoanalysis and doppelgangers. It is clear that I never allowed people to limit me. I limited myself. Also it pays to listen, digest, and make your own determinations when it comes to self and world representation. I have yet to meet a Cinema Studies major who is exclusively “one way” in my program. My professors should be proud.
