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Nagisa Oshima, Iconoclastic Filmmaker, Dies at 80 Nagisa Oshima, Iconoclastic Filmmaker, Dies at 80
(about 17 hours later)
Nagisa Oshima, the iconoclastic filmmaker who challenged and subverted the pieties of Japanese society and the conventions of Japanese cinema and who gained international notoriety in 1976 for the sexually explicit “In the Realm of the Senses,” died on Tuesday at a hospital near Tokyo. He was 80.Nagisa Oshima, the iconoclastic filmmaker who challenged and subverted the pieties of Japanese society and the conventions of Japanese cinema and who gained international notoriety in 1976 for the sexually explicit “In the Realm of the Senses,” died on Tuesday at a hospital near Tokyo. He was 80.
His office said that the cause was pneumonia, the Japanese news media reported. He had been ill since having a stroke in 1996.His office said that the cause was pneumonia, the Japanese news media reported. He had been ill since having a stroke in 1996.
Mr. Oshima belonged to a generation of filmmakers for whom artistic and political rebellion were one and the same. At the height of his career he worked at a furious pace, most productively in the 1960s, reinventing himself as a matter of course. Radical but never dogmatic, his films rejected ideology even as they insisted implicitly that cinema was a political tool.Mr. Oshima belonged to a generation of filmmakers for whom artistic and political rebellion were one and the same. At the height of his career he worked at a furious pace, most productively in the 1960s, reinventing himself as a matter of course. Radical but never dogmatic, his films rejected ideology even as they insisted implicitly that cinema was a political tool.
He remains best known for “In the Realm of the Senses.” Based on a true story that scandalized Japan in the 1930s, it tells of a maid who falls into a sadomasochistic affair with her employer. It features unsimulated sex and culminates in a graphically depicted castration.He remains best known for “In the Realm of the Senses.” Based on a true story that scandalized Japan in the 1930s, it tells of a maid who falls into a sadomasochistic affair with her employer. It features unsimulated sex and culminates in a graphically depicted castration.
The film became a sensation and the subject of censorship battles in several countries. In the United States, the Customs Service barred it from being shown publicly at the New York Film Festival in 1976, calling it obscene; the decision was overturned about a month later by a federal judge.The film became a sensation and the subject of censorship battles in several countries. In the United States, the Customs Service barred it from being shown publicly at the New York Film Festival in 1976, calling it obscene; the decision was overturned about a month later by a federal judge.
Even before this defining scandal, Mr. Oshima relished the role of enfant terrible. He was a founding figure of the Japanese New Wave but claimed to detest the idea of such a grouping and told an interviewer, “My hatred for Japanese cinema includes absolutely all of it.” His documentary “100 Years of Japanese Cinema” (1994) concludes with the hope that Japanese cinema rid itself of its “Japaneseness.”Even before this defining scandal, Mr. Oshima relished the role of enfant terrible. He was a founding figure of the Japanese New Wave but claimed to detest the idea of such a grouping and told an interviewer, “My hatred for Japanese cinema includes absolutely all of it.” His documentary “100 Years of Japanese Cinema” (1994) concludes with the hope that Japanese cinema rid itself of its “Japaneseness.”
But Mr. Oshima’s great subject was Japan, specifically the Japanese psyche and the damage it had endured from centuries of feudalism and later from World War II. He once said that the goal of his films was “to force the Japanese to look in the mirror.” But in film after film Japan was Mr. Oshima’s great subject, specifically the Japanese psyche and the damage it had endured from centuries of feudalism and later from World War II. He once said that the goal of his films was “to force the Japanese to look in the mirror.”
Mr. Oshima was born on March 31, 1932, to an affluent family in Kyoto with samurai ancestry. He studied law at Kyoto University and became active in student politics.Mr. Oshima was born on March 31, 1932, to an affluent family in Kyoto with samurai ancestry. He studied law at Kyoto University and became active in student politics.
After graduating he worked as an assistant director at the Shochiku studio and was soon promoted. Even in his first two films, “A Town of Love and Hope” (1959), a tough-minded adolescent melodrama, and “Cruel Story of Youth” (1960), a feverish tale of troubled teenagers, Mr. Oshima’s sympathy for the young and dispossessed is evident.After graduating he worked as an assistant director at the Shochiku studio and was soon promoted. Even in his first two films, “A Town of Love and Hope” (1959), a tough-minded adolescent melodrama, and “Cruel Story of Youth” (1960), a feverish tale of troubled teenagers, Mr. Oshima’s sympathy for the young and dispossessed is evident.
“To make films is a criminal act in this world,” Mr. Oshima wrote in a 1966 essay. Most of his protagonists were outlaws, and his films often showed criminal behavior as a product of society or as a reaction against it.“To make films is a criminal act in this world,” Mr. Oshima wrote in a 1966 essay. Most of his protagonists were outlaws, and his films often showed criminal behavior as a product of society or as a reaction against it.
The event that ignited the Japanese student protest movement — the 1960 renewal of Japan’s mutual security treaty with the United States— also galvanized Mr. Oshima’s filmmaking. The event that ignited the Japanese student protest movement — the 1960 renewal of Japan’s mutual security treaty with the United States — also galvanized Mr. Oshima’s filmmaking.
“Night and Fog in Japan” (1960), his first explicitly political film, details the infighting among a group of student radicals. Days into its run, in the wake of a political assassination, Shochiku pulled the movie from theaters. In response Mr. Oshima quit the studio and set up his own company.“Night and Fog in Japan” (1960), his first explicitly political film, details the infighting among a group of student radicals. Days into its run, in the wake of a political assassination, Shochiku pulled the movie from theaters. In response Mr. Oshima quit the studio and set up his own company.
Like “In the Realm of the Senses,” many of Mr. Oshima’s films were inspired by real-life events. “Violence at Noon” (1966), about a triangle that forms among a serial rapist and two women who protect him, was based on an actual case, as was “Boy” (1969), about a family whose son is forced to fake traffic injuries in an extortion scheme.Like “In the Realm of the Senses,” many of Mr. Oshima’s films were inspired by real-life events. “Violence at Noon” (1966), about a triangle that forms among a serial rapist and two women who protect him, was based on an actual case, as was “Boy” (1969), about a family whose son is forced to fake traffic injuries in an extortion scheme.
“Death by Hanging” (1968), about a Korean man sentenced to death for rape and murder, addresses the prejudicial treatment of the Korean minority in Japan.“Death by Hanging” (1968), about a Korean man sentenced to death for rape and murder, addresses the prejudicial treatment of the Korean minority in Japan.
A restless innovator, Mr. Oshima switched genres at will and sometimes created his own. “Death by Hanging” goes from a documentarylike tract against capital punishment to absurdist farce. “Three Resurrected Drunkards,” a 1968 slapstick comedy, stops midway through and replays the first half, with crucial variations.A restless innovator, Mr. Oshima switched genres at will and sometimes created his own. “Death by Hanging” goes from a documentarylike tract against capital punishment to absurdist farce. “Three Resurrected Drunkards,” a 1968 slapstick comedy, stops midway through and replays the first half, with crucial variations.
Mr. Oshima never developed a stylistic signature and in fact veered between extremes of style. The 100-minute “Violence at Noon” includes some 2,000 edits, while “Night and Fog in Japan,” filmed in long takes, is composed of fewer than 50 shots.Mr. Oshima never developed a stylistic signature and in fact veered between extremes of style. The 100-minute “Violence at Noon” includes some 2,000 edits, while “Night and Fog in Japan,” filmed in long takes, is composed of fewer than 50 shots.
After directing 18 features (and many television documentaries) in 14 years, Mr. Oshima slowed down in the 1970s. In middle age he also became a fixture on Japanese television talk shows.After directing 18 features (and many television documentaries) in 14 years, Mr. Oshima slowed down in the 1970s. In middle age he also became a fixture on Japanese television talk shows.
Mr. Oshima recalled that “In the Realm of the Senses” had originated in a meeting with the producer Anatole Dauman, who had worked with many French New Wave directors and who proposed a collaboration, saying to Mr. Oshima, “Let’s make a porno flick!” Mr. Oshima asked his colleague Koji Wakamatsu, a prolific director of politically minded soft-core erotica, to serve as a producer as well; together they had the film processed and edited in France to circumvent Japanese pornography laws.Mr. Oshima recalled that “In the Realm of the Senses” had originated in a meeting with the producer Anatole Dauman, who had worked with many French New Wave directors and who proposed a collaboration, saying to Mr. Oshima, “Let’s make a porno flick!” Mr. Oshima asked his colleague Koji Wakamatsu, a prolific director of politically minded soft-core erotica, to serve as a producer as well; together they had the film processed and edited in France to circumvent Japanese pornography laws.
Mr. Dauman also produced “Empire of Passion,” the more subdued 1978 follow-up to “In the Realm of the Senses.” Another period piece about adulterous lovers, “Empire” won Mr. Oshima the directing prize at the Cannes Film Festival.Mr. Dauman also produced “Empire of Passion,” the more subdued 1978 follow-up to “In the Realm of the Senses.” Another period piece about adulterous lovers, “Empire” won Mr. Oshima the directing prize at the Cannes Film Festival.
Among other later films, “Merry Christmas Mr. Lawrence” (1983), a prisoner-of-war drama starring David Bowie and Ryuichi Sakamoto, was shot mainly in New Zealand. Mr. Oshima, collaborating with Luis Buñuel’s frequent screenwriter Jean-Claude Carrière, also put a twist on the French sex farce with “Max Mon Amour” (1986), which paired Charlotte Rampling and a chimpanzee.Among other later films, “Merry Christmas Mr. Lawrence” (1983), a prisoner-of-war drama starring David Bowie and Ryuichi Sakamoto, was shot mainly in New Zealand. Mr. Oshima, collaborating with Luis Buñuel’s frequent screenwriter Jean-Claude Carrière, also put a twist on the French sex farce with “Max Mon Amour” (1986), which paired Charlotte Rampling and a chimpanzee.
His final film, the 19th-century samurai drama “Taboo” (1999), which he directed after suffering his first stroke, continued his late-career theme of forbidden love, bringing to the surface the homoerotic currents of “Mr. Lawrence.”His final film, the 19th-century samurai drama “Taboo” (1999), which he directed after suffering his first stroke, continued his late-career theme of forbidden love, bringing to the surface the homoerotic currents of “Mr. Lawrence.”
Mr. Oshima’s survivors include his wife, Akiko Koyama, an actress who appeared in some of his films, and their sons Takeshi and Shin. In 2011 Ms. Koyama published a memoir, “As a Woman, as an Actor,” about her life with Mr. Oshima.Mr. Oshima’s survivors include his wife, Akiko Koyama, an actress who appeared in some of his films, and their sons Takeshi and Shin. In 2011 Ms. Koyama published a memoir, “As a Woman, as an Actor,” about her life with Mr. Oshima.
Mr. Oshima saw his reputation somewhat eclipsed as his productivity dwindled, although that had changed in recent years with traveling retrospectives and the increasing availability of his work on DVD.Mr. Oshima saw his reputation somewhat eclipsed as his productivity dwindled, although that had changed in recent years with traveling retrospectives and the increasing availability of his work on DVD.
Testifying in a Japanese court about “In the Realm of the Senses,” Mr. Oshima formulated a defense that could apply to almost all his work: “Nothing that is expressed is obscene. What is obscene is what is hidden.”Testifying in a Japanese court about “In the Realm of the Senses,” Mr. Oshima formulated a defense that could apply to almost all his work: “Nothing that is expressed is obscene. What is obscene is what is hidden.”