We have, in effect, just enough of a sense of everything that's not Sada and Kichi's increasingly intense sexual assignations to be particularly aware of how much the film isn't paying attention to that everything. Whatever domestic narrative passes between these events is alluded to but never shown the tense political situation in Japan (the film takes place in the shadow of a failed coup d'etat by certain military leaders, less than three months before Ishida's death war with China was just a year in the future) at the time is occasionally visible in the background, but it's never the focus.
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Starting right around the time that former prostitute and current maid Sada meets Kichi while cleaning his home, and the rest of the film consists of virtually nothing other than scenes of them having sex, or the time immediately before and after. The film's narrative focus is conscribed to the point that it feels like fine lace, defined more by the holes it leaves than what's present.
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In fact, that In the Realm of the Senses never seems to struggle with balancing self-positivity and a narrative it knows in advance ends with death and dismemberment is, in and of itself, one of the most impressive things about a movie that's basically 102 straight minutes of immaculately controlled filmmaking. Oshima's movie trades, heavily, on our knowledge that things are heading in that direction (there's at least one moment of explicit foreshadowing that is, honestly, a bit more corny and leering than a film of such sensitivity and subtlety deserves), but only for purposes of strictly sex-positive humanism.
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If I understand things correctly, the idealised Japanese audience that has never been able to see the film in the form Oshima wanted would have known exactly where things were going from the start, so allow me to give away the ending: In the Realm of the Senses is based on the true story of Abe Sada (Matsuda Eiko), who in 1936 killed her lover Ishida "Kichi" Kichizo (Fuji Tatsuya) by strangling him during sex, and cutting off his genitals to take with her as a memento. That's far, far rarer in cinema throughout the world than explicit onscreen sex itself. But it is erotic, and even given the brutal place it winds up, it never feels for a nanosecond that sexual ecstasy is something for which its character or its audience deserve to be punished. It's not prurient, and the grimly transactional feeling that characterises what most of us probably think of as "pornographic" is absent. The film shows, almost to the exclusion of any anything else, unsimulated sex scenes the mechanics and fluids involved in sexual intercourse are depicted with unabashed physicality in close-ups and wide shots and the really important part is that, unlike virtually every other artistically nuanced film containing explicit sex that I can think of, Realm of the Senses has no obvious interest in circumventing our proclivity to finding its sex scenes pleasurable and arousing.
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But trying to redeem Realm of the Senses from the shameful genre of porn is, I think, to completely misunderstand what it is, what it's doing, and why writer-director Oshima Nagisa made it. There have been attempts, as long as the film has existed, to somehow reclaim it from the category of pornography, often with the assumption that "art" and "porn" are mutually exclusive categories. To be a bit more specific, Realm of the Senses is that great theoretical ideal that all of the filmmaking intelligentsia of the 1970s kept driving itself: it is the great example of Artistic Porno. It is not merely a sexual film it is a critique and deconstruction of Japanese sexual mores constructed into a film-shaped object. The easy gag is to go for the "ye gods, it's too explicit for the country that invented tentacle porn?" angle, except that glosses over the social complexity that explains not merely why ITROTS - oh, we're going to have to work on finding a better abbreviation, aren't we - was so unprecedentedly controversial when it was made, but also why it was made to begin with.
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To the best of my knowledge, at the time of this writing, 1976's In the Realm of the Senses has never been shown uncensored in its home country of Japan.