Erogotoshi-tachi yori: Jinruigaku nyûmon (1966)

Calificación de los usuarios:

7.7/10   

Director:

Shohei Imamura

Escritores:

Shohei Imamura (writer)
Akiyuki Nosaka (novel)

Fecha de Lanzamiento:

agosto 1966 (USA)

Género:

Comedia | Drama

Plot:

Mr. Ogata lives a complicated life: he's is a pornographer making two skin flicks per day and trying...

Plot Keywords:

Barbershop | Carp | 1960s | 8mm | Fishbowl

Premios:

3 wins

Comentarios de los usuarios:

Black Comedy Of Manners In The '60's Japanese Underbelly

Reparto

Shoichi Ozawa	...	Yoshimoto 'Sub' Ogata
Sumiko Sakamoto	...	Haru Masuda
Masaomi Kondo	...	Koichi
Keiko Sagawa	...	Keiko
Ganjiro Nakamura	...	Elderly Client
Chocho Miyako
Haruo Tanaka
Shinichi Nakano
Kô Nishimura
Ichirô Sugai

También conocida como:

The Amorists (USA)
The Pornographer (UK)
The Pornographers (USA) (reissue title)
The Pornographers: Introduction to Anthropology (USA) (complete title)

Duración:

128 min | USA:120 min

País:

Japan

Idioma:

Japonés

Color:

Negro y Blanco

Relación de Aspecto:

2.35 : 1

Sonido:

Mono

Clasificación:

Canada:G (Québec)

Compañía:

Imamura Productions

Trivialidades:

An English-subtitled print included among the opening credits the phrase, approximately, "presented by Phyllis and Eberhardt Kronhausen"--the well-known sexologists.

Conexiones de Película:

Referenced in The Killing Floor (2007)

Black Comedy Of Manners In The '60's Japanese Underbelly

Imamura is younger, and less well known, than those Japanese directors who came to international attention in the 1950's. He was for a while a trainee of Ozu's, though there are few stylistic indicators of that in "The Pornographer". This is quite clearly a new-wave film with hints of Godard and Fellini. Freeze frames, fantasy and a habit of framing scenes through windows means that this looks unlike the earlier classic Japanese films. Subu the eponymous pornographer initially believes that he is a public servant, providing for the less salubrious needs of his customers - photos, films and potions. He has a bizarre home life with a widowed hairdresser and her two children. Both the making of pornography and his odd home life provide some moments of rich black comedy. Other elements, such as the interaction with local gangsters, appear less central to the film and don't always fit in easily. This is not the sort of film where acting is of great importance, here it varies from good to acceptable. The main fault of the film is the length. 127 minutes is not necessarily long, it's just that it feels too long here by about 30 minutes (around midway there are some tedious patches). To sum up an interesting film by a director still little known, if it does not reach the heights of Kurosawa, Ozu, Kobayashi or Ichikawa at their peaks, the truth is that no post 1960's Japanese film has. It is certainly better than the three films by Oshima (the only other Japanese new-wave director with any international reputation - possibly more for the "pornograhic" nature of his films than any real quality) I have seen.