Outside of The Courtyard Window Four years before "The Blind Monster" was released (c) cyberlaw
What Alfred Hitchcock merely meant by playing with more general and perfect categories, not without expressive napalm develops Nagisa Oshima. Not only does he capture the enthusiastic adoration of his student on the screen, but also her rape. It is symbolic that our hero becomes a witness to the crime and soon he will be destined to make a deal with the criminal. And notice, this is just the beginning. What will happen next?
And then there will be the immersion of the hero in his passion. She is in fact depersonalized, and only formally associated with the girl who became the object of his adoration. All the personal twists of the hero, betrayal and meanness, looseness and excessive luxury - all this gives out a traumatized unconscious part of his psyche. Obviously, the hero chosen for study is none other than the most ordinary representative of the middle class. Oshima is ruthless to all those, outwardly quite decent and, as a rule, seemingly respectable to his representatives, who can not cope with their sexual perversions and dream of doing business like gangsters. Behind the correct shell and quite decent texture hide such terrible emotional impulses. The unbalanced rhythm of the story is only a general outline for a severe directorial verdict. Traditional for many Japanese films, maximalism is in sharp contradiction with such soft and calm, fashionable paintings of Yasujiro Ozu.
7 out of 10