L'obsédé en plein jour

First of all, let me correct a wrong statement which you can find in one of the two other reviews on this film: no, Oshima never attended a film school in France, although he was clearly influenced by the French New Wave and eventually shot a film in Paris in the 1980s ("Max my Love"). Now, to see some influence from Resnais' "Marienbad" and "Muriel" in this film is quite right: the lightning-paced editing, jump cuts, elliptical narrative and numerous flashbacks turn this work into a rather challenging one for the viewer, while it presents an interesting reflection on haunted memory (another common point with Resnais).

No, as you may guess, this is not a "sit back and relax" film. To put things in a nutshell, "Hakuchu no Torima" is the portrayal of a violent rapist as seen through the recollections of his wife and one of his victims. As the film starts, Eisuke (played by a great Kei Sato) encounters Shino (Saeda Kawaguchi), who works as a maid in a house. She is a former coworker from a failed collective farm, whose life he once saved -- only to rape her. Soon, Eisuke's criminal pattern of rapes and murders emerges as he goes on assaulting women (Shino being the witness of one of them, as Eisuke tries to violate her employer). When cooperating with the police on making a description of the rapist, Shino withholds her crucial knowledge of his identity. She prefers writing letters to Eisuke's dutiful wife, Matsuko, a schoolteacher (Akiko Koyama -- Mrs Oshima), in order to expose his true nature and perhaps induce her into turning Eisuke over to the police. As the police investigation develops, Shino insinuates herself into the investigative process by following Inspector Haraguchi (Fumio Watanabe) as he pursues clues in an attempt to understand Eisuke's destructive impulses. Haraguchi is led to believe that Shino, as Eisuke's first victim, is the underlying cause for his violence. Flashbacks tell us about the complex circumstances behind Eisuke's rescue of Shino at the collective farm, revealing the dual image of Eisuke as both criminal and savior in the eyes of Shino, and explaining the inextricable bond between the criminal and his victim. Strangely enough, Shino and Matsuko will eventually unite their efforts to protect Eisuke from capture... or won't they?

Throughout the whole film, Oshima is more preoccupied by the relationship developing between Shino and Matsuko than by the rapist. The despair of both women is linked to that of Eisuke himself and to the failure of the socialist movement in postwar Japan (symbolized by the collapse of the collective farm, after which the true believers either committed suicide or turned to primitively destructive ways). Based on a true story (when Japan was terrorized by a man who raped and killed up to 30 women in 1957-58), shot in a stunning black and white (which makes this film look like no other film from Oshima), "Hakuchu no Torima" explores the themes of guilt and self-destruction, and shows how crime reflects the pathology of the society in which the criminal lives. A difficult yet beautiful and riveting film, for experienced viewers.

Possibly the most confusing movie I've ever sat through, it took me a long time to get anything out of it. I just couldn't grab onto even the slightest shred of a plot, and, without the ability to find a hook, it felt at first like watching a blank wall. But eventually, I started making inroads and, as the film progresses, its chopped-up plot begins to emerge. It is the story of a rapist and murderer and two women with whom he is intricately involved. Shino is one of his rape victims, and also, we find out, a woman he rescued from suicide in the past. Jinbo is the killer's wife, who knows his guilt (or at least suspects it) but loves him and wants to protect him. Nagisa Oshima actually went to film school in France, and, though part of the Japanese New Wave, no one will miss the French New Wave influences, especially Alain Resnais, whose films have similarly infuriated me in the past with their difficult narratives. Even if I never understood what the hell happened here, the film has several great aspects. The acting is quite good, that's clear. But, in particular, the music, by Hikaru Hayashi, and the cinematography, by Akira Takada, are extremely beautiful. I think I might like this one better if I give it yet another try.

ETA: zetes here in the distant year 2010, having just watched the film for the second time. It seems that younger zetes was being a tad dumb, though it could have been the fact that he watched it on a VHS with probably washed-out subtitles (remember those? Yeah, I don't miss them!). The film is actually kind of convoluted, perhaps purposely so. But after the first third of the film, it's fairly clear what's going on. It is quite good, and the visuals and direction are spectacular. This is now available on DVD in an Eclipse box set (it's generally considered to be the best film in that set, too, though I've only watched a couple of films from it so far).

I really don't know why Oshima's early films have taken so long to become available in the U.S. They are spectacular! I suppose because their thematic content is so specific to the Japan of the post-war "reconstruction" at the hands of the Americans. As radical, contemporary, and at times experimental as Oshima's films from this era were, his landscapes, to my eye, more closely resemble the tradition of Japanese landscape-painting than those of Kurosawa or Mizoguchi. In this film, the past is captured in just such painterly, deep-focus majesty, with dizzying zooms thrown in just to leave you disoriented. The present is soft, blurry, almost indiscernible at times. I'm interpreting the political content of this violent, lude, nasty story to deal with Japan's inability to live up to its WWII atrocities, or from a different perspective, the ease with which it forgave itself. I admit that I don't see how the last scenes fit into that interpretation, but that doesn't make those scenes any less haunting.

Haku Chu No Torima (1966) Directed by Nagisaa Oshima

Is there another serial killer film done from the point of view if the family of the killer?

Synopsis: Shino (Saeda Kawaguchi) and Matsuko (Akiko Koyama); the victim and wife of a suspected serial rapist and murderer (Kei Sato) join together to figure out how to stop him. Their only help out is Genji a wealthy politician (Rokko Toura) and an inspector (Fumio Watanabe).

More complicate then that, but couldn't say more and give away the important details of this peculiar change of pace from home invasion slasher films. It's told from the point of view of family and those benefiting from the individual perpetrating the crimes.

Shino's family livelihood is connected to rice farming. Without Eisuke her family is penniless. Matsuko is his wife and without her criminal husband she is homeless.

Matsuko tries to stop her husband by giving into Eisuke's fetishes, but it's not the same for him with a willing participant. Genji the politician is in love with Shino and will help her family, but she fears rightly his connection to her will lead to his downfall. In addition, Shino sadly is wrapped in a sadistic master and servant relationship with Eisuke who rapes her frequently and out of fear and necessity she says nothing.

All the while Eisuke is the noon day killer, being chased by Inspector Haraguchi.

None of the serial killings are shown, yet referred to, it is again the story of those who know a killer and suffer in silence.

I can't recommend this film enough. It's premise is horror, and I feel for a female audience it may be a terrifying dilemma, however, all genders should walk away with the same dilemma. What would I do if someone I benefit from is a killer? What if a horror premise was permitted realism and a dramatic turn?

I tell people... beware of golden anchors.

This film is all about that. Relationships where we accept too much from one benefactor. It makes us powerless.

The negatives I read on here are all based on artist choice. And the comment love has no rewards is given by a character who we should never take advise.

As I should have expected from director Nagisa Ôshima, "Hakuchû no tôrima" ("Violence at Noon") is a thoroughly unpleasant film. It's central themes are rape, murder and suicide....so you might want to think twice before you watch it.

Eisuke is a horrible person...pretty much human garbage. Despite having no discernable good qualities, two women love him. Why this is the case becomes SOMEWHAT apparent through the course of the film, but they refuse to go to the police after there's a string of rapes and murders...even though they both know that Eisuke is responsible. With one woman, instead of telling the police, she sends letters to Eisuke's wife...trying to get her to turn in this despicable man.

There's more to the story than this, but suffice to say I disliked everyone in the film....which is NOT unusual for this director. He tended to often make films about amoral people and they are certainly NOT everyone's taste. I frankly have never loved any of his dark and unpleasant films...and this one, though well made, is just unpleasant.