La bête aveugle

There are few films as psychosexually unnerving as MOJU, a visually arresting Japanese art-house classic which illustrates a blind sculptor's darkly sexual "idee fixe", and a young woman's metamorphosis of mind and body. This is erotica of a tenebrous nature rarely explored in films, and will surely rouse reproach in today's politically sensitive milieu for its limning of male-induced female disempowent. Initially a resistant captive, she yields gradually to her oppressor, eventuating with the willful(and eager) ultimate surrender of every aspect of her being.

A disquieting sadomasochistic fever-dream, MOJU is also underscored with violative elements of a strangely touching, almost fragile intimacy which develops between the two key characters...a dynamic of tenderness and firebrand which works well. Iconographically, it's a unique and forceful film, transpiring chiefly within the darkness of an expansive subterrane with black walls which exhibit floor-to-ceiling reliefs in depiction of various body parts. A massive, abstractly sculpted female nude is the central fixture, which serves as a bedstead of sorts. The high contrast of these ghostly-white effigies against the black walls creates a surreal illusion of free-floating entities in the crepuscule of space...it's an appropriately asomatous stage for the bizarre 'mise en scene' at hand, and contributes to the the film's abstruse semblance.

Individuals of offroad aesthetic tastes should enjoy this unexampled and very memorable conception...explore it, and you *will* be affected in a spectrum of ways.

8/10...Recommended.

Part of the Japanese New Wave of the 1960's and early 1970's, - which, like the French Nouvelle Vague developed a new form of cinema, largely made up of film critics, and deconstructionists - Yasuzo Masumura's deeply psycho-sexual drama about power and sensuality, explored ideas such as the changing roles in society (particularly of women), surprisingly - unlike the French wave - through the studio system. Based upon Rampo Edogawa's novel, published in 1931, the film has been previously compared to John Fowles's excellent 1963 novel, 'The Collector' - and certainly some of the themes are similar.

Self-proclaimed "disliked model," Aki (Mako Midori), begins the film in a gallery, her modelling career not going to plan within the commercial world, she had taken a job posing for a famous photographer in "erotic" S&M style images. The exhibition is a success, but here, now, it is early, and she views a strange man fondling a sculpture effigy of her, that resides at the centre of the room. Having hired a masseur, the blind, Michio (Eiji Funakoshi), enters her flat and begins lasciviously to touch her body, proclaiming she has the most perfect body. Michio, along with his mother kidnap Aki, and take her to his warehouse studio - there he states his aim to create a new genre of art, made by and for the blind that is based upon the sensation of touch alone.

As Aki begins to bring deception and manipulation into the mother-son relationship, things begin to spiral out of control, their relationship develops into a strangely symbiotic form, that increasingly leads to a masochistic tryst. As their depravity progresses, the masochistic tendencies become more dangerous (which could easily be seen as absolute influence on Jennifer Lynch's famous failure, Boxing Helena (1993) - it would be surprising if she had not seen it).

Most of the film is set within the cavernous, yet claustrophobic warehouse, which lends an air of stage play. However, the production design is absolutely beautiful, with abstractions of lighting, and the walls covered with hundreds of clay body parts - over sized eyes, noses, legs etc, - of all the women he has previously touched. It is a very interesting film, that will endure for it's psychotic and debasing character studies, and the destruction of the traditional family unit.

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Based on a novel by Edogawa Rampo who's name sake is Edgar Alan Poe, it's a mystery intrigue that's his specialty. But this one must be one of the most far left story he's ever written.

A blind masseuse kidnaps a model to enjoy her in his private atelier. She finds herself in his wonderland that is dedicated to women's body. If that sound's weird, you're right. This is one of the weirdest movie I've seen.

Mako Midori who plays the lead was known for her good figures. She was also known as actress that's bit out there, so she was the perfect choice for this role. Despite her sexuality, she's confessed that she was rather a late bloomer in regards to sexual matters. Her first boyfriend didn't help in this regards either. But as an actress, she was some what of a sex symbol, as you can see in this movie.

The movie is bit like the "Collector" in that she was collected by this masseuse, and became his sex slave, but I think this is a better made movie. It really is an artistic movie. The fact that it's written by Edogawa Rampo almost guarantees it, and recruiting Mako Midori was an inspired choice.

Not a mainstream movie by any means, but one of the most interesting that's out there.

Yes, believe it or not, these weird, artistic looking, violent, sadomasochism movies are actual part of a much larger genre, that mostly the Japanese have specialized in. Its genre is often hard to watch but at the same time you will also be able to appreciate the visual beauty and delicateness of the movie.

Out of all the movies I have seen so far that can be put under the same label as "Môjû", this movie is certainly one of the better ones. Its storytelling shock you more than the actual images of the movie and visually it's also a great looking movie with grand and unusual looking sets. It's definitely an artistic movie but it's story will still grab everyone, no matter how simplistic it and odd it all gets at times.

Even though in essence its a sadomasochism movie, the movie is more focused on its psychological sexual aspects and how the characters experience them. There is nudity and gore but that is not just simply what the movie is supposed to be all about.

It's definitely a movie you simply need to experience. A lot can be written about it but it in no way can capture the essence and mood of the movie.

8/10

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The successful Japanese model Aki (Mako Midori) is abducted by the obsessed and lonely blind sculptor Michio (Eiji Funakoshi) and his mother (Noriko Sengoku). Aki unsuccessfully tries to escape from Michio's studio, and seduces and manipulates Michio against his mother. Aki develops a weird, sick and tragic relationship with Michio, after her long imprisonment and the close contact with him.

The first thing that came up to my mind while watching "Môjuu" was the clear inspiration of its storyline in William Wyler's "The Collector" (1965); by the other hand, the screenplay of the recent "Tiresia" (2003) is certainly based in these two movies. These three films have the same storyline - an obsessed fan kidnaps a woman and imprisons her, but have very different conclusions. "Môjuu" follows a bizarre and weird way, using destructive sadomasochism between the two lead characters, and the most impressive, in a 1969 movie, i.e., thirty seven years ago. Mako Midori is extremely beautiful; the sets are awesome; the cinematography is wonderful; but this unforgettable sick SM love story is recommended for very specific audiences only, since it is impossible not to feel a disturbance after watching this movie. My vote is eight.

Title (Brazil): "Cega Obsessão" ("Obsession Blind")