Violência ao meio Dia

I bought a rare copy of this for $1 at my local library, being a fan of foreign (especially Japanese) cinema, and never having heard of the director, Nagisa Oshima. I definitely cannot say that the film is bad, because like the reviewer above, I did not understand it. It isn't that I had difficulty following what was happening in the storyline, which was pretty straightforward, but I just had no idea what the intent of the filmmakers were, what the purpose of the story was. The storyline is so bizarre and sensationalistic - a serial rapist and his relationship with both his wife and one of his victims, all three of whom used to be part of some kind of commune for intellectuals (I didn't even know it was a commune until reading another reviewer's synopsis) - that I am sure there must be some underlying symbolism or message here the director was trying to convey. Maybe it had something to do with Japanese society of the time (1966), I'm not sure? Therefore, I must give my opinion of the outward details of the film. The black-and-white cinematography of the film was exquisite, and the constant cutting of shots from scene to scene was highly impressive. It is obvious a great deal of energy and resources were put into the production. This film is outwardly exceedingly beautiful, on a par with other such visual Japanese films as "Kwaidan" and "Kagemusha." The music score was arresting, as well. Other reviewers all seem to compare this to the work of French director Alain Resnais, but I have never seen any of his films. To me, the film seemed distantly related to the works of Stanley Kubrick in its meticulous attention to visual compositions (I saw the film in widescreen, and I can't even imagine watching it in full screen) and its delving into very dark, uncharted psychological territory. Another film to compare this to is Nicholas Roeg's "Bad Timing: A Sensual Obsession" - another dark, non-linear, visually beautiful film whose themes were very difficult to penetrate. The other major drawback is the length - this film does seem to go on about a half hour too long.

I would love to have a conversation with the director on just what the storyline means, but unfortunately, I had to watch it without any frame of reference. That made it a frustrating intellectual experience, but an impressive aesthetic one.

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.

This movie has something incredible. The fastness. We are put, since the first scenes, in a crazy mood made of hunger rather than satisfaction. And this hunger is the one of a rapist.

Eisuke, the "demon of noon" is a serial sexual abuser that, as we witness from the first minutes, tries to put his hands of fury over a young girl called Shino, a waiter who lives in Kansai. Far from her native village in Nagano prefecture from which the "demon" belongs too. Before moving, however, Shino used to have sex with Genji the son of the village master in which she used to live. The reason was escaping from poverty after a flood that destroyed almost all the house of the place they both belong to. The hunger of the girl became so the reason she slept with him. However, he really liked her. So this leaded to a double suicide of love. The Japanese call it "shunji" and could have been a traditional element for a classic plot. But Oshima is an innovator. In fact, Genji, liked by a shy village school teacher called Matsuko, is the only one to die. Shino was escaped and raped by Eisuke, the demons that here makes his first crime. So we realize that Shino was raped twice. Matsuko, rather than feel lost, is more and more attracted by Eisuke, and Shino, after the second rape, decides to inform her the real identity of the demon. The problem is that Matsuko and Eisuke are now a married couple. The teacher, is shy as ever, but this happens only on the surface. And, in Japan especially, not every time to appear means to be. We discover she is so much attracted by his violent and beastly drunk husband to avoid to help the girl. However, at one point, she decides to help but, after the death condemn to Eisuke, to end her days in a double suicide with Shino. They did it but Shino another time survives.

Explaining the plot here is necessary to understand the themes of a story completely untidy made of flashbacks and close ups that seem trying to show us the inner soul of the characters. This is given by the fact that this plot evolves under the skins. Under the surface. Even if the violence occurs at noon. Here Matsuko is not a wife as Ozu could have imagined. Here we have a demon that lies under her as well as the characters of Nomura's movies. The forest, however, as the idea of the sun as heat rather than light, is a theme yet developed in Kurosawa's Rashomon where we have, as in this movie, a generally hidden act that lies under the sun and not surrounded by fog.

Another thing very important is the political message behind this work. Even id we are not in a move like "Night and fog of Japan" where this element is stressed more we can consider the two dead victims, Genji and Matsuko, the real couple of "shunji". They, being both pure before the flood, somehow loved each other but were attracted by the flesh and instincts after the order was destroyed. Eisuke is the tool that, creating the chaos, can show us this. As well the easiness that makes Shino living without caring too much about, not only her liar soul, but also her violated body. She concerns only about the goal. That is eating after the starvation. As the postwar Japan did in front of the bombings by the Americans while old officers were killing themselves. The hunger, if reaches a goal, so not as happens with Eisuke, who feels a thirsts of passions, can be justified. And Shino wins as Japan did.

Violence at Noon looks at one men and two women, but it's certainly not a love triangle, at least in any 'normal' sense. The director, the iconoclast Nagisa Oshima, takes a decidedly non-linear approach to this story of a rapist and murderer who has ties to two women, one he raped many years before and his wife (or ex-wife perhaps).

I actually DID feel confused a lost a couple of time during the film, but only in the first half. It did jump around a lot, but after a certain point I clicked into Oshima's fast-paced rhythm (and it has about 2,000 cuts so that is a lot even by today's standards), and it has such a fiery sense of what is right and wrong and how the gray areas of the world just take over, and also how a rapist and murder can be understood, if certainly not "liked" at all. It's a dynamic, angry character, simmering and volatile, and when he's on screen you can't take your eyes off him (and it makes for one of the really great openings to any movie, as he enters a house and eyes a woman, a very dangerous-sexy scene).

I really got engrossed in this story of suicide, regret, guilt, and what happens when enveloped in society - that it's a murder mystery is so secondary a note, maybe even the last thing on Oshima's mind. In fact if it hadn't been for a scene on a train that is just shot very clumsily and pretentiously, it might be close to being a perfect "art" film, where a director takes some major chances with style and effect to tell his story. As it stands, I was drawn into Violence at Noon through the emotionally harrowing performances and the innovative editing (and even among other "New Wave" filmmakers of the era who used editing to unconventional effect this had an uncanny sense of going back and forth in time - taking on memory as snapshots, but still cohesive for a full story).