This book is written specifically for those who are interested particularly in the filmmaking of Nagisa Oshima's earlier films. I was a bit disappointed to find that there was little (if anything) written about MERRY CHRISTMAS, MR LAWRENCE (1983), EMPIRE OF PASSION (1980), and MAX MON AMOUR (1988?-his only French parlour comedy). Otherwise, there is plenty written about Mr. Oshima's aspirations and political/social ideas which account for his unusual and sometimes unpopular films. Of interest to most readers will be the chapter concerning IN THE REALM OF THE SENSES (1976), his drama (Oshima describes how he questioned his male actors, asking if they could 'arise' in front of a camera-most of the Japanese potentials were intimidated). Not at all like other Japanese filmmakers in terms of some of his opinions and methods, Oshima certainly stands out as the eccentric director of the Japanese 'new wave'. Note that the book is several years old, so it does not cover films after EMPIRE OF PASSION.

Oshima Nagisa's contribution to cinema will probably not be truly appreciated until after he is dead - if even then. Easily, he ranks with the likes of Dreyer and Bunuel - but he is often depressingly and inaccurately referred to as "the Japanese Goddard." He's not, though. Oshima is unique, and even his lesser efforts can bowl one over. Perhaps his most obvious mark of genius lies in his ability to create an entirely new kind of film when it suits his purposes - "Night and Fog in Japan" and "In the Realm of the Senses" being the most notable examples. Both films created a considerable amount of controversy, and both are covered in "Cinema, Censorship, and the State." The documents written by Oshima in defense of these films are facinating. It is also enlightening to read his observations on Korea and Vietnam as a documenterian. There are also autobiographical fragments, bits of film theory, political theory, a remembrance of Mishima Yukio written upon hearing the news of his death, and much more. Quite an impressive potpourri - and an invaluable one as well, given the unusally high-context nature of Oshima's work. Other memorable writings include his thoughts behind the disturbing masterpiece "Violence at Noon." Even better is his account of the shooting of "Boy" - a film regretably unavailable in America. This latter piece should have special significance for independent filmmakers. Oshima is a social critic in the truest sense - he is eventually compelled to see the flaws in his own arguments. His films engage one at levels most films never do - psychologically, emotionally, politically, intellectually, sexually . . . Difficult, to be sure. At times almost insanely idealistic, Oshima writes with the same righteous outrage and searching intelligence that informs his films. Work this challenging simply cannot be popular. But this is the work of someone who believes passionately in the medium's potential to be so much more than it is - and then sets out to prove it. I devoured this book - wishing only that it could be longer - and promptly gave it an honored place on my reference shelf.