Watch Pleasures of the Flesh

"Pleasures of the Flesh" is a 1965 Japanese film directed by Nagisa Oshima, a prominent figure of the Japanese New Wave cinema. The story unfolds in a post-war Japan, entangled in the complexities of modernizing influences and the traditional moral fabric of its society. This film stars Katsuo Nakamura as Atsushi Wakizaka, Mariko Kaga, and Yumiko Nogawa, among others, weaving a tale that interlaces themes of desire, guilt, and psychological intricacy.

The narrative follows the protagonist, Atsushi Wakizaka, a young and somewhat naive man who becomes entangled in a series of morally compromising circumstances. At the outset, Wakizaka is portrayed as an everyman, relatable in his flaws and desires. He unintentionally gets involved in a crime which leads to an unusual proposition: Wakizaka is entrusted with a substantial amount of blackmail money. The money is to be held for a year, after which it is to be handed over to the blackmailer upon his release from prison.

Faced with this sudden influx of wealth, Wakizaka finds himself confronting the moral dilemma of adhering to his duty and avoiding the temptations such wealth can bring. The riches unlock a Pandora's box of desires for decadent indulgence, and Wakizaka quickly succumbs to the seductive allure of hedonism. He begins to spend the money lavishly, impulsively seeking out pleasure in its most transient and material forms.

The women he encounters, portrayed compellingly by Mariko Kaga and Yumiko Nogawa, embody different facets of desire and remorse, serving as mirrors to Wakizaka's own conflicted soul. Each character introduction adds layers to the film’s exploration of the human psyche and the intricate dance between moral integrity and carnal desires. The interactions and relationships Wakizaka forms are imbued with complexity and ambiguity, a testament to the actors' nuanced performances.

Pleasures of the Flesh expertly critiques the social and individual struggles of its time. Oshima's directorial approach is both stark and evocative, capturing the existential angst that plagues Wakizaka and, by extension, a society grappling with rapid change and moral uncertainty. The film operates on multiple levels, serving as a psychological drama, a societal commentary, and an exploration of the human condition.

The cinematography of the film is a visual representation of its thematic content, with scenes that are raw and powerful in their simplicity. The camera work often accentuates the isolation and internal turmoil that Wakizaka experiences, while also highlighting the increasingly surreal experiences that his journey through the underbelly of pleasure-seeking entails. The use of color, light, and shadow enhances the film's atmospheric tension, contributing to a sense of unease that aligns with Wakizaka's internal conflict.

Oshima's storytelling is not straightforward, often leaving the audience to ponder the underlying currents of his characters' actions and the societal implications of the story. The film's pacing and narrative structure may challenge the viewer to keep up with the psychological depth and the critical lens on materialism and ethics. The director's mastery in creating a potent combination of intellectual examination and raw emotional engagement makes this film a piece of art that resonates long after the end credits roll.

Pleasures of the Flesh is also notable for its boldness in addressing themes considered taboo at the time. Oshima does not shy away from portraying sexuality and its complexities, nor from delving into the darker recesses of human nature. The film bravely navigates through a landscape of sexual politics and the power dynamics at play, simultaneously making a statement about the human inclination toward self-destruction when left unchecked by societal norms.

The soundscape of the film is another layer that enhances its narrative power. The score and the sound design work in harmony with the images on screen, creating an immersive experience for the viewer. The music, ranging from melancholic to disquieting, underscores the emotional journey of the characters and brings an additional layer of texture to the film's overall impact.

To sum up, Pleasures of the Flesh is a thought-provoking film that stands as a striking piece within the context of 1960s Japanese cinema. Through the intricate portrayal of Atsushi Wakizaka's downward spiral into a haze of gratification and guilt, the film examines the human cost of unchecked desire and the inner turmoil brought on by betraying one's moral standards. Oshima's work here is a compelling synthesis of narrative, performance, and cinematic technique, offering a rich and unsettling look at personal and societal issues that remain relevant to contemporary audiences.