REVIEWSDVDBeaver, Gary W. ToozeDirector Shohei Imamura has always delighted in the kinky exploits of lowlifes, and in this 1966 classic, he finds subversive humor in the bizarre dynamics of Haru, her Oedipal son, and her daughter, the true object of her pornographer-boyfriend's obsession. Imamura's comic treatment of such taboos as voyeurism and incest sparked controversy when the film was released, but The Pornographers has outlasted its critics, and now seems frankly ahead of its time.
strictly film school, AcquarelloThe Pornographers is an incisive, acerbic, and droll exploration of voyeurism, exploitation, and repression. By constructing a film within a film to depict the process of the inherently voyeuristic enterprise of filmmaking, Shohei Imamura exposes the underlying hypocrisy of government-imposed sanitized rules of conduct that suppress innate human instinct. Note the implicit dichotomy of social distinction in screening Ogata's pornographic films for "quality" and anthropologically viewing the resulting Ogata biography. The pornographers' clinical examination of Ogata's life, the repetitive use of obstructions such as windows and doors to visually frame the characters, the interstitial scenes showing the refracted image of the omnipresent carp, the pornographers' eavesdropping of their neighbors in order to compile prospective plots, and Ogata's literally skewed view of Keiko through a door crack, further reflect the role of voyeurism in contemporary society. Through astonishing, surreal imagery and temporally fragmented narrative, Imamura hypnotically interweaves fact and fiction, illusion and reality, dreams and consciousness, and creates an irreverent, idiosyncratic, and fascinating spectacle that portrays the underlying core of human behavior.
AllMovieGuide, Michael HastingsImagine Eyes Wide Shut as directed by a court jester and you'd come close to approximating the pleasures of The Pornographers, Shohei Imamura's impish, cynical treatise on the intersection between perversity and commerce. The film positively revels in its ability to treat taboo subjects -- the sex industry, incest, orgies -- with the same detached, laissez-faire attitude as its amoral protagonist Subu, played to oblivious perfection by Shoichi Ozawa. Imamura sets his anti-hero's comedy of errors against a lurid, workaday Osaka, portrayed in a series of meticulously framed, static wide shots in which everything and nothing seems to be happening at once. Although his characters pontificate on the nature of sex, attraction, and perversity throughout the film, Imamura doesn't telegraph his feelings, blessedly refraining from finger-pointing or easy moralization. Like Renoir before him, he's more content to sit back and let each member of his film's seedy extended family design their own unique end. As oblique and vivid as the giant carp that casts a blank eye on the proceedings, The Pornographers is a wry, acerbic, and -- in every sense of the word -- sensational allegory that only becomes more topical with each passing year.
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