Falconeer People usually think of "In the Realm of the Senses" when they hear Oshima's named mentioned. That film's graphic, semi-pornographic erotic scenes overshadowed director Nagisa Oshima's talents as a film maker. I believe his "Empire of Passion" is a superior film to that 1976 production, in many ways. Here we have a beautiful, and impeccably filmed 'ghost story' that truly succeeds in being "haunting." When the rick-shaw driver returns from the dead, after his wife and her corrupt young lover have murdered him, it is truly chilling. And this film succeeds at being very erotically charged, without explicit sex included. as in Oshima's earlier film, the illicit lovers seem to be obsessively, frantically addicted to each other sexually. Their couplings are feverish, even when things start to turn very dark in their lives. As in earlier works, the two main characters seem to have no control over their sexual appetites, and danger and violence only escalate their desire. "Empire of Passion" is masterfully filmed; the scenes in the mysterious forest with sunlight filtering through the branches overhead, or amidst pounding rain storms and mist-shrouded country roads, every frame of "Empire of Passion" is beautiful and carefully filmed. The scenes of the well are especially haunting and mysterious as the story draws to it's unhappy conclusion. A feeling of bitter hopelessness permeates every frame, and there isn't really anyone to sympathise with. Everyone seems so selfish and corrupt, except for the woman's young daughter, who is caught up in her mother's treachery. It's unfortunate that this film didn't get much attention, as people were most likely expecting another shock film like "In the realm of the senses." This one must have looked quite tame compared to that film, but i do believe this to be the superior of the two. I am looking forward to seeing earlier films from Nagisa Oshima.

Chris Haskell What a curious film. I think I enjoyed it, but it's difficult to say. Plot aside, to me this is a story about vanity and selfishness blinding two individuals and guiding them to make ill-informed decisions. One of the most interesting lines in this film for me was when the daughter says that her mom wanted a good life when she was young. It seems that desire never left Seki (now a mom and the wife of a rickshaw driver), and she is immediately willing to follow the advances and promises of a younger man who offers her intimacy and (I'm guessing in her mind) a chance to start over. There is a period of calm and then chaos following a major decision Seki makes, and the way she handles the world crashing in around her is to be expected. What was surprising, and I think what ultimately redeemed this movie for me, was the lack of support she got from the one person she trusted to stay by her side. This forces her to face a decision she was never 100% comfortable making, and brings out the emotional torment she endures beautifully. There are moments in the film I didn't enjoy, but it's a very original take on an age old conundrum, and a very strong performance from the leading two actors. Rating 26/40

MisterWhiplash Empire of Passion starts out deceptively - that is, if you're immediately expecting it to be a horror movie. It's like a riff on James M. Cain's The Postman Always Rings Twice, at first: Seki (Kazuko Yoshiyuki) is a mother of two and a dutiful, hard-working wife to rickshaw driver Gisaburo (Takahiro Tamura). But when he's not around, and she's at home with the baby, the feisty and aimless young man Toyoji (Tatsuya Fuji) comes around to bring some goodies for Seki... and a little extra. They're soon sleeping together, but after he does something to her (let's just say a "shave"), he knows that he'll find out, and immediately proposes that they kill Gisaburo. They drink him up, strangle him, and then toss him down a well. Naturally, this will come back to haunt them - but that it's literally, at least to them (at first super-terrified Seki and then only later on skeptical Toyoji), changes gears into the 'Kaidan', a Japanese ghost story.This is a film where the horror comes not simply out of "oh, ghost, ah", but out of the total dread that builds for the characters. In a way there's the mechanics of a film-noir at work throughout, if only loosely translated by way of a 19th century Japanese village as opposed to an American city or small town (i.e. the snooping cop, the "evidence" found possibly by another, word getting around, suspicions aroused, etc). It's compelling because Seiko actually was against the plan from the start, manipulated by the lustful but ill-prepared Toyoji, and her reactions to Gisaburo's re-appearances are staggering to her. Take the one that comes closest to poetry: Gisaburo's ghost, pale-blue face and mostly silent, chilling stare, motions for Seiko to get on the rickshaw. She does, reluctantly, and he pushes her around on a road she doesn't know, in the wee hours before dawn, surrounded by smoke. Most Japanese ghost stories wish to heavens they could get this harrowingly atmospheric.While it starts to veer into hysterics towards the end, there's so much here that director Oshima gets right in making this a distinctive work. After hitting it huge in the international cinema world with In the Realm of the Senses (which, ironically, got banned in his own country), he made something that, he claimed, was even *more* daring that 'Senses'. Maybe he was right; Empire of Passion has less graphic sexual content by far than its predecessor (also starring Tatsuya Fuji, a magnificently physical actor with an immense lot of range), but its daring lies in crafting a world of dread. You can believe in ghosts in this story, but you also have to believe how far down to their own personal hells these two would-be lovebirds will go. The snooping detective or the gossiping townspeople are the least of their worries: the fate of their very souls is at stake.And Oshima takes what in other hands could be merely juicy pulp (sadly, it wouldn't surprise me if an American remake was already in the works) and crafts shot after gorgeous shot, with repetition working its way into the mis-en-scene (i.e. the shots of Seiko and Toyoji walking on that road, the camera at a dutch angle, the world tilted and surrounding them in a grim blue hue) as well as some affecting movements that will stay with me long after I finish typing this (i.e. Toyoji throwing the leaves by one hand into the well in slow motion, or how Seiko's nude body is revealed after she becomes blind). It's daring lies in connecting on a level of the spirit- not to be confused with the spiritual, though there may be something with that as well- about life and death's connections to one another, inextricably. It's a classic waiting to be discovered.

mike_pee123 In the Realm of the Senses is a beautifully filmed, well-written, and splendidly acted film. It tells the haunting story of a woman who kills her husband after falling in love with another man. The ghost of her husband continues to haunt her lond after his murder. This film is really good, anyone interested should definitely check it out.