Prazeres da Carne (1965)

The movie's anti-hero is his own worst enemy!

A corrupt government official blackmails the anti-hero Atsushi Wakizaka (Katsuo Nakamura) into watching over his suitcase full of embezzled cash while the official serves a mandatory 5-year jail sentence.

Atsushi had fallen in love with Shoko (Mariko Kaga) his student, and murders the man who raped her, after the rapist returns to blackmail the parents to protect Shoko's "honor/marriage-ability"...with Shoko's parents' permission, he follows the rapist on a train and kills him there.

The two problems that develop are that Atsushi was seen by a corrupt, embezzling government official throwing the rapist's body off the train where he was killed and the government official forces Atsushi to keep a suitcase-full of money that he took from Japan's Agricultural dept, knowing he will only get 5 years in prison when he is caught, and also Shoko is betrothed by her parents and marries another man.

Atsushi goes into daydreaming of Shoko running away with him, seeing her come to his house or apartment, which he shares with his 'bought" women; the time he dreams of her showing up at his house and her declaring that she would rather be dead than return to her rich husband drives Atsushi to throw all caution to the wind, and he decides to spend the millions in cash and let the imprisoned government official kill him once he is released after serving time.

What follows is a descent into debauchery by Atsushi , picking up woman after woman who reminds him of his lost student Shoko, and paying them millions to them allowing him to do whatever he wants with them. The problem is that they are giving their money to others: the Japanese Yakusu, to a husband who allows his wife to be used by Atsushi, or the last one who seeks out other "johns" during the day when Atsushi is not using her...

You had to think about what the director, famed Nagisa Ōshima (the reason I watched this movie in the first place), in a movie he made before IN THE REALM OF THE SENSES.

I have decided that he was trying to convey that:

"Love cannot be bought" and (as others have said), greed was prevalent in post-WW II Japan, and (unfortunately), today as well.

The money and his wild spending of it leads to more and more trouble for Atsushi; and perhaps what is sadder still, is that everyone is willing to sell their souls or body to him...for the money; even Shoko, his true love and who actually does come to him when he is out of money, is willing to give her body to him in order to save her husband's cash-starved cosmetics company.

Without planning or any foresight, Atsushi wanders from one woman to the next, not finding what he really wants. He is after all, his own worst enemy: thinking that money can buy happiness, and he also always opens his mouth at the wrong times, not knowing when to shut up!

He cannot keep his mouth shut about how he came about his money, making everyone a possible snitch to turn him in, and he also tries to offer more and more money to get what he wants from the women he chooses. His mouth also got him into trouble with Mari's pimp. played by the late Akiji Kobayashi, who found out about the money from being in prison with the corrupt government official, not knowing that Atsushi is the man he is looking for!

Atsushi runs his mouth to Maris' pimp about the missing money; had he been able to keep quiet, he would have been safe and free of the worry of the corrupt official's return. He even tells Shoko his secret (during the one time that she actually returned to him), which ultimately gets him arrested for the murder of Shoko's rapist.. She, his long lost crush, is the cause of his arrest at the end.

I found the movie to be quite convincing about the immoral situation in Japan, or any other place in today's society, and am saddened by Atsushi's lack of morality, common sense and naivete!

The cinematography of Pleasures of the Flesh is good, in my opinion; but I had to watch the movie twice to realize the Japanese music, which I was unfamiliar with, was actually used as a segue between scenes. I especially loved the use of black and white and gray to impart the mood of the different parts in this movie!

I would recommend this movie to anyone, especially fans of the late director Nagisa Ōshima, as this movie also questions the social constraints of his native Japan during his life.

RE-WATCH VALUE: Definitely!

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