Review from Midnight Eye:
Credits roll over a static shot of a prostitute, lying prone on her back with all the aloofness of Manet’s Olympia and nothing but the prostrate figure of a hulking black American GI stretched over her to mask her nudity. As the camera slowly pans along her bare flank, she raises her arm above her head to reveal a dense thicket of underarm hair.
Provocative stuff in a country where the one real taboo in the sexual arena is the onscreen portrayal of pubic hair, but it wasn’t this scene which landed its director in court for Japanese cinema’s first obscenity trial. As the screaming sound of jet planes which dominate the soundtrack of this brazen opening might suggest, Black Snow’s subversion goes beyond the mere carnal.
The fourth film of Tetsuji Takechi is a flagrant piece of anti-Americanism, made at a time when students were taking to the streets in droves to protest against the renewal of the US Security Treaty. Set in a ramshackle prefab brothel lying in the penumbra of the Yokota Airbase, Black Snow tells the tale of a disturbed youth who, after spying on his mother with a black serviceman, finds himself unable to attain sexual arousal unless fondling a loaded pistol. Later that night, he stabs and murders the GI before running amok through the building and finally slaying his mother. Carted off by the military police, the film ends as he is gunned down by a firing squad..