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.
Continue reading Tetsuji Takechi – Kuroi yuki aka Black Snow (1965)