The Pornographers (original title: Erogotoshi-tachi yori Jinruigaku nyūmon, translated as An Introduction to Anthropology from the Pornographers) is a 1966 Japanese satirical drama directed by Shohei Imamura, one of Japan’s most daring and provocative filmmakers. The movie delves into post-war Japanese society, exploring themes of capitalism, sexuality, and morality through the darkly comic lens of the pornographic film industry.
Detailed Summary
Opening: A Nation Reborn Through Vice
Set in post-war Osaka, the film opens with Subuyan Ogata, a middle-aged pornographic filmmaker trying to make a living in a rapidly modernizing Japan. He runs a small business producing illegal erotic films, constantly dodging the police and local gangsters. Through his eyes, we see how the country’s moral landscape is shifting—sexual repression collides with the lure of quick profit and Western influence.
Ogata and the Widow
Ogata lives with Haruko, a widow who supports his work financially but disapproves of its immorality. Her son Koichi, who disdains Ogata, represents the younger generation rejecting both traditional and corrupt modern values. Imamura builds this domestic tension with absurd humor and quiet tragedy, creating an atmosphere that is both intimate and surreal.
Obsession and Control
Haruko becomes convinced that her deceased husband’s spirit has been reincarnated in a carp swimming in their household tank. This bizarre yet symbolic subplot reflects the film’s obsession with bodily desire and spiritual decay. Ogata’s growing paranoia and the family’s descent into dysfunction mirror Japan’s own social contradictions during the 1960s economic boom.
Crime and Consequence
As Ogata’s business expands, he becomes more entangled in crime. His apprentice grows resentful, the police close in, and his moral compass erodes completely. Imamura contrasts the seediness of Ogata’s trade with philosophical musings on anthropology, biology, and the human condition—hence the film’s subtitle.
Movie Ending
In the haunting final act, Ogata’s world collapses. After a series of betrayals, he flees to the countryside, hiding in Haruko’s house near the water. Haruko’s belief that her husband’s spirit resides in the carp grows stronger, while Ogata becomes increasingly detached from reality. In a disturbing, surreal climax, he dives into the pond—possibly to kill the fish, possibly to embrace it—symbolizing his surrender to guilt, obsession, and madness.
The final image lingers: bubbles rising from the pond, as if Ogata himself has transformed or disappeared into the water. It’s ambiguous whether he dies, merges with the carp’s spirit, or simply loses his mind, but the implication is clear—his moral and existential degradation is complete. Imamura leaves us with a reflection on human desire and its self-destructive cycles.
Are There Post-Credits Scenes?
No, The Pornographers does not have any post-credits scenes. The movie ends definitively with its surreal closing image, emphasizing artistic ambiguity rather than cinematic continuation.
Type of Movie
A satirical drama with strong elements of black comedy, social commentary, and psychological realism. It’s a film that mixes humor and discomfort, exploring the intersection of sex, economics, and existential despair.
Cast
- Shoichi Ozawa as Subuyan Ogata
- Sumiko Sakamoto as Haruko
- Keiko Sagawa as Keiko
- Kazuko Yoshiyuki as Yoshiko
- Ko Nishimura as Yoshizawa
Film Music and Composer
The score was composed by Toshiro Mayuzumi, known for blending traditional Japanese sounds with avant-garde orchestration. The music accentuates the absurdity of Ogata’s world, alternating between light satire and ominous dissonance.
Filming Locations
The movie was shot primarily in Osaka and Tokyo, showcasing Japan’s urban post-war transformation. The cramped apartments, bustling streets, and cluttered interiors reflect the chaos of modern life and the moral confusion of Japan’s economic miracle. The pond and countryside scenes at the end were filmed near the Kansai region, symbolizing a return to “nature” that is anything but pure.
Awards and Nominations
While The Pornographers did not receive major international awards at the time of release, it was critically acclaimed in Japan and later recognized as a significant work in Imamura’s career. It was screened at international festivals and has since been cited in retrospectives as one of the most important Japanese films of the 1960s.
Behind the Scenes Insights
- Imamura wanted to depict “the lower depths of Japanese society”, focusing on those left out of post-war prosperity.
- The carp scene was inspired by a real Japanese folktale about reincarnation and guilt.
- The film’s erotic content caused controversy; several scenes were censored or edited in early releases.
- Imamura’s approach to directing actors emphasized natural behavior over scripted performance—he often let scenes evolve spontaneously.
Inspirations and References
The movie was based on the novel Erogotoshi-tachi yori Jinruigaku nyūmon by Akiyuki Nosaka, who also wrote Grave of the Fireflies. Imamura used the story as a platform to explore his anthropological fascination with human instinct and survival.
Alternate Endings and Deleted Scenes
Reportedly, Imamura filmed a more explicit version of Ogata’s final descent into madness, including additional underwater footage and surreal imagery. This was removed for pacing and censorship reasons. The full version has never been publicly released.
Book Adaptations and Differences
The novel by Nosaka is more cynical and less absurd than the film. Imamura expanded the story’s scope, adding social critique and dark humor. The book treats Ogata as a pathetic man; the film portrays him as a tragicomic symbol of post-war Japan’s lost soul.
Memorable Scenes and Quotes
Key Scenes
- Ogata filming in a cramped room as police sirens wail outside.
- Haruko staring at the carp, convinced it’s her husband.
- The surreal sequence where Ogata hides from the authorities in the pond.
- The ironic documentary-style narration that comments on human evolution.
Iconic Quotes
- “Man is a creature that sells his own shame.”
- “We’re just animals, pretending to be civilized.”
- “The fish knows everything—it sees us all.”
Easter Eggs and Hidden Details
- Imamura’s trademark anthropological lens is literalized through the film’s title, suggesting humans are specimens to be studied.
- The recurring imagery of water represents moral pollution and cleansing.
- Several characters’ names are puns referencing Buddhist rebirth and karmic cycles.
Trivia
- This was one of the first Japanese films to openly depict the underground pornography industry.
- The carp used in the film was rumored to have died during production, but Imamura later revealed it was replaced with a prop.
- The film’s style influenced later Japanese directors like Takashi Miike and Kiyoshi Kurosawa.
Why Watch?
The Pornographers is not a typical erotic film—it’s a biting social satire wrapped in absurd comedy and existential despair. For those interested in Japanese New Wave cinema, social critique, or films about moral hypocrisy, this is essential viewing.
Director’s Other Movies
- The Insect Woman (1963)
- Intentions of Murder (1964)
- The Ballad of Narayama (1983)
- Vengeance Is Mine (1979)
- Black Rain (1989)
Recommended Films for Fans
- Tokyo Drifter (1966)
- Pigs and Battleships (1961)
- The Pornographer (2001)
- Woman in the Dunes (1964)
- The Funeral (1984)
- The Eel (1997)
