Joining in on a poll on ICM for the best movies of 1981,I started looking round for titles to view from the year. During this search,I found that ICM were starting a French viewing challenge,where you have to watch as many French flicks as possible. Feeling that this was the perfect time to cross the two,I took a look at French cinema from 1981,and happily stumbled on a chance for some strange kinky Kinski.The plot:Going to Japan with her older lover Sir Stephen, "O" starts trying to figure out how to fulfil all of Stephen's sexual needs. Wanting to "educate" "O",Stephen decides to be a true gentlemen,and get O a job working in an elite Japanese brothel (!) While she receives an education,Stephen starts peeping,at the fruits of passion.View on the film:Crossing East meets West,co-writer/(with Rio Kishida and Dominique Aury) director Shûji Terayama dollops French smut..err, erotica with Japanese fetishism. Unloading non-simulated sex scenes, Terayama & cinematographer Tatsuo Suzuki brew the title with a peculiar atmosphere of sensual red dust and striking symbolism of childhood flashbacks and a dead bird,which is balanced by weird S&M sequences involving torture,and Stephen turning into a peeping tom who checks on O's time with clients. Undressing a book from The Story of O creator Dominique Aury, (who co-wrote the script) the screenplay by Aury/Terayama and Kishida send Stephen and O on a quirky erotic adventure,that ropes in unique punishments for women who fail to meet the needs of clients, (no food for 100 days) with a cool erotica vibe of O opening her sexuality. Joined by a fragile Isabelle Illiers as O, Klaus Kinski (who take part in a full-on sex scene) gives a great,drooling performance as Sir Stephen,who begins peeling the fruits of passion.

I have often expressed the desire to see Kinski in a graphic sex film, but of course I meant NASTASSIA Kinski, not Klaus. But I got the "monkey's paw" version of my wish here with this sequel to "The Story of O" based on a novel by the same pseudononymous author ("Pauline Reage"). In this film "O" (Isabella Illiers, replacing Corinne Clery) has been taken to Asia and put in a brothel by her much older lover/master Sir Stephen (Klaus Kinski). He comes back from time to time to have sex with her, or to spy on her with "clients", or to tie her up and force her to watch as he has wild sex with his other young mistress (Arielle Dombasle). A local teenager spies her through the barred windows of the brothel, and when Stephen sees her making love to the boy (perhaps the most questionable scene as the actor really does look to only be about 14--but I'm sure he got over it), he realizes that he is beginning to lose control over her.This film has less S and M and bondage than the original "Story of O", but the sex scenes are much more graphic. There is one obviously unsimulated oral sex scene and another "missionary" scene with Kinski and Illiers that looks pretty unsimulated as well. If you consider this a hardcore porn film, it is a veritable masterpiece. The cinematography is excellent and the musical score is good. There are a lot of poetic images--for instance, a long shot of a dead bird floating in the bay outside the convent, and later a surreal Jean Rollinesque image of a drowned woman floating on a grand piano (?!) in this same bay. Most hardcore porn films wouldn't bother with such arty digressions. As an art film though, which this is also obviously trying to be, it is less successful, mostly because all the characters are pretty thinly drawn.Illiers (who was never really to be seen again in films) is OK. She's not a great actress (she's not even a mole on Corrine Clery's beauteous backside), but she can at least look convincingly forlorn (something I can't imagine any American porn actress doing). Arielle Dombasle is perhaps most recognizable from Eric Rohmer's "Pauline at the Beach" where she played the title character's incredibly sexy but slow-witted and slutty older cousin. In "Pauline" her young character falls madly in love with a balding, middle-aged cad for some reason. Here she has apparently moved on to the elderly. It is actually pretty damn hard to buy either of these tres gorgeous jeun French filles (pardon my Franglish) being in love with Klaus Kinski who looks pretty much like grim death here. Kinski is pretty good I guess, but he seems rather bored and contemptuous of his role--but then he was ALWAYS like that (except perhaps in his films with Herzog where he, sometimes literally, had a gun to his head). I'd still rather see his daughter have graphic sex with Illiers and Dombasle of course, but he--and this whole film--aren't too bad overall I guess.

This will not be a positive experience for everyone. Several things would be offputting. Most would be offended that it is based on a book with trivial sensibilities. There is explicit sex. The nature of the thing slips often into visual symbolism. Many languages are spoken. Some of the text is sophomoric. Obsession, perversion, sexual quest, caste and political struggle are mixed up with no apparent coherence. Advertised as erotic, it is anything but.And yet. It is deliciously placed between Breilliat and Resnais and is better than most from them. If you watch a lot of movies and deeply, like I do, the better ones form a sort of tapestry that reinforce each other. Two of my "must-see" films are "Pillow Book" and "Fitzcarraldo," which this lean up against. Not of the same caliber of course, but there's a resonance.There are some marvelous experiences here. For instance, the young girl is newly established in her sparse cell at the brothel. She has put on the bottom of her dress and stands at the night window, pining for Kinski (who is with another lover). Across the screen on the wall is her shadow, a lovely, lonely pose, breasts alert. She moves away from the window in impatience. The shadow remains unmoved.Another: flashback to O as a girl, imprisoned by her father in a chalk square while he walks away and a clown rolls a flaming hoop about. The receding man turns into Kinski. Flash forward to the prostituted O, sewing the torn photo of Kinski, just before she is placed in a flying swan device to be sodomized by an aging client.Another prostitute in the brothel is an aging actress. To get her to "perform," they set up a camera to pretend they are shooting, "Sunset Blvd." wise. We see this a couple times, then it shifts from the pretend movie to a (presumed) past, real movie. This raises an issue that leads to her suicide in the fashion of Ophelia. Her body in the pond is lifted by a rising piano.The story (the parts that don't matter to me) is influenced by Kinski, partly autobiographical and right before we see the same character (in a similar white suit) in "Fitzcarraldo." The madness matters.Ted's Evaluation -- 3 of 3: Worth watching.

I first saw this film by chance when I was visiting my uncle in Arizona about 3 and 1/2 years ago. The VHS print was a little faded looking, but I was very haunted by what I had watched. Did it all make sense? Well, honestly, no it didn't. However, this is a film that requires more than one viewing to understand all of its aspects. The beautifully tragic score haunted me and the bizarre images made quiet an impression.Well, when I found out that Anchor Bay had released this oddity on DVD, I picked it up immediately. I was very pleased by the transfer, though I felt the extras rather lacking. Though the film concerns the "O" and Sir Stephen characters, it really has nothing to do with Pauline Reage's original novel or the 1974 film The Story of O. However, the film does pay attention to artistic detail and symbolism of an almost mystic kind. "O" decides to prostitute herself for Sir Stephen in violent 1920s Hong Kong. Her mission is to prove her unending devotion and love for her master through giving her body to other men. Naturally, Sir Stephen enjoys watching her during her unpleasant sexual escapades and even finds himself a mistress. However, the tables are turned when "O" actually finds a kind of love with a young male admirer. Suddenly, Sir Stephen feels the threat...I feel that the deep meaning behind the film (including the tragic score and artistic direction) really make this film a classic. The viewer is introduced not only to the lives and pasts of "O"'s fellow brothel mates, but the turmoil of 1920s Hong Kong is also explored. Like the political setting, the prostitutes all find themselves in need of belonging. No one is happy in the film, even if they believe that they are. (However, "O" does find a sense of happiness with her young admirer). One prostitute tearfully remembers how her father used to act like a dog when she was drunk, naturally leading to a fetish for having her customers act like a dog. Another older prostitute is obsessed with her past as an actress. She cannot let that vision go. She treats her clients as co-stars and even swears she hears a piano in the river. As for "O", she has a flashback about her father leaving her in a chalk circle. When he leaves, she feels a sense of abandonment. Of course, in that same flashback Kinski suddenly becomes her father. I was very, very disturbed by this image. I truly felt for "O" at this point in the film. She hardly ever smiles and this scene really explains why. Her fear of abandonment is so great that she sees Sir Stephen as her father and caters to his every obscene demand in hopes of proving her love. Another curious aspect of the film is the young child (that ages at the end) that sells fortune in a box. It is a very random character, but somehow it just adds to the sense of loss and emptiness in the film. At one point, the director even uses painted cardboard figures to represent people. Now, if that isn't symbolism for you! (Laugh) All in all, I really love this film. I feel that it is a very deep and somewhat moving experience. It has erotic scenes, but the scenes aren't really meant to arouse. Like the lives of the characters, the sex acts are empty. They are motions, but lack feeling and tenderness. (Once again, the only tender scene is between "O" and the young man). "O" believes she is in love and that lowering herself is an honor, however, she finds in the end that she has choices. She too can be her own person and pursue her own happiness, however, she also has the option to stay in that circle that her father drew. The director leaves a lot of unanswered questions, however, some things don't need answers. The viewer will make the judgment that works for them. I must say that I wish a special edition of this DVD would be released that had director commentary. I think it would be fascinating to hear his opinion of the film and its message years later. It is a shame that the soundtrack was never released. This film has a truly haunting and heart breaking score. There is something about the lingering vocals that send a chill up my spine. I can truly feel the sense of loneliness in the film by just listening to the music.