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Extreme Private Eros: Love Song 1974 (1974)

Gokushiteki erosu: Renka 1974 (original title)
Not Rated | | Documentary | 25 June 1974 (Japan)
In this uncomfortably intimate film, documentary filmmaker Kazuo Hara visits his ex-girlfriend Miyuki and records her new relationships.

Director:

Kazuo Hara
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Director: Kazuo Hara
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Cast

Cast overview:
Kazuo Hara Kazuo Hara ... Himself
Miyuki Takeda Miyuki Takeda ... Herself / former lover of Hara
Sachiko Kobayashi Sachiko Kobayashi ... Herself
Edit

Storyline

In 1972, Miyuki tells her ex-lover Kazuo that she's going to Okinawa with their son. Kazuo decides to film her. He narrates his visits to her there: first while her flatmate is Sugako, a woman Miyuki is attracted to; then, while she works at a bar and is with Paul, an African-American soldier. Once, Kazuo brings his girlfriend, Sachiko. We see Miyuki with her son, with other bar girls, and with Sachiko. Miyuki, pregnant, returns to Tokyo and delivers a mixed-race child on her own with Kazuo and Sachiko filming. She joins a women's commune, talks about possibilities, enjoys motherhood, and is uninterested in a traditional family. Does the filmmaker have a point of view? Written by <jhailey@hotmail.com>

Plot Summary | Add Synopsis

Genres:

Documentary

Certificate:

Not Rated
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Details

Country:

Japan

Language:

Japanese

Release Date:

25 June 1974 (Japan) See more »

Also Known As:

Eros extremo y privado - Canción de amor See more »

Filming Locations:

Okinawa, Japan

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Box Office

Cumulative Worldwide Gross:

$598
See more on IMDbPro »

Company Credits

Production Co:

Shisso Production See more »
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Technical Specs

Runtime:

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User Reviews

 
Extreme Private Eros: Love Song 1974
6 January 2012 | by MartinTellerSee all my reviews

I was fascinated by Kazuo Hara's THE EMPEROR'S NAKED ARMY MARCHES ON, so I thought I'd try of his earlier documentaries. In this one, he follows his ex-girlfriend Miyuki Takeda and their child to Okinawa where she bounces from a lesbian relationship to an interracial hetero relationship to a self-run day care facility and back to the mainland where she gives birth without medical assistance. Although Takeda is a fiercely independent, modernized woman and her relationship to the filmmaker provides some tense and compelling material, ultimately she's not nearly as engaging a subject as Okuzaki from NAKED ARMY. The most revealing aspects come from the interactions between Hara and Takeda, especially when he brings his new girlfriend into the picture! I also found the scenes of Takeda arguing with her nearly-silent girlfriend very interesting. However, there's a lot of "downtime" without much that's very compelling. The film is also plagued with technical problems... out-of-sync sound, a noisy camera, and the entire lengthy birth scene is out of focus (which Hara rightfully excuses because of his emotional state). This film might make a good companion piece to SHERMAN'S MARCH, although McElwee does a lot more to keep momentum going.


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