Seijun Suzuki

URINE PICTURESQUELY RUNNING DOWN a hit man’s socks into his wing-tip shoes, a systematic pillow girl servicing an army battalion on the Manchurian frontier, a cold-blooded killer getting aroused sniffing at a pot of rice, a frustrated student pounding a piano’s keys with his erect penis.

There’s no business like Japanese show business, at least as practiced by ’60s B-movie savant Seijun Suzuki. Favoring violent non sequiturs and theatrical artifice over narrative continuity and genre boundaries, he hit audiences with hot and cold blasts of displacement, playfully tactile uses of image and sound, mind games masquerading as hand jobs. In a dizzy succession of heedless low-budget vehicles, Suzuki transformed cheap thrills into outbursts of unaccomodated emotion. Staging banal exploitation as hallucinogenic three-penny opera, he deployed imagery and editing for sensual alienation effects,

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