It was a milestone of film as activism, cinema as movement in Japan’s context. Adachi and Wakamatsu went to Beirut on the way back from the Cannes Film Festival. There, in collaboration with the Red Army members and PFLP, they produced this newsreel film depicting the everyday activities of Arab guerrillas as a cinematic narrative on the world revolution. –bordersphere.com
Masao Adachi (born May 13, 1939 in Fukuoka Prefecture) is a Japanese screenwriter and director who was most active in the 1960s and 1970s.
Best known for his writing collaborations with directors Kōji Wakamatsu and Nagisa Oshima, often under the pseudonyms “Izuru Deguchi” or “De Deguchi”, he also directed a number of his own films, usually dealing with left-wing political themes.1 He stopped making films in the early 1970s and joined the Japanese Red Army, an armed militant organization. After residing in Lebanon for 28 years, he was arrested for passport violations. He was found guilty of passport violations in September 2001 and received a four-year sentence, suspended to 18 months. After his release he was deported to Japan via Jordan, where he was re-arrested on other passport violations. After being held for a year and a half he was convicted and released based on the time he had already served. Since his release, he has resumed making films after a 30 year absence. —Wikipedia… read more
Kōji Wakamatsu (若松孝二, Wakamatsu Kōji?) (born 1 April 1936) is a Japanese film director who directed such pinku eiga films as Ecstasy of the Angels (天使の恍惚, Tenshi no Kōkotsu?, 1972) and Go, Go Second Time Virgin (ゆけゆけ二度目の処女, Yuke Yuke Nidome no Shojo?, 1969). He also produced Nagisa Ōshima’s controversial film In the Realm of the Senses (1976). He has been called “the most important director to emerge in the pink film genre,” and one of “Japan’s leading directors of the 1960s.”
Kōji Wakamatsu was born in Wakuya, Miyagi, Japan on 1 April 1936. Wakamatsu worked as a construction worker before beginning his film career with Nikkatsu in 1963.
Between 1963 and 1965, he directed 20 exploitation films for the studio, based on sensational topics of the day. He became interested in the Pink Film genre after the success of Tetsuji Takechi’s 1964 Daydream. Nikkatsu submitted his Skeleton in the Closet (壁の中の秘事, Kabe no Naka no Himegoto?) (also known as Secrets Behind the Wall) (1965… read more
While the soundtrack drones on about armed resistance (as the best propaganda) the images form part landscape film & part work film (bullets being strung in a belt etc). Adachi's credo might be that politics & art are parts of the same enterprise (propaganda machines), but one can't really imagine either revolutionaries or the artsy being being thrilled with this intransigent film - a measure of its idiosyncrasy
Also viewed from today's perspective, after the enthusiasm for Mao and the 70s have passed, the film seems more spikily dreamlike than ever. It's interesting from that p.o.v that Adachi declares himself more a surrealist (à la Breton) than a Trotskyite in Grandrieux's film about him.