7.3/10
2,695
34 user 33 critic

Blind Beast (1969)

Môjû (original title)
A blind sculpter and his mother kidnap a young model.

Director:

Yasuzô Masumura

Writers:

Rampo Edogawa (story), Yoshio Shirasaka
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Cast

Cast overview:
Eiji Funakoshi ... Michio / sculpter
Mako Midori Mako Midori ... Aki / Model
Noriko Sengoku Noriko Sengoku ... Michio's Mother
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Storyline

A blind sculpter kidnaps a beautiful young model and takes her back to his home. He and his mother live in a warehouse that he has turned into a surreal tribute to the senses. It is filled with huge sculptures of body parts and the female form. He is obsessed with exploring the senses to the fullest. At first, the model only wants to escape from this bizarre scene, but eventually she succumbs to his strange vision and even surpasses his obsession. Written by Fred Cabral <ftcabral@hotmail.com>

Plot Summary | Add Synopsis

Genres:

Drama | Horror

Certificate:

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Parents Guide:

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Details

Country:

Japan

Language:

Japanese

Release Date:

April 1969 (USA) See more »

Also Known As:

Blind Beast See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Westrex Recording System)

Color:

Color (Daieicolor)

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

Noriko Sengoku plays Eiji Funakoshi's mother in the movie. In real life she was just 1 year older than him. See more »

Connections

Referenced in Eater (2017) See more »

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User Reviews

A nightmarish and culturally subjective odyssey of polymorphous perversion.
19 May 2003 | by EyeAskanceSee all my reviews

There are few films as psychosexually unnerving as MOJU, a visually arresting Japanese art-house classic which illustrates a blind sculptor's darkly sexual "idee fixe", and a young woman's metamorphosis of mind and body. This is erotica of a tenebrous nature rarely explored in films, and will surely rouse reproach in today's politically sensitive milieu for its limning of male-induced female disempowerment(a tender subject which is apparently a bit more temperate in Japanese culture than in many others). Initially a resistant captive, she submits gradually to her oppressor, eventuating with the willful(and eager) ultimate surrender of every aspect of her being.

A disquieting sadomasochistic fever-dream, MOJU is also underscored with violative elements of a strangely touching, almost fragile intimacy between the two key characters. This dynamic of tenderness and firebrand works well, softening somewhat the overall daunting severity. Iconographically, it's a unique and uncommonly forceful film, transpiring chiefly within the darkness of an expansive subterrane. The chamber has black walls exhibiting floor-to-ceiling reliefs in depiction of various body parts. A massive, abstractly sculpted female nude is the central fixture, which serves as a bedstead of sorts. The high contrast of these ghostly-white effigies against the black walls creates a surreal illusion of free-floating entities in the crepuscule of space...it's an appropriately asomatous stage for the bizarre 'mise en scene' at hand, and contributes greatly to the the film's abstruse semblance.

Individuals of offroad aesthetic tastes should enjoy this unexampled and very memorable conception...explore it, and you *will* be affected in a spectrum of ways.

8/10...Recommended.


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