Black Snow became the first of a number of similar cases in which the world of cinema clashed against the courts. These included the Nikkatsu Roman Porno case between 1972 and 1978 (Roman Porno was an erotic product line created by the studio and designed to package the pinku within a more commercially accessible format typified by Chusei Sone's 1972 offering Hellish Love / Seidan Botandoro 1972 and Noboru Tanaka's A Woman Called Abe Sada / Jitsuroku Abe Sada, in 1975), and the infamous trial surrounding Nagisa Oshima's In the Realm of the Senses (Ai no Koriida, 1976) in the late 70s.
Born in 1912 in the Kansai region, the son of a wealthy self-made industrialist, Takechi graduated in Economics from Kyoto National University and subsequently used his inheritance to set up an experimental theatre group in his own house. Here he acted as mentor to a number of actors who would later go on to achieve a great degree of success within the film world - including Raizo Ichikawa who became a popular film idol in numerous chanbara films of the 1960s including the Sleepy Eyes of Death (Nemuri Kyoshiro) series. After the brouhaha over Black Snow he returned to theatre for the next decade, as well as branching out into television with his own series The Takechi Tetsuji Hour, which gained quite a reputation for its erotic content.
Then, in 1981, the 68-year old returned to the director's chair with a full-blown, no-holds-barred remake of Daydream. From around 1975, hardcore pornography had been freely available throughout the United States and most of Europe. Even though the proportion of films that fell under the "erotic" category in Japan then made up the highest proportion in the world, the depiction of genitals and unsimulated sex still required optical masking (and officially still does, unless foreign "arthouse" productions - though in the case of video pornography, the mosaics are getting increasingly finer). The Japanese video release of Daydream is therefore missing a lot of the more pornographic footage that can be seen in the full-length version, at one time available on video in Holland, which sports a number of extremely explicit scenes filmed in lengthy close-up that leave little to the imagination.
As with the original, the basic set-up is a dentist's waiting room in which a young man and a young woman named Chieko sit. The girl is called into the surgery and as she succumbs beneath the nitrous oxide, she begins hallucinating a series of darkly sexual encounters in which she is molested by the dastardly dental surgeon. The boundaries between daydream and reality soon blur and the film drifts from eroticised scenes of clinical dentistry to scenes of clinically candid gynaecology, all laid down to the harsh twang of the traditional shamisen on the soundtrack. 041b061a72