Tetsuji Takechi Kuroi yuki, Black Snow (1965)

Synopsis: Review from Midnight Eye: Credits roll over a static shot of a prostitute, lying prone on her back with all the aloofness of Manet s Olympia and nothing but the prostrate figure of a hulking black American GI stretched over her to mask her nudity. As the camera slowly pans along her bare flank, she raises her arm above her head to reveal a dense thicket of underarm hair. Provocative stuff in a country where the one real taboo in the sexual arena is the onscreen portrayal of pubic hair, but it was