Junichiro Tanizaki‘s novel “Manji,” which translates to “Swastika” and later given the English title “Quicksand,” is a popular erotic story of obsession, jealousy, and destruction surrounding a four-way bisexual love affair that develops between upper-class citizens, the four lovers meant to comprise the Buddhist swastika symbolically. This iconic literary work has seen numerous film adaptations throughout the years. However, the most famous and arguably best one comes from director Yasuzo Masumura with his 1964 classic “Manji,” also known by the titles “Swastika” and “All Mixed Up.” This version would notably have a screenplay written by Kaneto Shindo, who international moviegoers will best remember for directing the horror masterpiece “Onibaba.”
Manji is screening at Camera Japan

Plotwise, married woman and artist Sonoko Kakiuchi is unhappy with her marriage to her husband, Kotaro. While attending a private art school, she meets fellow student Mitsuko Tokumitsu, whose beauty and devilish charm entices Sonoko. She even paints a portrait of the young woman. The two become friends, and eventually, Sonoko falls in love with Mitsuko, and they both begin a secretive romantic relationship. Yet, what starts as falling in love becomes an obsession, only further complicated when Kotaro and Mitsuko’s fiance, Eijiro Watanuki, eventually become involved, and a destructive four-way love affair ensues.
As can be expected with a film by Yasuzo Masumura, it is not afraid to challenge the audience beyond conventional entertainment. Here, through Masumura’s direction and Shindo’s script, is an exploration of taboos in Japanese society. It’s quite bold, especially in 1964 when pink film started becoming popular. What viewers have with “Manji” is not some perverse male gaze fantasy intended to function as pornographic content but instead a captivating erotic drama that’s a profound depiction of sexual excess and what obsessive love can do to the human psyche. What starts as a passionate and intimate lesbian romance between Mitsuko and Sonoko gradually evolves into a story of obsession and deceit, when all four main characters eventually collide into each other’s love lives, leading to blackmail, betrayal, and, eventually, suicide. It’s cleverly ironic that the four-way romantic quarrel that forms between Mitsuko, Sonoko, Kotaro, and Watanuki is equated to a Buddhist swastika, but one that is destructive. Whereas the four principles of the real original religious symbol represent Buddha’s footprints heading towards a path of good, the metaphorical one in “Manji” is one of inevitable self-destruction.
While this film can be rather melodramatic, it’s never to a point where it takes the audience out of the story. One could say there are even potentially intended touches of dark cynicism Masumura implements into the narrative. It helps that every actor here is giving their all, and the cast plays off each other wonderfully, especially the two female leads. Ayako Wakao and Kyoko Kishida are both great here, with Wakao’s alluring Mitsuko Tokumitsu and Kishida’s passionate Sonoko Kakiuchi remaining engaging from start to finish while being full of surprises. Eiji Funakoshi and Yusuke Kawazu are also memorable as the overbearing Kotaro Kakiuchi and deceiving Eijiro Watanuki.
Like many of Masumura’s films, the visuals are elegantly composed, and Setsuo Kobayashi’s meticulous cinematography emphasizes the passionate feelings expressed throughout the film. Additionally, the more explicit sections never come off as overtly exploitative in nature. They are all meant to serve a purpose in the story without ever feeling excessive. Tadashi Yamanouchi’s music score is appropriately melancholic and often compliments what’s transpiring onscreen.
“Manji” is among Yasuzo Masumura’s most revered films, and it’s understandable to see why. Beyond pushing boundaries for its time, it captivates with an engaging dark tale of love and betrayal and a gripping depiction of taboos without ever devolving into exploitation. Junichiro Tanizaki’s novel of the same name has been frequently adapted, but if there is one worth seeking out amongst them all, it’s this one.