By Maria Bregman
Yoko Ono is a legendary artist and activist, who has been pushing the boundaries of art and society for more than half a century. One of her most provocative and influential works is Film No. 4, also known as Bottoms, a 1966 film that consists of close-up shots of human buttocks. The film was banned by the British Board of Film Censors, sparked a media frenzy, and led to Ono’s encounter with John Lennon, who would become her partner and collaborator. Here is the story behind Film No. 4, and how it changed the course of art and history.
The Concept of Film No. 4
Film No. 4 was inspired by Ono’s interest in the human body and its expressive potential. She wanted to create a film that would challenge the conventional notions of identity, beauty, and celebrity, by showing a part of the body that is usually hidden and ignored. She also wanted to make a statement about peace and harmony, by using the buttocks as a symbol of unity and equality. She wrote in her score for the film: “String bottoms together in place of signatures for petition of peace.”
To make the film, Ono recruited volunteers from the UFO Club, a psychedelic venue in London that hosted underground music and art events. She took them to the home of Victor Musgrave, a poet and art dealer, where she had set up a camera, a turntable, and a white cloth. She asked the volunteers to strip from the waist down, and walk on the turntable, while she filmed their buttocks for 20 seconds each. She filmed 365 bottoms, including those of some famous artists and musicians, such as John Dunbar, Marianne Faithfull, and Anthony Cox, Ono’s husband at the time. The film was edited to 80 minutes, with no sound or narration, only the names of the participants appearing on the screen.
The Censorship and Controversy of Film No. 4
Film No. 4 was first shown at the London Film Festival in 1966, where it caused a sensation and a scandal. The British Board of Film Censors refused to grant it a certificate, citing its “indecency” and “obscenity”. Ono and Cox protested outside the BBFC offices, holding bunches of daffodils and placards that read “War is indecent, not peace”. They were met by a crowd of journalists, photographers, and police officers, who turned the protest into a spectacle. The film also attracted the attention of the tabloid press, which dubbed it “The Bum Film” and “The Bottom Show”, and published sensational and sensationalist stories about it. The film became a symbol of the countercultural and avant-garde movement that was challenging the establishment and the status quo.
The Meeting of Yoko Ono and John Lennon
One of the people who was intrigued by Film No. 4 was John Lennon, the famous member of the Beatles. He had heard about the film from his friend John Dunbar, who had participated in it, and he was curious to see it. He went to the Indica Gallery, a hip art space in London, where the film was being screened. There, he also met Yoko Ono, who was exhibiting her own interactive artworks, such as Ceiling Painting, which invited the viewer to climb a ladder and look through a magnifying glass at a word on the ceiling. Lennon was impressed by Ono’s art and personality, and they struck up a conversation. They exchanged phone numbers, and soon began a relationship that would change their lives and the world. They became partners in love and art, collaborating on various projects, such as the Bed-In for Peace, the Plastic Ono Band, and the Imagine album. They also became advocates for peace, human rights, and social justice, using their fame and influence to spread their message.
Film No. 4 is a film that defied the norms and expectations of its time, and created a lasting impact on the art and culture of the 20th century. It is a film that challenged the viewers to look beyond the surface, and to see the humanity and beauty in everyone. It is also a film that brought together two of the most iconic and influential figures of our era, who shared a vision of a better and more peaceful world. Film No. 4 is a film that is not only a work of art, but also a work of history.
