GUILTY OF ROMANCE

Back in 2008, Japanese director Sion Sono released the first of three movies that he himself dubbed his "Hate Trilogy". Love Exposure, weighing in at a monstrous 237 minutes was followed by 2010’s 144 minute serial killer epic, Cold Fish. Just in time to catch 2011 is the final instalment of his odious themed trio entitled GUILTY OF ROMANCE.

Allegedly based on real events in Japan, the movie starts with a grisly investigation by female detective Yoshida (Miko Mizuno) and her male partner. Deep in the milieu of Love Hotels in Maruyama-cho, Shibuya, a grotesque of life sized human figurine made partly from mannequin doll and completed by actual human body parts is examined by the pair. Amidst the pink paint on the wall, the word "Castle" is daubed in human blood.

The tale then switches to the central character, Izumi (Megumi Kagurazaka). She appears to have the ideal life – but this paradoxically presents a problem. It’s a little too perfect to the point of banality. Her husband is a hugely successful writer whose daily routine and domestic standards border on tyranny. (Slippers must be turned the right way before his return and God forbid if his favourite French soap is not neatly in place in the bathroom!!)

With bouts of insomnia kicking in, and her 30th birthday soon approaching, Izumi feels she needs a little excitement so she can ‘find herself’. While selling sausages at the local supermarket is not exactly exhilarating, it at least gives her a little independence. But it’s while she is flogging these meaty treats that she gets an interesting proposition. It appears she has the ideal face and physique for a little tasteful modelling. It’s not long before she is coerced into more revealing shoots which then evolve into all out porn!

The inevitable guilt that gnaws at Inzumi is offset by a new found liberation. Indeed this free spirited sexual discharge soon becomes something of an addiction as she fills her spare time with clandestine sordid activities. Before too long she is completely immersed in the seedy world of wanton sex. While this leads to a few unsurprisingly risky situations, it’s when Inzumi encounters the enigmatic Mitsuko (Togashi Makoto) that events really start to spiral out of control. University literature professor by day, back street prostitute by night, Mitsuko conveys the principle that a woman should demand money for sex if love is absent from the act. She also quotes from German novelist Franz Kafka’s classic story "The Castle" (mmm I am sure I heard that word before somewhere...) Now embroiled in the seedy world of prostitution, Inzumi’s much sought after emancipation from her monotonous marriage is in real danger of enslaving her in a much more sinister way…

I have to confess I have not seen the first two entries in Sono’s trilogy, but after watching GoR I am very tempted to check them out. From what I understand however, the three movies are very loosely connected apart from all having protracted run times.

On that point it’s worth noting that there are two separate cuts of Guilty of Romance. The one in this review is known as the "International Cut" and has a run time of 113 minutes. A "Directors Cut" that initially played at various festivals, runs for 144 minutes. This is largely due to the inclusion of a subplot focusing on the Yoshida’s criminal investigation along with her illicit private life. While the lengthier cut may well be sought after, the extra footage may well do the already complex narrative a disservice. Indeed Sono himself has gone on record saying the shorter cut is his preferred choice.

Given an R18 rating in Japan for its explicit sex scenes and full frontal nudity (finally being able to show pubic hair in Japan has its price you know!), GoR has been unashamedly marketed as a ‘Pink’ movie. But this is not merely an exercise in ‘softcore’ porn. It is a titillating, and sometimes degrading, movie showcasing the prolific director’s artistry at telling a fascinating tale.

For a start there appears to be a slant towards expressionistic lighting within the movie. Garish colours are slapped against an opaque backdrop that makes for some striking cinematography.

Then there is the almost ubiquitous score. The classical music adds a classy layer to proceedings and really helps build an intense atmosphere in the climatic scenes.

Sono’s characters are diverse and well constructed. A vital player is Inzumi’s regimented husband played by Kanj Tsuda, whose notably reserved persona is an excellent contrast with the feverish on goings of the main plot. Of course the focal point of the movie is Izumi’s licentious transgression from bored housewife to street walking whore. Her promiscuous journey is laced with a little humour and some ingeniously shot sequences that develop her character through the power of humiliation.

The DVD’s print is excellent and the movie is presented in a widescreen 1.78:1 format. The disc thankfully retains is Japanese soundtrack which has very clear English subtitles.

Eureka has provided some superb extras within the package, none more so than a wonderful feature commentary track from ‘Behind the Pink Curtain’ author, Jasper Sharp. Underestimate Sharp’s extensive knowledge of Japanese cinema at your peril! His quite brilliant commentary, not only focuses on the movie at hand, but also provides a great summary of Sono’s career to date along with an absorbing dialogue on Japanese exploitation cinema in general.

A lengthy and varied 40 minute interview with the delectable Megumi Kagurazaka, who plays Izumi, is also included. I became an instant fan of this gorgeous young lady. The fact she also stars in Sono’s previous entry of this dubious ‘trilogy’, Cold Fish, is another reason I shall be seeking it out!

Sono, it would appear, is committed to pushing boundaries in his work, which is exemplified by the rumours he is planning a movie version of Michael Moynihan and Didrik Søderlind’s Lords of Chaos book. Apparently this has not gone down too well in certain parts of Norway for obvious reasons. While black metal purists may find it ill-fitting that a Japanese director is involved in such a culturally controversial project, rest assured, if the movie ever does get off the ground, it definitely won’t be boring.

Review by Marc Lissenburg