{"id":5442,"date":"2012-08-21T11:46:06","date_gmt":"2012-08-21T15:46:06","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=5442"},"modified":"2012-08-21T12:38:26","modified_gmt":"2012-08-21T16:38:26","slug":"dvd-debauchery-ryoshoku-1983","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=5442","title":{"rendered":"DVD: Debauchery \/ Ry\u00f4shoku (1983)"},"content":{"rendered":"

Return to: <\/strong>Home <\/a>\/\u00a0Blu-ray, DVD, Film Reviews<\/a> \/ <\/em>D<\/a><\/p>\n

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\"\"<\/a>Film: Very Good\/ DVD Transfer: Very Good\/ DVD Extras: Standard<\/p>\n

Label: Impulse Pictures \/ Synapse Films\/ Region: 1 (NTSC) \/\u00a0Released: April 10, 2012<\/p>\n

Genre: Japanese Pink \/ Adult<\/p>\n

Synopsis: A bored housewife gives in to the pleasures of an afternoon escort service, but finds it’s all part of a familiar’s grand sadistic scheme for total humiliation.<\/p>\n

Special Features: Liner notes by Jasper Sharp \/ Theatrical Trailer<\/p>\n

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Review:<\/p>\n

Hidehiro Ito\u2019s portrait of a woman\u2019s downfall into a self-induced emotional and physical hell-hole has all the elements of classic & contemporary S&M erotica, but being a Nikkatsu Roman Porno film (Vol. 1 in Impulse \/ Synapse\u2019s ongoing series), both the onscreen behaviour and Ito\u2019s camera linger on unending torment. The funny thing about Debauchery<\/strong> (a misleading title for a film about a journey rather than rampant bad behaviour) is that had Ito not been restricted to Nikkatsu\u2019s no-nonsense running time of 70mins., he could\u2019ve made a richer film in plot & character.<\/p>\n

PLOT SPOILERS<\/p>\n

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Debauchery<\/strong> isn\u2019t a nice movie \u2013 the sex scenes go on like a brutal wrestling matches with optional implements (crops, tethers, and beads) \u2013 but there is a sense Ito wasn\u2019t trying to make 100% disposable crap. Ami\u2019s descent has a classical premise \u2013 bored & neglected housewife is initially lured into afternoon prostitution sessions and quickly realizes she likes the shocks \u2013 and then becomes grim when she discovers her entire journey was pre-planned by a jilted ex-lover. The revenge streak is what Ito uses to justify staging a few epic sequences of sexual abuse, and redirect the story from a series of escapades with clients to vignettes where Ami is increasingly humiliated in pre-arranged, pre-ordained sessions by her ex-lover (and husband\u2019s best friend).<\/p>\n

The problem with this type of story \u2013 as in more classical versions like the Story of O<\/strong> (1975), B-grade efforts like The Sexploiters<\/a><\/strong> (1965), or even the insane Tokyo Decadence<\/strong> (1992) \u2013 is how to end the monster that\u2019s been created. Ito seemed to realize there wasn\u2019t any way to reasonably resolve his drama because of three key hurdles: the running time wouldn\u2019t allow for it; a secondary story of a dirty old man (Wife to Be Sacrificed<\/strong>\u2019s creepy Nagatoshi Sakamoto) with a schoolgirl fetish was a narrative dead-end; and by spending so much time on centerpiece sequences, he lacked room to structure a fluid finale. The compromise is (literally) explosive and jarring: by killing off redundant characters, Ami is reunited with her husband in what can either be read as a moment of forgiveness and the beginnings of a badly needed reconciliation, or a portent that their relationship will similarly evolve (devolve?) to destructive levels where Ami is reduced to a human shell, if not a sex toy, assuming her husband is interested in continuing Ami\u2019s final chapter of \u2018debauchery.\u2019<\/p>\n

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END OF SPOILERS<\/p>\n

Impulse \/ Synapse\u2019s DVD features a clean transfer of the film, and as per Japanese censorship regulations, any shots or moments of brief genital exposure from softcore \/ simulated acts are fogged. The very sparse music score seems to consist of two stock cues: one resembles a generic Tangerine Dream cue, whereas a second semi-tragic theme works very well over Ami\u2019s moments of (forced) self-reflection.<\/p>\n

As outlined in Jasper Sharp\u2019s concise booklet notes, writer \/ director Hidehiro Ito later moved on to writing & producing (including Takashi Miike\u2019s Bodyguard Kiba<\/strong> and Full Metal Yakuza<\/strong>), whereas actress Ryoko Watanabe\u2019s brief career includes the comedic TV series Detective Story<\/strong> \/ Tantei monogatari<\/strong> (1979-1980), and the pink films Love Hard, Love Deep<\/strong> \/ Pink cut: futoku aishite fukaku aishite<\/strong> (1983) and Female Prisoner: Caged!<\/strong> \/ Josh\u00fb ori <\/strong>(1983).<\/p>\n

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\u00a9 2012 Mark R. Hasan<\/p>\n

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External References<\/em>:<\/p>\n

IMDB<\/a><\/p>\n

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Return to<\/strong>:\u00a0Home <\/a>\/\u00a0Blu-ray, DVD, Film Reviews<\/a> <\/em>\/\u00a0D<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Return to: Home \/\u00a0Blu-ray, DVD, Film Reviews \/ D . Film: Very Good\/ DVD Transfer: Very Good\/ DVD Extras: Standard Label: Impulse Pictures \/ Synapse Films\/ Region: 1 (NTSC) \/\u00a0Released: April 10, 2012 Genre: Japanese Pink \/ Adult Synopsis: A bored housewife gives in to the pleasures of an afternoon escort service, but finds it’s […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[18],"tags":[1487,1504,1486,1506],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-1pM","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/5442"}],"collection":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=5442"}],"version-history":[{"count":3,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/5442\/revisions"}],"predecessor-version":[{"id":5453,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/5442\/revisions\/5453"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=5442"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=5442"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=5442"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}