{"id":9688,"date":"2014-09-15T02:14:05","date_gmt":"2014-09-15T06:14:05","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=9688"},"modified":"2014-09-19T14:08:10","modified_gmt":"2014-09-19T18:08:10","slug":"dvd-sex-hunter-sekkusu-hanta-sei-kariudo-1980","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=9688","title":{"rendered":"DVD: Sex Hunter \/ Sekkusu hant\u00e2 – sei kariudo (1980)"},"content":{"rendered":"

\u00a0<\/i><\/span><\/p>\n

\"SexHunter1980_s\"<\/a>Film<\/strong>: Very Good<\/p>\n

Transfer<\/strong>: \u00a0Very Good<\/p>\n

Extras<\/strong>: Standard<\/p>\n

Label:\u00a0<\/strong>Impulse Pictures \/ Synapse Films<\/a><\/p>\n

Region:<\/strong>\u00a0 1 (NTSC)<\/p>\n

Released:<\/strong>\u00a0\u00a0February 1, 2014<\/p>\n

Genre:<\/strong>\u00a0\u00a0Japanese Pink \/ Adult<\/p>\n

Synopsis:<\/strong>\u00a0A dancer discovers a grand opportunity to learn from a prima ballerina involves some quite severe extra curricular activities.<\/p>\n

Special Features:<\/strong>\u00a0\u00a0Theatrical Trailer \/ 4-page colour booklet with liner notes by Jasper Sharp.<\/span><\/p>\n

 <\/p>\n

\u00a0<\/span><\/p>\n

\n

 <\/p>\n

Review:<\/strong><\/p>\n

\u201cDraped in the scent of semen \u2013 A solitary house of pleasure!\u201d \u2013 highly discrete trailer tagline<\/i><\/p>\n

 <\/p>\n

Prior to\u00a0Evil Dead Trap<\/b>\u00a0(1988), Toshiharu Ikeda apprenticed at Nikkatsu as an assistant director before making his debut in 1980 with\u00a0Sukeban mafia: Rinchi<\/b>, after which came\u00a0Sex Hunter<\/b>, one of the strangest and perhaps more offensive Roman Porno films sanctioned by the studio.<\/p>\n

Nikkatsu may have had mixed reactions to Ikeda\u2019s distinct style \u2013 after\u00a0Sex Hunter<\/b>,\u00a0he was assigned a more banal romantic story,\u00a0Hitonatsu no taiken: aoi sangosho<\/b>\u00a0(1981) – but there\u2019s no doubt he managed to up the ante in the level of smut screen wrongness, because\u00a0Sex Hunter\u00a0<\/b>is filled with elaborately directed sequences that combine classic Sadean situations with the visual scope and colours of Dario Argento.<\/p>\n

More than the depraved\u00a0Zoom In: Sex Apartments<\/a><\/b>\u00a0(1980),\u00a0Sex Hunter\u00a0<\/b>devolves into a work that resembles some nightmarish witch thriller, and Jasper Sharp\u2019s liner notes cite a connection between Ikeda\u2019s film (supposedly based on a manga by one Dirty Matsumoto) and Argento\u2019s\u00a0Suspiria<\/b>\u00a0(1977). Both films involve characters within a dance school and strange goings on, but in place of murders and witches, Ikeda uses insane cruelties and a headmistress who redirects her dancers to extra-curricular activities of the orgiastic variety.<\/p>\n

Ayako Ohta (Female Teacher: Dirty Afternoon<\/a><\/b>) plays Miki, a promising dancer lured to an exclusive academy run by her partner\u2019s sister Akiko (Zoom In: Sex Apartments<\/b>‘\u00a0Erina Miyai), herself a former prima ballerina. Soon after arriving, Miki is seduced with chartreuse booze, shown an orgy (a scene that’s oddly reminiscent of the pre-shunting moments in Brian Yuzna\u2019s\u00a0Society<\/b>), and \u2018re-educated\u2019 by Akiko\u2019s sadistic assistant who really,\u00a0really<\/i>\u00a0likes Coca-Cola.<\/p>\n

Although Miki never learns the reasoning behind all this torment, we certainly do: jealous of losing her now-invalid brother to Miki, Akiko\u2019s devised an elaborate process of total moral destruction, and presumably after showing him how unchaste Miki truly is, Akiko can continue to fondle him in private. Amazingly, in spite of brutally assaulting Miki and engaging in a Coca-Cola enema \/ voiding game (yes,\u00a0really<\/i>), it\u2019s the discovery of Akiko\u2019s incestuous relationship that offends her assistant.<\/p>\n

Ikeda\u2019s insane film features an ongoing, elaborate \u2018scope tableaux of characters often forced \/ compelled to watch other acts of debased bonking through two-way mirrors, and most of the sequences contain slo-mo components shot with a high-speed camera. The sound design features exaggerated human touching, fabric rustling, tightening leather, and the voiding of fizzy Coca-Cola from bottles and, er, Miki herself.<\/p>\n

Some of the cinematography is uneven \u2013 the zooms and tracking shots as Akiko drives Miki to her castle-like school are very clumsy \u2013 but there\u2019s a sense the whole film was shot in record time. Like\u00a0Suspiria<\/b>, the colour palette is filled with flesh tones and deep reds. The finale is dominated by heavy blues as a thunderstorm snaps open French doors while Miki engages in a threesome – an intimate orgy which only offends Akiki because she isn\u2019t the one in the centre.<\/p>\n

The details upon which Ikeda fixates are grotesque, yet they’re elegantly composed for the 2.35:1 ratio, making\u00a0Sex Hunter\u00a0<\/b>a visually classy \/ morally bankrupt film, but certainly not an exception within the Roman Porno genre. Ikeda\u2019s style made him a natural for horror films, and the nastiness of the scenes serve as a portent to the director\u2019s\u00a0Evil Dead Trap<\/b>\u00a0which piled on grotesqueries to make it perhaps his most infamous, and career-making film.<\/p>\n

Amid the harshness, there are plenty of ridiculous moments, spanning the (il)logic of Miki being assaulted one day and practicing ballet the day after (apparently the debasement and ballet program run concurrently and neither inhibits the progress of the other); and an the ongoing motif of proper \/ improper cola consumption (something of which the corporation would\u00a0not\u00a0<\/i>approve).<\/p>\n

There’s also the so-called \u2018ballet\u2019 training and performances. Miki\u2019s solo dance in\u00a0Sex Hunter\u2019<\/b>s abrupt ending was likely performed by a stand-in, and all group dance scenes are hysterically clumsy: the actresses never move in unison, and in the opening ballet performance the rear \u2018dancers\u2019 actually wobble and stumble.<\/p>\n

Sharp\u2019s liner notes provide needed context for this infamous Roman Porno entry and Ikeda\u2019s peculiar career, which remained largely\u00a0within the horror genre after he left Nikkatsu, following the completion of\u00a0Angel Guts: Red Porno<\/b>\u00a0(1981), his fourth and final film for the studio.<\/p>\n

Besides the\u00a0Evil Dead Trap<\/b>\u00a0franchise, Ikeda also branched out with more dramatic fodder,\u00a0earning festival awards for\u00a0Ningyo densetsu<\/b>\u00a0(1985) and\u00a0Kagi<\/b>\u00a0\/\u00a0The Key\u00a0<\/b>(1997). Instead of maintaining a prolific career, Ikeda stepped away from directing for a few years, and after\u00a0Akifukaki<\/b>\u00a0(2008), reportedly committed suicide two years later.<\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a9 2014 Mark R. Hasan<\/p>\n

\u00a0<\/span><\/p>\n

\n

 <\/p>\n

External References:<\/strong>
\nEditor’s Blog<\/a> — IMDB<\/a>
\n\u00a0<\/span>
\nVendor Search Links:<\/strong>
\nAmazon.ca<\/a>\"\" \"\" —\u00a0<\/span> Amazon.com<\/a>\"\" \"\" —\u00a0<\/span> Amazon.co.uk<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Prior to Evil Dead Trap (1988), Toshiharu Ikeda apprenticed at Nikkatsu as an assistant director before making his debut in 1980 with Sukeban mafia: Rinchi, after which came Sex Hunter, one of the strangest and perhaps more offensive Roman Porno films sanctioned by the studio…<\/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":[1775,3034,3035,3030,3029,3032,3031,3033],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-2wg","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/9688"}],"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=9688"}],"version-history":[{"count":6,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/9688\/revisions"}],"predecessor-version":[{"id":9723,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/9688\/revisions\/9723"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=9688"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=9688"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=9688"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}