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Pinokio Ruto Kyu-Roku-Yon
964 Pinocchio
Japan 1991
directed by Shozin Fukui
starring Haji Suzuki, Onn-chan, Koji Otsubo, Kyoko Hara, Rakumaro San'yutei, Kota Mori, Tomio Watanabe, Anri Hayashi, Kyoko Irohani, Michiko Harada, Yuko Fujiwara, Yoshimitsu Takada, Naoshi Goda, Takahiro Hosoya, Ranko, Koji Kita
story by Shozin Fukui, screenplay by Shozin Fukui, Makoto Hamaguchi, Naoshi Goda, music by Hiroyuki Nagashima, special effects by Brian Joseph Moore
review by Mike Haberfelner
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Pinocchio (Haji Suzuki) is a sex robot who somehow escaped his master,
and in the process, his memory got erased - but fortunately, he ran into
young Himiko (Onn-chan), who knows exactly what's wrong with him, who
teaches him to speak and who helps him find at least rudimentary memories
- she's so good at is, actually, that it's almost haunting. Then though,
she first tortures then abandons him, and it looks as if there was a
reason behind all of her actions ... Meanwhile, the company that has
built Pinocchio wants to retrieve the robot at any cost, and eventually,
Himiko offers herself as bait. Pinocchio has in the meantime transformed
into a hate filled killing machine, and when he finally catches up witht
he heads of his mother company, he is unbstoppable and kills all of them,
all but Himiko, who it now turns out is a robot just like himself, and she
used him to get her revenge at the company. Now that that's achieved, the
two robots blend into one grotesque monster. This film could
have been a little gem, a trash/arthouse masterpiece along the lines of
the original Tetsuo - and director
Shozin Fukui certainly has impressive visuals to show, the fiklm doesn't
shy away from gross-out scenes, and there is some biting satire hidden
here and there ... and yet, the film is far from perfect, actually it's
pretty bad: Basically the script seems somehow disjointed, takes very long
to tell very little, and is a bit too far on the simplistic side to really
convince. Add to this that the film acts any kind of decent pacing, and an
insistance to drag pointless scenes out for way too long, and you are left
with ... a missed opportunity, mainly. Sure, at least portions of the
arthouse crowd still fell in love with some of the mocie's more
controversial, taboo-shattering scenes, but with a bit of a rewrite and a
serious recut this could have been really good.
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