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Kogyaru-gui: Oosaka Terekura Hen
Eat the Schoolgirl: Osaka Telephone Club
Japan 1997
produced by Gensou Haikyuu-sha
directed by Naoyuki Tomomatsu
starring Michiru Kato, Yuuki Fujita, Kozue Aoki, Maria Yamazaki, Shiro Misawa, Dan Takebashi, Tetsuya Yuuki, Kenji Sugawara, Tadao Kawamoto, Nobuyuki Hasegawa, Naoki Yokota, Tsuyoshi Ootsubo
written by Chisato Oogawara, Naoyuki Tomomatsu, music by Kazuhiko Mori, special makeup effects by Susumu Nakatani
review by Mike Haberfelner
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A guy who's doing odd jobs for the yakuza is addicted to phonesex. And
he kills people, preferably dressed in a schoolgirl outfit. And he
masturbates over his victims open wounds. And he rapes and kills hookers.
And he has a girlfriend who runs around in his house naked all the time.
She might be an angel by the way, because sometimes she shows her wings,
but other times there are just scars on her back where the wings are
supposed to be. He doesn't have sex with her though, so she time and again
invites other guys, and doesn't even mind when he catches her. Eventually,
she gets injured one way or another, and that's when our guy finally shags
her. Our guy has a friend and colleague, and the friend's madly in love
with a model for a phonesex company, but she rejects him, and that makes
him impotent. Then though, his yakuza gang rapes and abuses her in front
of the camera, and having nobody else to turn to, she turns to him, and
seeing her in her abused state totally turns him on and he treats her to
some of the best sex ever, then he exacts her revenge on the yakuza gang. In
a surprise ending, our guy is stabbed by his friend in a dark alley. You
know, this film might have been intended as a provocative experimental
flick, several plot elements and filming techniques suggest this - but it
is an experiment that has ultimately failed, and the film has become
little more than a flesh and blood show. My main point here is that the
film pretty much lacks comprehensible storytelling and characters with any
kind of depth - and having no characters to identify with makes all the
move visceral scenes gratuitous. On top of that, the film is, without
having anything to say, so blunt in its delivery of its non-message it's
almost a bit embarrassing. And as for the directorial effort: Director
Naoyuki Tomomatsu sure knows how to make surfaces look interesting, but he
hardly goesw beyond the surface ... A disappointment!
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