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Funshutsu kigan - 15-sai no baishunfu (1971)
Молодая девушка, успевшая уже многое познать в сексе, отправляется в одиссею самопознания, чтобы узнать причины своей неудовлетворённости и полнейшей нечувствительности.
Режиссер:Масао Адачи, Харухико Арай
В ролях: Мичио Акияма, Масааки Хираока, Сусуму Ивабучи, Кадзуо ’Гайра’ Комидзу, Каору Маия, Кен Йошидзава
Отрывок из интервью режиссера:
"Что касается меня, то я прибегаю к крайностям, не останавливаясь на исследования секса и отношений полов, но у Вакамацу есть восхищение перед женщинами. Согласно ему, если основываться на преклонении перед женщиной, избиение, похищение, насилие, групповое изнасилование и т.д. имеют место быть. Он разработал теорию, что женщины намного сильнее, чем кажутся. Я немного отличаюсь от Вакамацу, хотя бы в том, что я считаю секс всего лишь средством, и всякий раз задаюсь вопросом какое отношение имеет секс к будущему и будущей свободе. Вот что меня интересует и легло в основу моих экспериментов в кино".
Есть так же подробный разбор фильма на английском, он позаимствован из книги Джаспера Шарпа " Behind the Pink Curtain", фундаментального исследования подобного пласта японского кино.
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The view of the sexual act as something that can't be separated from it's reproductive function, while also clearly functioning as an allegory for other social or political issues is one that permeates one of Adachi's strongest films, and his last offering in the pink genre, Gushing Prayer: A 15-Year-Old Prostitute (1971). The film begins with an extended group sex scene in which the story's young protagonist, Yasuko, is very much the centrepiece. As she lies beneath the thrusts of an enthusiastic adolescent classmate, her friends call on her anxiously from the sidelines: "Can you feel it? What does it feel like?" Yasuko however, confess to feeling nothing, in fact appearing frozen to all feeling. And so, on the threshold of womanhood, with all the weight of adult expectation and responsibility that entails, upon the goading encouragement of her peers she sets out on an odyssey of self-exploration in search of complete sexual satiation. Her first meeting is with her schoolteacher, who is disturbingly revealing as being the object of her first crush. The group then move on to watch a couple in action at a love hotel, and it is decided that if Yasuko wants to know what it feels loke to be a prostitute, wit sex reduced to a mere economic transaction, then she must search for random clients and receive money from them. As the group of high students play truant around a Shinjuku humming with performances from experimental theatre groups and, contrasingly, real-life scenes of jeeps and tanks crawling through the streets - reminding us just how strong the anti-terrorists presence actually was in Tokyo at the turn of the decade - the ensuing series of encounters, first with a random young teenager accosted in the streets, and later in a ramen noodle store, filmed from outside as she staddles the chef lead inevitably to unwanted pregnancy.
While adhering to am episodic narrative comprised of each of Yasuko's individual sexual encounters, 15-Year-Old Prostitute anything but a standart pink film. The doleful strains of a numbingly simple acoustic guitar melody picked out on the soundtrack contribute a distinctively eerie and unsettling air to proceedings, but it is a more experimental device that portends the outcome of Yasuko’s attempts at sexual mastery: each encounter is overlaid by the ghostly blank voices of teenage girl suicides reading out their own farewell notes, anonympusly-signed to give only the details of their age and sex (i.e. “a 17-year-old-girl). After Yasuko herself arrives at the love hotel at which she has arranged a rendezvous with the man who stole her virginity, the film dramatically bursts into colour with her attempts at killing herself by inhaling gas from the room’s heater.The scene is lengthy and harrowing as, in a daze, she scribbles her fareell note in soap on the bathroom mirror, before violently throwing up blood in the toilet.
Impressive as 15-Yeat-Old Prostitute is, and despite the early acclaim of his experimental exercises, it should be said that generally in his pinkfilmmaking work, Adachi comes across more as a man of ideas than implementation. When you lay his films alongside Wakamatsu’s more instinctive and tightly-released accomplishments, they often seem rather ad hoc and rough around the edges, though this is in itself is one of the keys to their appeal, with their anarchic freeform style managing perfectly to capture a certain mood and energy endemic to the period.
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