Koji Wakamatsu

Kaien Hoteru - Buru (Petrel Hotel Blue) is one of the three films Wakamatsu managed to finish in 2012. It's a peculiar film, experimental but featuring an elaborate narrative and remarkably free from political propaganda. It would make a good companion piece to Landscapes the Boy Saw, though both films are still quite different from each other.

Kaien Hoteru - Buru starts off with a robbery gone wrong. When Yukio's friend Yoji doesn't show up to provide backup, Yukio is caught and is sentenced to a 7 year stay in prison. Upon his release, Yukio vows to take revenge on Yoji. He finds out his location and ends up on a small, barren island where Yoji is running a bar/hotel.

That's when things get strange. Even though there's a whole crime story slowly unravelling, the film is more interested in Rika's character, Yoji's wife. She doesn't really speak, she disappears into thin air from time to time and she transfixes every man she meets. She's the catalyst of just about everything that happens, but her exact role is never truly explained.

The film is obviously a low-budget affair, but the location is terrific and the camera does a great job capturing its alien atmosphere. The soundtrack too adds a very mysterious feel, making everything that much weirder. The only real downer is the cast. Go Jibiki (a late-Wakamatsu regular) is solid, but the rest of the actors fail to find the right vibe.

Still, Kaien Hoteru - Buru is worth a gamble, especially if you're already familiar with Wakamatsu's oeuvre. It's a moody, atmospheric and mysterious film, not the kind of thing you'd expect a 76 year old to make. It might have been easier to accept Wakamatsu's passing if he'd been making crap movies, on the other hand, at least he got productive again right before passing away.

Kurokawa returns a decorated hero after having fought in the Sino-Japanese war. The only problem is that he has no more arms and legs, so he has to rely on his wife to take care of him. At first, she is committed to serving him well, but Kurokawa is demanding and as time passes, his wife finds it increasingly difficult to cope with his behavior.

Terajima is outstanding, Kawahara also does a heat job considering his limitations. The drama is solid, the political angles a little unnecessary, but there's no escaping them when watching a Wakamatsu film. It's a pretty unique take on a familiar subject and a cool film for a director who was nearing the end of his long career. Well-recommended.

The Four Seasons Association is a group of activists who yearn for political change. When they are formed, the will to make a real difference is huge, but slowly they begin to lose motivation, which leads to pleasureless orgies and random violence. The association slowly starts to crumble, but some of them don't want to lose their newfound community.

The mix of black-and-white and color cinematography is interesting (and beautifully realized), the political elements are a tad overzealous but they add character, and the brutal finale is vintage Wakamatsu. It's certainly not an easy watch, then again, this was never an easy director. One of his better films, and a strong recommendation for people who love his early work.

Two couples meet up with each other in a little countryside inn. The four are all suicidal and are willing to face their issues one last time before they decide to end their lives. The encounter is quite rough and emotions run wild. Some start to doubt their decision, while others come out more determined to go through with it.

I liked the black-and-white sequences better than the colored ones, but overall the film looks pretty good. The characters are quite rough and not the easiest to empathize with, but it does make them pretty intriguing. The short runtime is a blessing and the ending is pretty impactful. A challenging but rewarding film.

A man takes part in a violent political demonstration. Later on he gets into a fight with his brother, who works as a policeman. Things run out of hand and the policeman's wife kills her husband. She flees with her brother in law, but their relationship is unstable and the longer they remain together, the harder it becomes to leave their past behind.

Stylistically very interesting, with impressive cinematography and a pretty experimental score. The characters are difficult but intriguing, the ending is impressive and the runtime just perfect. Wakamatsu's films are not for everyone, but they take up a very unique place in cinematic history. People who want to get into his work will find a good entry point in Running in Madness, Dying in Love.

Like many of his films, Violent Virgin is not an easy watch. It's a sort of prelude to the American rape/revenge films of the 70s (think I Spit On Your Grave or The Last House on the Left) that would give the horror genre a serious boost, only Wakamatsu's films are more skillfully and artfully executed.

Lush, high contrast black and white cinematography, perverse games, amoral behavior, rape, murder, it's all here. There isn't much in the way of plot, then again it's a pretty short film so there's really no time for it to get boring. Probably not the easiest introduction to Wakamatsu's work, but definitely one of the better films I've seen from him.

The rural/Hokkaido setting is lovely, the comedy is amusing and the pacing is relatively high. The plot and drama aren't too original though and the film runs a little long, but it never gets too dull or dire. Decent and amusing, not the most notable film I've seen, but the fact that Wakamatsu made it does add to the intrigue.

In many ways a simple and typical crime flick, with only a few minor hints towards Wakamatsu's cinematic legacy. Still, it's a nicely paced, well-acted, and properly stylized genre film that nicely ticks all the boxes. Not the kind of film you'd expect Wakamatsu to make, but that doesn't make it a bad film.

When a boy is murdered in Tokyo, his father is absolutely devastated. The man lives in a small rural town, but he is determined to find his son's killers, as the police are quite lax. He travels all the way to Tokyo and follows his trail to Shinjuku, a place teaming with rampant revolutionaries. He isn't quite prepared for what he'll find there but pushes on regardless.

Wakamatsu is known for not being afraid to push people's buttons, and the premise of this film gives him carte blanche. Maybe that's why the result was just a little disappointing, as the clash between 60's rural and urban Japan isn't quite as grotesque as I'd hoped it would be. Other than that, it's another Wakamatsu that once again highlights his unique style.

Wakamatsu offers another glimpse into the mind of a very troubled soul. It's certainly not a pleasant film, let alone a titillating one, so if that's what you're after you can better skip this one altogether. If on the other hand you like a stylized and frank descent into the rotten mind of a violent pervert, Wakamatsu has you covered.

Compared to his other films, Naked Bullet is a rather straightforward genre flick. While you get your fair share of vintage Wakamatsu (i.e. rape, crime elements and alternating sequences shot in black and white vs color), the overall tone of the film is a lot lighter, mostly playing like a funky, sometimes even comedic gangster film.

It's a somewhat surprising departure from most other Wakamatsu films I've seen so far, but when you're making so many films each year it's really no surprise you eventually end up trying something different. Wakamatsu handles himself pretty well too, the film looks stylish, sports some memorable scenes and offers some good genre fun.

A university girl is an adamant activist. One night she is raped by three men, but in a strange turn of events one of the men falls in love with her and confesses his feelings to her. The girl isn't too fazed by his story and in return, she asks him to become part of an experiment she has in mind, hoping to find the true meaning of radicalization.

Wakamatsu's fascination with rebellion and activism is on full display here. The switches between black-and-white and color cinematography are present, as is the jazzy score. It's just a little less polished than his more recognized work. These films also get a little repetitive, so don't watch them too closely together. Other than that, this is another wild Wakamatsu ride.

Three kids have moved to Tokyo to study. They come from up north and they're not used to the city life. They are poor and don't have much success with the ladies and they don't feel like they fit in. Slowly they begin to lose touch with society. In an act of desperation, they rape a girl, which hurls them on a dangerous path they won't be able to return from.

Wakamatsu's favorite themes are present, the soundtrack feels familiar, the performances are relatively natural (for their time) and the stark black-and-white cinematography helps to add a bit of extra flair. If you're a fan of Wakamatsu's films this is an easy recommendation, but it's not a film that will win him any new fans.

The main character of this film may be a rapist, he's also an extremely tragic figure. That's not going to be a very popular take/angle, but there's definitely some merit in telling the story this way. While his victims remain empty shells for the most part, Wakamatsu takes his time to paint a strong picture of the perpetrator.

No colors this time around, apart from a handful of monochrome shots. The stark black and white cinematography is fitting though and weighs on the film. The soundtrack is fine too, the runtime perfect and the finale very fitting. A good film from Wakamatsu, but make sure you come prepared.

A young and frustrated man has lost his will to conform to society's norms. Nobody cares to listen to him, so he plans an act of rebellion, hoping that will draw people's attention. He breaks into a nurses' dorm and plans to wreak havoc on every one that is present. The nurses try to escape, but the man is hellbent on making his statement.

As you probably understand, this is not a very pleasant watch. Then again, that's not what you sit down for when you put on a Wakamatsu film. Though quite shocking and short, some scenes do take up a bit too much time. The premise is very thin and Wakamatsu fails to keep it interesting for the full runtime, but there's enough here to give the film a fair shot.

After the idealism of the 60, the reality sets back in during the early 70s. Not everyone is willing to let their revolutionary ideals go, and so a small group of hardened idealists remains, fighting the regime. Five radical students flee to the Asano mountain and ready themselves for a tough battle with the police.

The documentary-like approach isn't the most successful as the combination with the traditional drama feels a tad awkward. The runtime is also a bit of an issue, with the film starting to lag after the first hour. I'm happy for Wakamatsu that he was able to make this film, but it could've used some polish.

Suzuki is a popular writer. When her husband passes away, her publisher asks her to write his memoirs. He was a gifted jazz musician, but a lone soul who held his own beliefs and never felt truly understood. Their relationship was turbulent, so Suzuki isn't too sure she wants to revisit their past.

The drama is relatively simple, and the outcome is rather predictable, but the flashback structure adds some complexity. With Wakamatsu behind the camera, don't expect a soft-voiced drama. Things get pretty rough between the two protagonists, but it's nothing like his earlier work. Not a bad film, but not a very memorable one either.

A couple wants to commit suicide. They rent a room in a little hotel by the seaside, where they plan on finishing the business. Once there, they notice a peculiar woman on the beach. She looks to be in mourning, and she returns to the beach every day. The man of the couple becomes intrigued by her.

The film starts off pretty well, the introduction is vintage Wakamatsu, but after that Secret Flower calms down. That's not necessarily a bad thing, the premise is interesting enough, but the film has trouble grounding the drama, not in the least because of the intermittent pinku scenes. Interesting, but not exactly good.

The black and white cinematography is nice, though not quite as dashing as his better films. The plot and characters are a little meandering and the impact isn't quite as big as Wakamatsu clearly hoped it would be, but the film is short 'n sweet and even when it doesn't really stand out in Wakamatsu's oeuvre, it's still a pretty wicked and crazy film by any other standard.

60's Wakamatsu means short runtimes, black & white cinematography, a hefty dose of erotica and some nouvelle vague-type experimentation (mostly with sound here). It makes for an amusing little film, though the lack of grit and edge is a little disappointing. Not bad, no doubt a little better for people familiar with Imamura's A Man Vanishes.

Activism in other words. Some youthful revolt, a little nudity, stylish black and white cinematography with a splash of color and a jazzy soundtrack. But the film lacks that rawer edge that made Wakamatsu's best work stand out. Also, after 30+ Wakamatsu films, it does start to feel a bit repetitive, seeing the same subject handled over and over again. But for fans of his works, definitely worth seeking out.

Wakamatsu's experimental side rears its head from time to time, mostly during the first half hour. After that, the film becomes more focused on the narrative, as we learn about the young girl's past through a series of flashbacks. It's a slightly disappointing evolution as the plot and characters aren't that interesting, but Wakamatsu fans will no doubt find something to like.

Mishima is a writer with a mission. He breaks into the Ministry of Defense with four like-minded followers, takes the commander hostage, and finds his way to the balcony, where he begins his speech. When he notices that people are making fun of him, he commits seppuku in front of them.

It's an intriguing setup alright, but Wakamatsu's portrayal is rather basic. The film is pretty long and is laden with political speech, performances are decent but none stand out. The speech itself is pretty impressive, but it's a case of too little, too late. Young Wakamatsu would've made a better film out of this.

And that's pretty much it. Little to no context is given to explain his actions, his victims remain completely unknown to the audience, all we get to see is the continuous torture, shot in a very detached and matter-of-fact way. It's not a very pleasant film to watch, neither is it very titillating, but if you like dark and relentless films, is it quite impressive.

The presentation is pretty cheap though. Wakamatsu's camera merely registers, there's little in the way of a soundtrack and the actors aren't exactly A-grade material either. It's clearly a film made on the cheap, but it does get its message across. An interesting watch for Wakamatsu fans, but it's pretty hard to recommend.

The soundtrack is pretty distinctive and the finale, which tilts more towards crime and drama, is a step in the right direction. The first hour or so is pretty mind-numbing though, unless you get excited by uninterrupted moaning. This film felt like Wakamatsu in survival mode, a film unworthy of his status.

Wet Dice is not a bad crime flick, with some proper drama and decent performances. The "wet dice" gimmick is also kinda fun, but the pinku scenes mess up the pacing and are anything but sexy. The film is only 70 minutes long, still it feels like there's too much cruft. Wakamatsu could do so much better.

The Hateful Beast revolves around two criminals who lived during the Edo era. They both arrive at a same village, but one proves to be more successful than the other. While he enjoys the spoils of his criminal career, the other one rots away in prison, planning his revenge. It's hardly the most imaginative story, though that matters less, as it's rooted in reality.

The black and white cinematography is nice, but not all that remarkable. The editing and camera work feel a little plain and unimaginative though, especially for a Wakamatsu film. The presentation (including the soundtrack) is just too tame and safe. It's in line with other classic Japanese films, but it takes away from Wakamatsu's unique flavor. Not his best work.

A brother and sister are banished from their village. They find a house pretty close by, a little too close according to the villagers. To make that clear, they pay the two a visit and rape the sister. The brother is furious and only wants one thing: to take revenge on the villagers for what they did to his sister. A revenge that will be brutal and relentless.

A simple setup, a simple film. A man takes revenge, mostly on people having sex. And this repeats itself until we've reached the 70-minute mark and Wakamatsu can go on to the next one. The violence is crass and the film doesn't pull any punches, but this isn't like Mike's Izo, where there's clear intent and cinematic polish to make things more bearable. Not a great Wakamatsu, but still worth it when you're in the mood for something harsh.

Abnormal Blood is part of a trilogy, of which I haven't seen the other parts. Maybe things feel more like a whole after seeing the remaining entries, but as a stand-alone film it felt a bit aimless and disjointed. It's also quite short considering the scope of the undertaking, at just 75 minutes.

The usual switches between color and black and white are nice enough, Wakamatsu's camera work is interesting and even though it's a more narrative -focused film, the film still feels relatively vibrant and emotional. The ending is pretty cool, but not enough to redeem the entire film. This one is for Wakamatsu completists.

As the title suggests, Wakamatsu peers behind the walls of an apartment building. The people living there are struggling, Wakamatsu zooms in on a few of them. A young woman seeks companionship, a young boy wants to experience love for the first time, and a former activist is now benefitting from the Vietnam War.

The black-and-white cinematography isn't quite as impressive yet, the score feels a little too tentative and the first hour is a bit slow. The film gets better as it nears the finale, but it's a case of too little, too late. It's still an interesting watch, more so when you're familiar with Wakamatsu's later work, but it's hardly an essential addition to his oeuvre.

Mikio has to get rid of his debt, so he agrees to kill the man of a rich woman. He fumbles the hit and he flees into the mountains. He shacks up in a small cabin but quickly realizes he's not alone in there. There's a girl with him in the cabin, who's been held there since she was very little.

The premise could've been interesting, but it's obvious this film wasn't made with any artistic merit in mind. Wakamatsu's hand is virtually invisible, the performances are weak, the presentation is paltry and the film is pretty long considering its meager plot. Not a good Wakamatsu.

Two private detectives (Rie and Kishin) are working together in Paris. When they're not solving cases, they give guided tours. One day Okuyama, a wealthy Japanese businessman approaches them and wants them to track his French mistress. The mistress ends up seducing Kishin, while Okuyama goes to work on Rie.

The start of the film is an amusing train wreck, especially when Kitano pops up. All the elements were there to make a crazy ex-pat detective flick, but in the end, this turned out to be a pretty straight and dull narrative. Wakamatsu is an interesting director, but only when he sticks to what he knows.

A married man feels unhappy about his life. When one day he is witness to a rape, he steps in and manages to free the woman, saving her from her assailant. This invigorates him so much that he begins to stalk the woman. His behavior gets increasingly worse until he finally crosses the line and invades her home.

The premise was certainly interesting enough, and things do ramp up towards the finale, but the styling was bland and there was too much focus on the narrative side of things. The runtime's also a bit too long for a rather simple film like this. Not the kind of cinema I want Wakamatsu to make.

Performances are mediocre, Wakamatsu's direction feels flat and uninspired, the plot is dull, and the reggae angle comes off as random and tacked on. There's almost nothing left of the spirited, vibrant and creative force that Wakamatsu was just a decade earlier, which makes a film like this all the more painful to watch.

The performances didn't really appeal to me, the camera work felt a bit obligatory and there were some serious pacing issues. Maybe I'm getting a bit too used to these 60s Wakamatsu films, or maybe this is just a lesser film in his oeuvre. Time will tell I guess, as I still have a good 60 more to go. For now, I would say this is for completists only.

The performances are terrible, the soundtrack is absolutely atrocious, the films looks dirt cheap and the action is bland (though it's still the best part of the film). I'm not quite sure what drove Wakamatsu to make this, it's just a poor mix of crime, thriller and action elements that doesn't even make sense as cheap shelf filler.

The presentation is poor, there's little to no connection between the segment and while the torture scenes are pretty vile and unpleasant, they're never quite as uncomfortable to watch as you'd expect them to be. A pretty forgettable Wakamatsu film, I'm not surprised his career took a nosedive during the 70s.

Wakamatsu cycles through images of the time and uses them as a background for endless monologues that circle the concepts of propaganda, activism, and everything related to the zeitgeist of that time. His subjects are the Palestinian freedom fighters, but they are almost an afterthought here.

Halfway through I was pretty much done with this film, so even though it only lasts 70 minutes, it was quite a hassle to get through. There's very little in the way of variation and if you don't care/don't agree with the ideas put forward, then this film can get really under your skin. Wakamatsu's worst.