Tag Archives: Kôji Wakamatsu

Kôji Wakamatsu – Nihon bôkô ankokushi: Ijôsha no chi AKA Abnormal Blood (1967)

Synopsis: A detective investigating a serial rapist discovers that he and the perpetrator come from the same lineage of depraved individuals, a genealogy of violent and sexually perverse deviants that streches through the Meiji, Taisho and Showa eras and can even be traced back to the Edo era. Read More »

Kôji Wakamatsu – Zoku Nihon bôkô ankokushi: Bôgyakuma AKA Dark Story Of A Japanese Rapist (1967)

Synopsis:
Fresh off the box-office success of Violated Angels, an eroticized dramatization of the Richard Speck case, director Koji Wakamatsu turned his attention to another real-life criminal, Yoshio Kodaira, the rapist who terrorized Tokyo in the post-WWII period. Renamed Marqui de Sadao here, and played with a skillfully detached cruelty by future director Osamu Yamashita (Joji Zankokushi), the rapist is depicted as far more perverse than his real-life model, including whipping and mutilation in his bag of evil tricks. As in Wakamatsu’s previous film, capitalism takes the blame for nearly every wrong in Japanese society, but in the context of such an exploitative and calculated attempt to earn box-office attention, much of the social criticism falls flat. Miki Hayashi co-stars with Kazue Sakamoto and Mikiko Ohkawa. Read More »

Kôji Wakamatsu – Nippon boko ankokushi: onju AKA The Hateful Beast (1970)

Synopsis: In the Edo era, two man arrive in a village and engage in criminal activity. While one of them becomes successful and rich, the other gets betrayed and ends up in prison, burning for revenge. The truth changes with the viewpoint in this previously unavailable Wakamatsu film, which has inspired comparisons to Rashomon. Read More »

Masao Adachi & Kôji Wakamatsu – Sekigun-P.F.L.P: Sekai sensô sengen AKA Red Army/PFLP: Declaration of World War (1971)

Quote:
It was a milestone of film as activism, cinema as movement in Japan’s context. Adachi and Wakamatsu went to Beirut on the way back from the Cannes Film Festival. There, in collaboration with the Red Army members and PFLP, they produced this newsreel film depicting the everyday activities of Arab guerrillas as a cinematic narrative on the world revolution. Being a fusion of intense agitation and the ‘landscape theory’ approach inherited from “Aka. Serial Killer,” the film was conceived as a new form of news report, and was discussed in synchronicity with J-L Godard’s Dziga Vertov Group and the revolutionary films of Latin America, transcending geographical distances. Read More »