Beautiful head cutter After the directorial debut of Kazuo Komizu, the pornography of the “Gumb of the Virgin” in 1986, instantly gained the status of a cult in certain audience circles, the director decided to forge iron while hot and in the same year 1986, with the support of the famous Japanese studio Nikkatsu, formally removes the sequel to his extraordinary masterpiece, which received no less provocative and defiant name – “Gumb of Beauty”, which in many of its artistic parameters the original managed to surpass, which was thrash and nothing else.
Why is this film a sequel only formally? First of all, the film “Giblet of Beauty” from the point of view of its main plot and the unfolding of the plot have nothing to do with the first film, which is an extrapolation of “Evil Dead”, woven into a frank eroguro. To a greater extent, “Gibber of Beauty” is a classic revenge-movie in the spirit of the classical Western and even Japanese traditions of revenge cinema: from “Woman’s Day” by Meir Zarka to stories about a prisoner Scorpio and her like. Much stylistically increased in comparison with the first film, the level of directing makes “Guttle of Beauty” a brighter and more high-quality creation, in which, of course, without sexual perverse violence did not do, but this time eroticism does not serve as the dominant element of the tape; it only skillfully frames a sufficiently thought-out and interesting plot, which is very straightforward, but at the same time is extremely effective and affective to the viewer.
From the point of view of the visual and ideological content, “The Gaunt of Beauty” is perceived as a sequel, continuing the theme of insanity and deviant mutations. If in “Guttles of the Virgin” were only slightly inscribed Cronenberg motifs of internal and external transformations, and the hentai essence of the picture was too hidden behind the original eroticism, the second film looks like a true progress and even a departure from the typical Japanese schizophrenic pornotrash. Komizu very ornately refers the viewer in the “Guttles of Beauty” and to “Craftsmen”, and to “Mad”, and even to “Videodrome”; he does this as a very capable student, not a master, but no longer a journeyman who no longer jokes, as it was in the debut, but seeks to shock, surprise and disgust the audience, playing with all shades of dirty porn, naturalistic horrors and aberrant grotesque quite in the spirit of Edogawa Rampo. There is no trace of the rarity of clumsy acting. Seira Kitagawa in the role of Yoshimi looks very convincing, managing not to squander his full potential even in frankly weak scenes. Megumi Ozawa as Hiromi demonstrates all the skills for acting chameleonism and reincarnations, and the secondary background of the tape, consisting of heroes played by Kazuhiro Sano and Ken Yoshizawa, pleases the eye with its color.
As laconic as the first film of this extraordinary pornor-horror trilogy, the film “Giblet of Beauty” is an original mixture of revenge cinema and stylish perverse horror with bodily mutations and hard eroticism. Japanese is strange, disgusting and even disgusting, but not so amorphous and meaningless. Connoisseurs of Japanese tin and Asian horrors in general, fans of everything unusual and very abnormal from this picture will accurately write with a hundred-degree boiling water.