Emmanuel of the Japanese spill Aristocrat Shizuko Toyama is not the most famous actress, but has perhaps the most extraordinary biography, woven by the efforts of her husbands, lovers and just one-night partners, a biography worthy of more than one of the most clumsy erotic novels. The depressive spleen of aristocratic existence is regularly replaced for her in fascinating adventures on all the winds of sadomasochism. On one of these not very beautiful days, she is kidnapped with a student Mitsuko and sent to the arena of a mocking sex show.
Shizuko Toyama - the main character of numerous erotic novels "Japanese Marquis de Sada" Oniroku Dana - is a kind of Japanese version of the memorable French Emmanuel. That most liberated wife of the French ambassador in sinful and dissolute Thailand, Emmanuel, sung in a semi-autobiographical novel by Mrs. Arsan. That same Emmanuel, through the efforts of director Juste Jacquen and actress Sylvia Cristel, became the object of a masculine cult behind the Iron Curtain. The very Emmanuel, whose adventures gave rise to several sequels, reboots, remakes and series.
Shizuko, however, became liberated and perverted not of her own will, but these are insignificant trifles, for both heroines became even in their own way symbols of their era, symbols that were pretty dragged and exploited. And, like the French Emmanuel, who was destined to play not only Sylvia Cristel, Shizuko in every new film telling about her psychosexual adventures played every time a new actress and acting talent in this case was even secondary and optional.
The third part of the cult franchise called "Flower and Snake", successfully started in 1974 and due to the cult of the film extended, the film "Flower and Snake 3: Punishment", was released in 1986. The director of the previous part of the film series, which bore the subtitle “Hell”, Segoro Nishimura also acted as the creator of the third film, which in its quality and artistic merit was much inferior even to the frankly shoddy second part.
Speaking about this tape, dancing and crying with great delight will not have any of the audience, because the film “Flower and the Snake 3: Punishment” with all the attractiveness of its exposition is not a clear and interesting picture; this is an example of purely deliberate exploitation, not the best and most valuable from the point of view of artistic merits, the attempt of the director Nishimura to create a formal remake of the original tape, only slightly changing the plot and rearranging the characters, changing white to black and red to gold. However, the rotten and secondary content could not be hidden even with the help of the plot elements of the corporate drama and the film to the final simply crumbles into fragments of episodes of specific content that do not carry any semantic load.
Screenwriter Masahiro Kakefuda does not really dwell on anything in depth even within a small timekeeping of the picture and the characters are not living figures; they are only cardboard phantoms that cause neither sympathy, nor empathy, nor hatred. However, even erotic scenes this time in this picture were boring and monotonous, without a clear highlight, but with the simple spirit of the North American softcore authorship of Zalman King and Adrian Lyne, which for the “pink” picture is pure cognitive dissonance and a complete break in patterns.
The plot of the film “Punishment” has almost nothing to do with the original literary source Onirok Dana does not have and the spicy aroma of libertine film Segoro Nishimura completely left. The film can not boast of either original directorial finds or quality of the actors, because again Shizuko performs another starlet, bearing the name Monaco Ogawa, or an interesting plot, because the film has a certain genre imbalance and does not reach great heights either as a corporate thriller or as a BDSM drama because of the unexpected chastity of the picture. “Flower and Snake 3: Punishment” is just an exploitative and rather boring film, devoid of the sharpness of Oniroku Dan’s creations. It is not necessary to watch even for acquaintance and only in the heat and heat of curiosity.