"Zankoku ijô gyakutai monogatari: Genroku onna keizu" is a film that plunges deep into the grim and disturbing recesses of human nature. It's a film that elicits strong reactions, pushing the boundaries of taste and endurance, yet it also holds a mirror to societal taboos and the dark underbelly of historical narratives.
The film is divided into three distinct vignettes, each depicting tales of torture and suffering in different historical contexts. Ishii's direction is bold and unrelenting, as he crafts a narrative that is both visually arresting and emotionally harrowing. His use of color and composition draws the viewer into a world where the grotesque becomes strangely captivating. This stylistic choice is perhaps most evident in the first segment, which tells the story of a forbidden love affair between a monk and a woman, culminating in brutal punishment. The contrast between the serene beauty of the temple and the horrifying acts that take place within its walls is stark and effective, leaving a lasting impression on the viewer.
One of the standout scenes in the film involves the portrayal of a woman being punished by being buried up to her neck and left to the mercy of insects and the elements. The actress, Naomi Tani, delivers a performance that is both harrowing and haunting, capturing the essence of human suffering with a raw, visceral intensity. Tani's portrayal is fearless, and her ability to convey profound anguish without succumbing to melodrama elevates the segment to a level of poignant tragedy.
Despite its artistic merits, "Zankoku ijô gyakutai monogatari: Genroku onna keizu" is not without its flaws. The film's relentless focus on torture and cruelty can become overwhelming, making it a challenging watch even for those with a strong stomach. The episodic nature of the narrative also leads to a lack of cohesion, with each story varying in impact and effectiveness. While the first and third segments are compelling, the middle story about a tattoo artist who uses human skin as his canvas feels less developed and somewhat gratuitous.
The film's approach to its subject matter is explicit and unvarnished, a hallmark of Ishii's style. This unflinching depiction can be seen as both a strength and a weakness. On one hand, it refuses to sanitize history, presenting a raw and unfiltered view of human depravity. On the other hand, its graphic nature can alienate viewers, overshadowing the more subtle thematic explorations of power, control, and societal norms.
In terms of performance, aside from Naomi Tani, Asao Koike's role as the sadistic lord in the third segment stands out. Koike imbues his character with a chilling detachment, making his acts of cruelty all the more unsettling. His calm demeanor in the face of such brutality serves as a stark reminder of the banality of evil, a theme that resonates throughout the film.
Overall, "Zankoku ijô gyakutai monogatari: Genroku onna keizu" is a film that defies easy categorization. It is both artful and exploitative, compelling and repulsive. For those interested in Japanese cinema's exploration of the macabre and the taboo, it offers a unique, albeit disturbing, viewing experience. However, its extreme content and uneven storytelling might deter a broader audience.
