Tokyo décadence

This review is for the 1:49 (109 minute) version of the film in Japanese with English subtitles. I believe this is the 'uncut' version. I was quite worried before watching this film about what I was letting myself in for after having read some of the reviews. I feared it might be something like some of Pasolini's films. I needn't have worried. Admittedly you might not want to show it to your maiden aunt.

It's a sort of art house version of Showgirls (1995). The hallucination scenes reminds me a bit of the Mandrax infused scenes in Celine and Julie go boating (1974). So as a bit of trivia I'm guessing that is the drug Ai takes.

It's supposedly a warts and all look at the life of a Tokyo prostitute, Ai, who specialises in S & M set at the time of the economic bubble. Obviously this could just be a flimsy excuse for a lot of gratuitous footage under the guise of Art. I'm inclined to give it the benefit of the doubt. It's never going to be a great film, but at least it does pass the Bechdel test.

Films with a similar idea that spring to mind are Klute (1971) and Strella (2009). Both of which seemed like a more realistic portrayal, particularly Strella.I may be being a little unfair since some of it could have got lost in translation.

Tokyo Decadence follows a prostitute on her way through the six gates of perversion forced upon her as her work demands. One of the imperatives of the trade is to never leave the client, something which makes her stay put in some pretty strange situations.

Miho Nikaido does a good job in her role and shows a great range from subservient prostitute to desperate woman in search for love.

The funniest part is when excellent whiskey-folk-punk musician Kan Mikami plays the bourgeois necrophiliac in search for a classic rape case where a girl got murdered.

This is most likely Murakami Ryu's best work and is a excellent commentary to Japanese bubble-economy moral decay.

A shimmering brightness infuses "Tokyo Decadence". The neon-blasted streets, the eerie, artificial glow of offices and hotel rooms, even the translucent glow of daylight insinuates under the skin of the film.

The antiheroine of the film passes through a sexual Seven-Circles-of-Hell in Tokyo, used and battered by clients, gangsters and even friends who ply her with drugs and subversive sex. None of the sexuality is erotic, but it's also not presented as obscene or tragic. The spare, minimal approach to the dialogue heightens the tension and sense of dislocation. The film presents sex as a matter-of-fact commodity, flesh as spiritual bargaining tool in return for a temporary escape from alienation and fear.

It's an intriguing film, difficult to watch but rich in visual beauty and its subtextual dimensions are quite rewarding. The film fetishizes everything to the point of abstraction. The city of Tokyo becomes a gleaming morass of lights, skyscrapers and soullessness.

A brutal and delicate work of art.

Most films dealing with prostitution that I've seen have been very straight forward. In other words, the characters have been very loud, and to the point about what's going on in their heads. However, the lead character in Tokyo Decadence comes out differently than you might expect . In most films that portray prostitution as a hard and unsettling life, ( Whore, Leaving Las Vegas...) the main character is trying real hard to act like they enjoy what they're doing. But in Tokyo Decadence, it's quite the contrary, the lead character hardly says a word through the whole film. But you still learn so much from her expressions and way of dealing with the many different wack-job clients she has. (These include dominatrix, sadists, and necrophiles to name a few.) This is the first film like this where I've actually felt sympathy for the main character. She obviously has big dreams, presses forward to improve her situation in life constantly, only to be brought down by the degrating clientel she encounters every night. Overall, the acting is superb! As far as story is concerned, there is a serious lack of information given toward the middle of the movie. She keeps carrying around a picture of her with this guy, even going as far as buying expensive jewelry as good luck charms to get him back, ....but we don't know who he is, how she knows him, ..nothing. But despite, minor holes in the plot, the film never loses sight of the point it's trying to make. And as I said, subtlety is what makes this film powerful. It's what the characters aren't saying and showing that brings you closer to the film. One last note, the film DOES live up to it's NC-17 rating. But then again, most asian films do.

Very erotic and sick at the same time. This movie leads you down the dark allies of human sexuality. But it touches more than the loins. This is mostly because of the innocence of the Ai, the main character. Her quest for true love and happiness stands in a deep contrast with the dark nighttime of Tokyo, ridden with perverse sex and cocaine.

This movie is a must for people interested in culture, sexuality and gender roles. It gives perfect examples of how power play somehow gets us excited, but mainly rests upon images of gender and sex we have invented inside our culture. It's a little Foucault, it's a little de Sade, it's just very interesting.