Guilty of Romance

Follows three call-girls and their intertwining lives inside the Castle Love Hotel ------------ A bored housewife decides to live life on the wild side .. She's introduced to the sex world through nude modeling , and after a scary encounter in the Love Hotel District she becomes attracted to a bold proud call-girl who takes her under her wing .

She teaches the housewife to cherish her body as a play-toy , and charge every man when there's sex involved not out of love .. The housewife's life slowly degenerates until she and call-girl pasts come colliding together ..

A police detective (who's also call-girl on side), investigates the murder of one of the women , as the case sheds some insight on the life she's living aswell ---------------- NC-21 :: Highly adult , Highly perverse .. Do not watch around children or elders

8.5/10

After really enjoying Cold Fish at this years Melbourne International Film Festival, I went ahead and got a ticket to a screening of Guilty of Romance.

The only thing that really held my interest (and stopped me from walking out of the cinema) was the gorgeous Megumi Kagurazaka. Outside of this, I found GOR to be underwritten and pretentious.

Didn't care about any of the characters and the stories of three Japanese women quickly became laboured. Overly long scenes, characters shouting at each other, ridiculous literary quotes, a half baked attempt to add a crime caper twist, some kind of messages about modern feminism in Japan? Everything becomes muddled and there is simply no emotion here. Granted I am an Anglo Aussie so I can only assume I am missing much by not being Japanese and understanding their culture.

As a film, Cold Fish was in another league compared to this sorry, overblown mess.

This is just TYPICAL SONO. Over 2 hrs, that's A MUST with him lol (the director, Sion Sono), and not a problem, just something that either seems to happen because sooo much is going on, or he intentionally makes it that long to be seen as unique in style and vision. Well whatever then.

Either way this is my favourite film by him. First is this, then Cold Fish, then Suicide Club 1, then Play in Hell, then Love Exposure, then Suicide Club 2, then Strange effing Circus, eugh lol (strange indeed and just...ugh. It was ugly looking, lacking and disconcerting. Not sure about the point there AT ALL but I'm sure anyone with a way of words can explain anything).

Well anyway, this film made me cry. Not because I sought out a certain kind of film during a time of mental boredom and emotional fatigue after chronically intermittent downward spirals. And it just drains my head and heart afterward. I end up feeling dead inside and so I need stimulation, fast. I was tired of mundane stuff. I've no idea how I came to find Sono's work but at the time it hit the spot that wasn't getting hit, ever. "Guilty of Romance" might be a top favourite film on my expanding list.

Thankfully it wasn't so disturbing by the time I got to it. Maybe if I were more prudent or had a virgin mind and eyes I would be more terrified like I'm probably meant to be after watching what probably is something so disturbing. But I don't see it that way; it's comforting in its depravity. Because it's all too real.

What's sad is the character played by Sono's real life wife. She's lonely, untouched, and insecurely obsequious/subservient. She does everything meticulously for her husband. Not herself and no one else. Sono normally introduces every character for like an hour separate lol with "chapters" but here you still have no effing clue how the wife ended up here, from what I recall after a couple rewatches. Like who her family are, where they are, where she's from. It seems to be an unspoken (or culturally context) arranged marriage/"omiai" in Japan. Because I don't see the love that brought them together!

She IS guilty of romance. She wanted it badly and so badly that she later was so confused enough to be talked OUT of wanting it. It was too much of a burden to seek so she gave up on it, almost maniacally so. I still am not sure about the "whodunnit" in this film, like the who-killed-who factor. It would've been SO great with JUST the wife's story, being alone, getting naively tangled into the sex industry, infidelity; her loss of status, loss of self, loss of love and the mind, (all the things she desperately sought out) after meeting the hooker who somehow inspired her (this hooker is someone who crawled out of the dark side of feminism if not misandry altogether, or just utter insanity lol. I absolutely HATED that woman and her character, and the actress. All of it just put me off. Not the sex scenes, not the anger, just...her. She was...well...unattractive lol But whatever.)

I get her story, afterall it took an hour to clear it up. She basically has a very creepy traditional mother, and a double life herself as a prestigious lecturer and hooker. This probably shows her self conflict of fulfilling expectations and then saying to hell with them. It's a strange conflict; I'm sure most people might at least have sex or do kinky things for pleasure out of the job, but her strolling around at night assertively telling men to have sex with her when she's a professor is albeit weird to say the least lol And why this attracts the wife to this lifestyle, no clue, but that also indicates how lost and alone she is.

The plot twist was good, didn't see it coming, betrayals everywhere. Madness in all these fools and creeps to be honest. And it drove the wife to have to accept the path she followed behind the hooker. What's so heartbreaking for me is that in the end, she had to do it alone, undeservedly. She was gleeful in what I think is denial and just plain gullibility that this secret life would eventually find her satisfaction, and would spark passion and romance in if not her marriage then her life. That's how she is guilty. Sono is probably saying she was gullible to think that road she chose would lead anywhere like that, but luckily it seems this kind of downfall is not normal, that a certain type of person would descend this way. A person desperately seeking the "Castle," obviously a metaphor in this film for stability and happiness. Apparently based on some Russian or German or something story, which Sono likes to do as well.

There's also something in here, and I'm not sure if it's an original piece of Sono's promoting his own poetry here, but it was something thematic in the film about not crying. And this was recited by the hooker. She damn near preached it. Not to cry, but to do. This also ties in with Buddhism which Sono might be. That sorrow is selfish. And this could've driven the wife to not wallow in dolor and self pity, but to do. Unfortunately what she did was stupidly wrong.

Does anyone care about the color, the soundtrack, scenery, wardrobe? Stuff like that, those elements that do help make the film? I'm sure there's a science to all of this, but the film wasn't ugly. Sono intentionally uses color here, all throughout the film. Not sure if it's symbolic; I'm not trying to impress anyone with this ready-at-hand-reach wheel of colors and their meanings. But aesthetically, the color was nice lol The other stuff: eh.

Sion Sono, the rising star of Japanese cinema, has been crafting a name for himself with a long line of excellent and unique movies, ever since the cult hit Suicide Club, including 2008's critically acclaimed Love Exposure.

In 2011's festival circuit, including the Helsinki International Film Festival, the director was not represented by one, but TWO excellent films, "Cold Fish" and the movie under review here - "Guilty of Romance".

It is my claim that in Guilty of Romance, we have perhaps the director's best work to date - a masterpiece depicting a psychological vertigo into sublime, sensual desire (and ultimately depravity).

Guilty of Romance, in the trappings of a psychological thriller, is a surprisingly touching tale, in the rough shape of an antique tragedy, about repressed desire and the incapacity of human beings to ever find what they truly (think they) desire. The films touches on the wide scope of human emotions, ranging from the sublime to the base, from the terrifying to the ridiculous, co-existing in every human being as a terrifying, sublime possibility. All of us can be angels or demons. All of us can soar in the heavens or sink into the depths of hell. All of us are humans with our dangerous powerhouse, doubling as cesspool, of thwarted emotions and perverted desires, seething under the calm surface of our everyday lives, waiting to bubble up and turn our lives upside down - but only because our lives weren't stable to begin with (and perhaps NEEDED a bit of disturbing!)...

All this material, our "all too human" character, is explored to great end in this movie. To understand the movie, it helps to understand a bit of Freud and Lacan (and of course Kafka, who is mentioned in the story itself). But to really grasp and feel the movie, one needs, perhaps, to have been hopelessly in love, at least once in one's life, or to have felt a comparably strong passion, to understand the point where reason fails and desire takes over.

Due to Sion Sono's uncompromising style, to viewer needs to feel comfortable with his or her own emotional baggage, because the brutality and horror of the plot can strike an unwary heart as obscene - but this is only a mirage, since the themes of the movie, I claim, are perfectly ordinary and everyday, just repressed from our everyday consciousness. The film, to put it simply, conveys human desire as a burning, never-ending vertigo of passion (accurately enough) that threatens to overtake human beings even when they think they have finally reached calm and quiet in some safe haven of the soul - like in the all-too-perfect marriage of the protagonist, which quickly gives way, instead, to an exciting adventure into the world of depravity, which both liberates and ensnares our heroine.

Desire, for human beings, is the pain that we love - and loving it hurts. (If you've ever been in love, you know what I'm talking about.)

The gist of the film is that there are desires deeper than words and customs can bear. Even words need to be made into flesh... And flesh demands its reward. Desire is the fuel that can spiral us into hell, or lift us into the heavens...

That's all that can be said about the story without spoiling it. It goes through various twists and turns that need to be experienced to be fully meaningful.

If Love Exposure was Sion Sono's "War and Peace," then this film is his Mulholland Drive or Sunset Boulevard (in addition to being a loose interpretation of Kafka's "Castle") - a terrific psychological thriller with spiritual trappings, all shot in beautiful, colourful, hypnotic film. This film is simply gorgeous to look at. Every shot is like a picture frame you could hang on your wall. The film is edited together like a love letter to the most patient, intelligent, passionate and yearning person (audience?) in the world. This is not an easy film, but this is indeed a very rewarding film, both in the luxury of details and, formally, in the larger arch of the whole film's epic narrative.

The film's absorbing soundtrack, of Baroque and Classical music (typical to Sono's work of late), adds its own extra flair, and is both appropriately placed and emotionally effective. Even the colour palette of the movie works marvels to reflect the changing psychological landscape of the heroine, highlighting her descent to depravity. The fast-paced editing keeps things constantly fresh, and the structure of the film is carefully constructed to provide an impeccable vista into a spiritual maelstrom that is psychologically lurid but realistic as an allegory of human desire - despite the absurd, surreal and self-consciously Kafkaesque flourishes that accompany the tale to its tragic depths.

This movie has been accused by some reviewers as having no point beyond shock value. Indeed, it is very difficult to convey the madness of desire without seeming over-the-top. However, the potent, sensual, shocking story functions an allegory of the perverted desire trapped within the heart of every human being, and its excesses are thus justified. This fearless film, I vouch, is one of the top ten films about human desire ever made, up there with Mulholland Drive and Sunset Boulevard, and one of the best Japanese films of the new millennium.

A great film like this is not for everyone, as should be expected, for the patient viewer, its beauty will be revealed. Let the movie be appreciated by those with eyes to see (and a heart to feel).

Summa summarum: a great film that reaches, by way of depravity, the heights of a surprising, brutal masterpiece of a psychological exploration of human desire. It shows the capacities of the art form, wrapped in the tight package of an entertaining, ridiculous and blood-thirsty two hours, well spent on a roller-coaster ride of (all-too-human) desire.

This movie is disgusting and completely depraved. All characters are despicable. But below the surface lies a poignant critique of modernity. We live in an era which is totally nihilistic. There is no transcendence, no higher purpose in life anymore and thus no morality. These circumstances are a result of "good" times, in purely economic, materialistic terms. Because "good" times create weak men, who in turn create women who are absolute harlots, which furthermore turns any once great society into a degenerate Sodom and Gomorrah of soulless, depressed and unhappy prostitutes, metaphorical or in some cases literal.