Ikenie fujin

Another Nikkatsu winner along the same plotlines as CAPTURED FOR SEX 2, though not quite as extreme, but more "arty".

A man kidnaps his ex-wife (the gorgeous Naomi Tani) and subjects her to various forms of humiliation and abuse. She finally stops resisting and embraces her submission.

A couple whose attempt at suicide fails are also thrown into the mix.

Films like this create a vision of hell for some, a vision of heaven for others. This is highly erotic and simple in its execution, but complex for its sexual politics.

Not great drama, but the sexual anarchy on screen is strangely beautiful and the film's general tone is deliciously subversive.

This is my first from the so called Jap pink genre.

Jap exploitation movies are truly depraved n not for me.

The movie is filled with sick stuff.

Generous with a 2 for the settings, the babe n her last dialogue, "It's funny, but I think he's afraid of me."

Wtf were the makers thinking when they shot the outhouse scene. Shock value?

The makers n the cast sure needed some mental treatment.

This was my first Japanese 'pinky' film, and I have to say that I enjoyed it immensely. The film is very short, but it's certainly not sweet as Masaru Konuma's Wife to be Sacrificed features a torrent of sleaze as well as many unpleasant scenes that feature everything from torture to humiliation. The dark and unpleasant atmosphere is matched brilliantly by the isolated location in which most of the film takes place, and this if offset by the stunningly beautiful cinematography used to capture all the nastiness and brutality featured throughout the film. The plot is deliciously simple and focuses on an estranged husband and wife. They split up because he couldn't control his temper, but one day he decides to come back; kidnap his former wife, take her to a remote cabin in the woods and proceed to subject her to a range of tortures and humiliations. At first she resists and attempts to escape, but soon she gets used to her submission and the two manage to build up a new relationship through their sadomasochistic exploits.

The short running time is a plus for the film, as there isn't a great deal of depth to the story - so by keeping it short, director Masaru Konuma is able to adequately focus on just the important elements of the story without bogging it down with lots of needless filler. The film does become quite shocking at times, and the scenes of humiliation in particular are likely to have some of the less well versed viewers squirming. The acting is very realistic, and while the film doesn't require it's actors to delve too far into their characters, it doesn't matter because the fact that you can believe these people is all the film needs. The sex is erotic enough, and the strong focus on sadomasochism gives the film something in the way of originality in comparison to a lot of other porn flicks. The plot does feel a little bit pretentious by the end, but the way it finishes isn't necessarily bad. Overall, I'm sure that this film won't appeal to everyone, but if you're into porn (or 'pinky') films, then I'm sure that you'll find lots to enjoy here!

It never ceases to amaze me how many gorgeous Japanese actresses will star in the sickest pink rape films yet the showing of the genitals and normal sex is forbidden in Japan. This one is as vile and degrading as any pinku. Kidnapped by her psycho ex-husband, she is forced into sadistic, horrific, extreme acts. There's a rare Asian Cult Cinema interview with Naomi that's difficult to find. I don't know if she explains why she was so personally immersed in this bizarre lifestyle and level of film making.

Ikenie fujin (1974), directed by Masaru Konuma, is a cult classic that delves into the dark and twisted world of Japanese folklore. The film follows the story of a young woman who becomes possessed by a vengeful spirit, leading to a series of gruesome and unsettling events. While the premise is intriguing, the execution leaves much to be desired, resulting in a mixed viewing experience.

One of the film's strengths lies in its atmospheric and eerie visuals. Konuma effectively creates a sense of dread and unease through his use of shadows, dim lighting, and unsettling imagery. The practical effects, though dated, are surprisingly effective and add to the film's overall creepy vibe. However, the pacing is often sluggish, and the narrative can feel disjointed at times, making it difficult to fully immerse oneself in the story.

The performances in Ikenie fujin are a mixed bag. While some actors deliver convincing and committed portrayals, others struggle with the material, resulting in moments of unintentional camp. The film's exploration of Japanese folklore and mythology is intriguing, but it often feels surface-level, leaving the viewer wanting more depth and context.

Overall, Ikenie fujin (1974) is a flawed but fascinating cult classic that will appeal to fans of offbeat and unconventional horror. Its atmospheric visuals and creepy premise are let down by uneven pacing and performances, but there's still enough here to make it a worthwhile watch for those with a taste for the bizarre and unsettling. While not a masterpiece, it's a unique and memorable entry in the annals of Japanese horror cinema.