Guilty of Romance

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.

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

A barbaric murder occurs in a love hotel district of Tokyo, and Kazuko Yoshida leads the investigative team, her story interweaving with that of Izumi, the wife of a renowned writer. Izumi leads a banal existence of no excitement, constantly at the behest of her exacting husband. Trying to break the monotony, she gets a job, where a modelling agent spies her beauty and naivety. Izumi is then lured into the world of pornographic modelling, and soon is deep inside the underground sex industry, surrounded by degenerates and curs. A woman named Mitsuko takes Izumi under her wing, but whether or not Mitsuko's plans for Izumi are honorable- and how their story links in with Kazuko's- remains to be seen in Sion Sono's 'Guilty of Romance.'

Inspired by the infamous Yasuko Watanabe case, 'Guilty of Romance' is a hard-hitting, sinister drama that is quite depressing and absolutely riveting. Sono's tale paints a portrait of a profoundly sad, lonely woman trying to find a sense of agency in her life, and how she is ultimately corrupted and exploited by a society built on self-interest and full of vacuous cads. It is gritty and devastating, though it must be said that the latter part of the film gets rather muddled and contrived.

The simple poignancy of Izumi's tale is slightly obscured by all the sound and fury of the second half, full of twists and turns that feel unnecessary and trite. That said, the film as a whole is still powerful, and at close to two and a half hours; it's not surprising that 'Guilty of Romance' lags in places.

Cinematographer Sôhei Tanikawa and Sono have worked together numerous times, their collaborations usually resulting in striking visuals that one remembers long after seeing them. Such is the case with 'Guilty of Romance;' it is a neon-soaked feast for the eyes. The use of colour in the film is particularly effective and artistic, as well as Tanikawa's work with light and shadow and the composition and framing of images on screen. Tanikawa's efforts add unquestionable power to scenes, and is very memorable.

Jun'ichi Itô's editing is restrained but alert work, he allows scenes play in their own time, but doesn't let things drag out. The film also benefits from Chiyoe Hakamada's costume design, which is understated and evocative. The clothing she designed for Mitsuko is particularly strong, with the outfits adding depth to the character and suiting the dual sides of her personality perfectly. Also of note is Yasuhiro Morinaga's muted score, which is dramatic and atmospheric, lending to the proceedings a tragic air most in keeping with the subject matter.

'Guilty of Romance' has a cast all performing at the top of their games. Megumi Kagurazaka stars as Izumi, giving a multi-faceted, subtle performance both alluring and affecting. She portrays the character as she undergoes a remarkable change from naïve housewife to grande horizontale masterfully, remaining sympathetic throughout. It is a brave performance many others couldn't pull off, and Kagurazaka does it with an enviable, enrapturing ease and grace.

Makoto Togashi co-stars as Mitsuko, an incredibly complicated and dangerous woman, delivering a performance of great intensity and strength. She is frankly terrifying at times, and is clearly enjoying playing such an unhinged character. She imbues Mitsuko with much depth, however, making her a believable creation, as well as a frightening one. Not in the film until roughly the halfway mark, as soon as Togashi is on-screen she draws your attention and keeps it held.

Miki Mizuno also stars, as the policewoman Kazuko, and though her story is less interesting, Mizuno performs well, leaving an indelible impression on the viewer. From the supporting cast, Kanji Tsuda and Ryûju Kobayashi stand out, giving two strong performances as Izumi's husband- who has his own secrets- and a seedy pimp with a fondness for pink paint, respectively.

'Guilty of Romance' is a dark drama that is difficult to watch in places, but always captivating. Though the story loses steam in the last act, the power of the narrative is not overly hampered. Strongly acted and featuring striking visuals from Sôhei Tanikawa, it is an experience not easily forgotten. The film may be guilty of having a weak last act and a bad title, but on all other charges it is innocent; apart from the charge of being powerful, absorbing cinema. Of that, it is guilty on all counts.

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.

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.