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New Tokyo Decadence: The Slave

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Release Date: 
Pink Eiga
Aspect Ratio: 
Directed by: 
Osamu Satô
Tarô Araki
Komari Awashima
Naoyuki Chiba
Bottom Line: 

The company Pink Eiga is the premiere American based company dedicated on producing modern Japanese Pink films in the United States.  Much like the Roman(tic) Porno films from the late seventies and early eighties, these erotic films follow much of the same formula. In fact their three most identifiable characteristics are still very much evident onscreen.  For one thing each feature is about an hour in length, there is a sex scene at least every ten minutes, and perhaps most recognizable of all, there is no visible depictions of pubic hair anywhere onscreen which is in strict accordance with Japanese censorship laws. Perhaps another visible and ubiquitous facet that every Pink Eiga (film) must have is the fact that they are very aggressive, exploitative, often abusive in tone and always more than a little absurdist; (bat shit crazy) which is a cultural nuance that is a common element of nearly all Japanese erotic media forms (have you ever seen their cartoons?) Today’s film is NEW TOKYO DECADENCE: THE SLAVE. Let’s see if it obeys the rules of its own strict genre formula.

Essentially a Cinderella story in reverse which is a common theme to Pink Cinema, this depicts the journey of Rina, a young, pretty office worker’s personal journey from a functional, productive office employee into a professional submissive (slave).  At first she becomes her boss’s mistress, then his personal S+M consort before briefly breaking free from his insane, abusive grasp as she seeks love with a kind, mild mannered young man named Takeshi, a man who in a normal film would have certainly been the man who saved her; took her away from all of this. But because is this a Japanese erotic film with a perverse (to the point of being reverse) sensibility all its own, our intrepid heroine rejects a quiet life filled with romantic love to spend the rest of her days being abused and degraded by a familiar face and his legitimate female lover, a lifeway she finds to be personally fulfilling.

This is billed as something as the semi-autobiographical story of main actresses Rinkoko Hirasawa and her own strange journey into the world of erotic film.  Of course, the usual omnipresent Japanese camera misdirection censorship is always there as an indelible onscreen line to let you know where our reality ends and the dramatized sex scenes begin, but I will say one thing for this film above its NIKKATSU predecessors, despite the usual complete ban of pubic parts, the final, carefully obscured/ incredibly messy moments of a scene leave no doubt whether there was actually sex going on.  I leave that up to the viewer’s imagination, but for the first time in a Pink Cinema film, the onscreen action did not…

Additionally, there was some semblance of a classical plot and assuming that erotic, unrated+ S+M play as depicted in film is your thing, there was much more subtle, viciously implied “savage sensualist scenes” in any twenty minutes of this film than in the entire 129 minute running time of the unrated version FIFTY SHADES OF GREY and by saying this, I am discounting the sex scenes entirely and speaking only of how one person’s desire to be sexually degraded can be an empowering personal journey in a film but only if it is proven; validated to the viewer through much plot exposition (running time) that it is truly the main (usually female) character who is in ultimate command of their own awakening/defilement…and that they are is not ultimately seduced by another, anyone; anything else but their own innermost, dark, unspoken desire which another, skilled lover (usually a real womanizing dick) only serves to ultimately awaken in them.

There, I have told you the exact formula of every decent proper erotic “slap and tickle” movie that was, is or will ever be filmed.  You’re welcome for that.  But as usual with explicit, adult film, I have spoiled nothing because this is a formulaic visual medium that somehow you have to see for yourself, this film indeed so…provided you like the bondage, discipline and still more incredibly harsh Japanese sex scenes that sound like a Mickey Mouse cartoon which are the staple of all pink cinema.

Extras include Trailers, Bios, Film Gallery and (on disk) poster. As for extras I have a real problem here. For the first time in several hundred films from countless retailers, I received a film with no plastic case; it came in a little generic red paper envelope as if somehow sent to me from the Devil’s Redbox as all of their titles do apparently. That is disappointing to me.  Even though every title they offer is around ten dollars, for that amount of money every other company I have ever received wares from also supplies a plastic box for purposes of public display. If I have said it once I have said it a million times, S+M disks do NOT look good in “binders”. S+M actresses do. I guess I am just being a purist here….

Nonetheless, I would like to welcome Pink Eige to my list of enablers.

Nsfw trailer visible here.  

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