director Kazuo Komizu
You might think that Entrails of a Beautiful Woman was some type of sequel to Entrails of a Virgin (1986). Though both films come from Kazuo Komizu and are both Japanese “pink” films, a genre of “softcore” pornography, the films have pretty much nothing to do with one another from a narrative perspective. They do share something of an aesthetic adherence to gonzo gore out outre teasing perversity.
Entrails of a Beautiful Woman begins with a gang of yakuza abusing a young girl who is trying to find her sister. The gang has already abused and discarded her sister to the African slave trade via Manila and now plans to do the same with this girl. After her drug induced captors pass out, she escapes to a clinic where she is cared for by a nurse/doctor(?) who hears her whole story. The girl then jumps to her death. But the nurse/doctor plans her revenge on the yakuza using hypnosis and eventually summoning some bizarro demon or something to wreak havoc.
Clocking in at 68 minutes, it’s kind of odd but the film still only manages to go really really crazy in its last quarter. Komizu has a true penchant for perversity. For a film that never shows a pubic hair, the suggestive innuendo is about a thousand times more explicit than a mere photographic image of a vagina might be. Whether it’s a silhouette of a woman slobbering on a penis, ejaculate liquids wiped onto a mouth, prosthetic erections being rubbed through underwear, it’s more crass and explicit that hardcore pornography.
But the real fun comes in the form of this demon that is sort of a skinless atrocity of human form. S/he has an erection with a toothed mouth (not unlike a penile version of the baby Alien (1979) if you can imagine that). And if you can imagine what kinds of chaos such a projection would get up to. But then this penis also manages to invert itself into the body of the beast and turn into a vagina, with which it suffocates one of its yakuza victims.
It’s pretty bananas.
Entrails of a Virgin brought to mind Takashi Miike. Without a doubt Kazuo Komizu is a progenitor of Miike and Shinya Tsukamoto (Tetsuo the Iron Man (1992)). It’s quite amazing how much sleaze and suggestion he manages to cram into these films.