Đàn Bà Và Chiến Tranh

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Set towards the end of World War II, Nomura (Masatoshi Nagase) is a writer who is in despair. A woman works in bar and is a former prostitute. Many years ago, her father sold her to a brothel due to the family's severe financial hardships. The writer and the woman then agree to live as husband and wife until the war ends. The woman doesn't feel sexual pleasures due to her past, while the man lusts for the woman's body. Meanwhile, Ohira (Jun Murakami) fought for Japan in China. He participated in unconscionable acts against civilians in the name of war. He returns to Japan with only one arm. Ohira then begins to prey on innocent women. ~ asianwiki


Koji Wakamatsu acolytes, Junichi Inoue and Haruhiko Arai, respectively director and screenwriter of Senso to Hitori no Onna, show how far the apples have fallen from the tree of the pinku political pioneer. Set at the end of World War II, the film follows two stories, one of world-weary lovers – dissipated writer Nomura (Masatoshi Nagase) and bartender/prostitute (Noriko Eguchi) – who shack up together and decide to fuck until the war ends and another of a shell-shocked war veteran, Ohira (Jun Murakami), who becomes a serial rapist. The twin stories, ripped from the headlines, ultimately intersect in an unholy and clichéd union. Not a moment of screen time is wasted in portraying tired stereotypes and situations, ultimately telegraphing the fateful meeting of Noriko and Ohiru (note: she likes her sex rough and thus gets off on being raped). Worse, she comes to an emotional catharsis in a fit of vomiting. The casual sexism that pervades much of contemporary Japanese filmmaking gets fully exercised in this execrable piece of crap masquerading as edgy cinema. ~ Originally published in EL Magazine, May 2013