EXPECTATIONS: A trashy, sexy and fun experience.
REVIEW: For those who want to get down to the nitty-gritty, here’s the basis of the story in the film, Girl’s Blood. It involves women kicking ass in cages, with ridiculously tragic backstories of most of the characters and a lesbian love story. Now for the kicker: this is all set and wrapped up in a backdrop of female empowerment.
Now I know what you’re thinking. A film with a story such as this could only possibly be seen as a trashy and prurient experience that would feel right at home back in the 1980’s. But this film came out in 2014 and it is actually based on a novel, written by Kazuki Sakuraba, the author who also wrote My Man, which was made into a critically acclaimed film of the same name, starring Fumi Nikaido and Tadanobu Asano.
So you would now expect the film to be more conservative. BUT, the screenwriter of Girl’s Blood is Takehiko Minato, who’s responsible for many pinku films such as Be My Slave, What’s Going On With My Sister, Flower and Snake: Zero and of course, Legend of Siren XXX. But he has also written the screenplay of Bitter Honey, which is basically an adult version of Ponyo.
Moreover, the film is directed by Koichi Sakamoto, who’s famous for directing tokusatsu series like Kamen Rider, Power Rangers and specializes in fight stunt-work. So potentially, we have a film that is directed by a former stuntman, which has a story that could have a tone of both equal prurience and puritanism (sort of), based on source material from a critically-acclaimed female author, written for the screen by a screenwriter who specializes in pinku films. Will this film be a trainwreck or will it somehow transcend its origins to be more than the sum of its parts?
The story starts by introducing four of our main characters. The first one is Satsuki (Yuria Haga), a woman who has a sexual identity crisis. The other character is Miko (Ayame Misaki), who is a S&M queen who has a haunted backstory involving being estranged from her family. The third character is Mayu (Rina Koike), a young woman who has psychological problems due to her youthful image and lastly, Chinatsu (Asami Tada), a fighter who, through numerous attempts, tries to run away from her abusive husband (Hideo Sakaki).
All four women are competing in a cage fight tournament after a martial arts faction threatens to take over the territory of Girl’s Blood. But their differences make them more like foils rather than comrades. To make matters worse is the fact that the faction is run none other by Chinatsu’s husband. Bonds will be made, minds will be tested, demons will be unleashed; will the women overcome all obstacles and win?
First off, it is really quite a miracle to say that this type of story actually has a sizable budget and it shows. The production values, the cinematography, the music are all well-done. Special credit goes to the sound design, which is quite striking and adds to the brutality of the fight scenes.
And now the cast. All of the main actresses acquit themselves to their roles with such sincerity and straight-faced conviction, that they give the story a lot more credibility that it ever requires. Yuria Haga is convincingly tough and conflicted as Satsuki and it must be said that she deserves credit for her brave decision to go nude for her love scenes.
Ditto to Asami Tada, who plays Chinatsu as a interesting, enigmatic presence and is quite a good sport in the fight scenes. The chemistry between the two is subtly present as they make glances and eventually become intimate with each other. Ayame Misaki is very charismatic as Miko, as she certainly has a fun presence about her; while Rina Koike is cute, but almost to a fault. Few stand out of the supporting cast, including Misaki Momose (who stood out in Gothic Lolita Psycho) who again combines cuteness and sadism in an entertaining fashion.
As for the men, they all go over-the-top to the point that bounces between cartoony and pantomime. Hideo Sakaki is beyond sickening (in a good way) as Chinatsu’s husband while Yoshiyuki Yamaguchi is a hoot as the manager of Girl’s Blood, whenever he shows up.
It’s a credit to the above that it is as stellar as it is, since the story is incredibly ridiculous, bizarre and blatantly empowering/exploitative to the female gender. The backstories of the characters are so outlandish (one of them is haunted by her past involving cosplay while another is haunted due to confinement and, ahem, spillage) that it is a minor miracle that the film manages to become mildly poignant and affecting in the final act.
And it is because that every aspect of the film plays it out as sincere as they can. The story is told completely straight, without a sense of irony or any amount of winking from the actors. It also helps that the characters have clear motives as to why they choose to fight in the ring and they all pay off in a satisfyingly cathartic fashion.
Or the film can be seen as the ridiculous story that it is and can be unintentionally laughable when it passes its plot points and backstories as a source of drama. Fittingly, that type of shoddiness is expected from the pinku genre, but it stands out more due to its sizable budget. Either way, entertainment is still entertainment.
And best of all, the fight scenes. Director Koichi Sakamoto knows his way around filming action and the fights are well-choreographed and well-shot, considering the numerous stunt doubles on display. The approach to the fight scenes focuses more on brutality and grappling, rather than grace and fluidity, as the editing and sound design clearly dictate, and they are thrilling to watch.
And now with the flaws. With a running time that is close to two hours, the film is overlong and could use some trimming during the character moments. Also, as much as the film is sincere in its storytelling, the tone shifts can be quite abrupt at times i.e. a scene of brutal violence can lead up to a comedic scene involving BDSM.
Also, it is quite leery and exploitative, although it is expected from the genre it inhabits. We see the women participating in mud wrestling, cosplay, shower sessions, lesbian sex scenes, training montages, BDSM sessions, sex dreams and of course the congratulatory moments that involve the use of the garden hose. If the film had a pillow fight, it wouldn’t be out of place at all, to be honest. But despite all of that, the film never goes into vulgar territory, despite a scene of sexual violence that fortunately the filmmakers convey as just that: a sickening display.
Overall, Girl’s Blood is a bizarre mix of prurient pinku tropes and conventions told in an ultra-sincere manner that somehow makes it better than it should have been. With committed performances, brutal fight scenes, fun exploitation and outlandish characters, the film certainly earns its reputation as a guilty pleasure.
Committed performances from its female leads
Well-executed fight scenes
Ultra-sincere approach to its story is surprisingly cathartic
May engender unintentional laughs
Overlong running time
Cast: Yuria Haga, Asami Tada, Ayame Misaki, Rina Koike, Misaki Momose, Hideo Sasaki, Yoshiyuki Yamaguchi
Director: Koichi Sakamoto
Screenwriters: Takehito Minato, based on the novel “Red x Pink” by Kazuki Sakuraba