by Allan Fish
(Japan 1969 64m) DVD1
Aka. Yuke Yuke Nidome no Shojo
The masterpiece picked by men
p Koji Wakamatsu d Koji Wakamatsu w Masao Adachi, Jiku Yamatoya ph Hideo Ito ed Kansuke Kunaga m Meikyu Sekai
Mimi Kozakura (Poppo), Michio Akiyama (Tsukio),
It was shot in four days and represents probably the apex of Koji Wakamatsu’s early shock fests that so delighted the underground devotees and saw him labelled as a pariah to rank with Tekechi in Japanese film infamy. While Yoshida and Oshima were testing the limits of the cinema for the more intellectual audience, Wakamatsu was doing the same on his own cheap, guttural level. Go, Go, Second Time Virgin, if probably surpassed as art by Ecstasy of the Angels, is still probably the place where Wakamatsu virgins are best starting.
It begins with a young girl being sexually harassed by a group of youths. She’s carried by these droogs to the deserted rooftop and gang-raped for their sport. Finally, she accepts her fate and just waits for the last of her assailants to remove themselves from between her prostrate legs. She becomes passive, almost compliant, by the end of it, but she’s been raped before, leaving her emotionally numbed. Watching on through the horrors is another youth, a boy, a virgin, who then attempts to befriend the girl. She just wants to die, but she won’t commit suicide. Her mother committed suicide when she was nine, unable to recover form the horror of the rape that produced her daughter. Her father committed double suicide with his mistress. It’s been a life of horror, of love and sex equating to death from day one, but suicide is too pitiful. The boy takes her to his flat where she is shocked to find four naked corpses, two men and two women, in his room. He killed them because they raped him and made him part of their sick, orgiastic revelry. They decide to return to the roof, and there finding the rapists in the midst of violent sex with other young girls, kills them all, before waiting for the dawn to jump to his death with the girl as an act of consummation.
I barely need to add that it’s a morally repugnant film, where gang rape is seen as merely an acceptable sport for young men and no adults are free from sexual perversion. There’s no more horrific scene than that in which the young boy, Tsukio, is raped by the four people in his room (or indeed, is it really his room?), one of the girls even going so far as to stand up, pull her panties to one side, and urinate into the boy’s face. They deserve what’s coming to them, but in a way are we not being made complicit in what is still murder, however provoked and however despicable the ‘victims’ are. Here sex is not to be enjoyed but endured, and only death gives the orgasmic release. The couple don’t have sex as it’s an act of impurity, they prefer to jump to their doom, she naked but, in his eyes, a second time virgin, and he, in his white shirt with symbolically cherry red blood stains.
Shot in monochrome (including a blue-tinted flashback to an earlier beach rape), the films bursts into colour for the orgy sequence, one which, urolagnia aside, now seems no more erotic than a game of naked twister. Even the rooftop rapes are cold, mechanical, almost functional, the victim so dispassionate as to give the whole a sense of the decrepit, of almost necrophilia, only emphasised more by the lyrics of the song, including even references to incest. “Love is a nitro”, so the heroine states, and it’s certainly a lethal cocktail. Put simply – you fuck, you die. “Tell me why you want to die and I’ll kill you” Tsukio says. “You can rape me, it’s really OK”, Poppo tells him, oblivious as to the contradiction in the statement, as if rape and sex were one and the same. As succinctly as possible, it’s a statement of nihilistic rebellion whose inflammatory spirit would later be captured by Sid Vicious, by Tim Roth’s skinhead Trevor in Made in Britain, by Malcolm McDowell’s Alex de Large and distilled in essence to Poppo’s fierce repeated cries of “fuck you!” to both the world and the audience.