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night, Poppo and Tsukio begin a relationship, telling each other of their troubled past and philosophizing about their fate. Poppo describes an earlier rape shown in flashback and tells Tsukio that her parents had killed themselves on separate occasions, when she was a child. In a colour flashback, Tsukio tells of his own recent sexual abuse at the hands of a neighboring foursome, all of whom he has stabbed to death. Poppo repeatedly asks Tsukio to kill her, but he refuses.
315:(1965) ran afoul of the government, Wakamatsu quit Nikkatsu to form his own production company. His independent films of the late 1960s were very low-budget, but often artistically done works, usually concerned with sex and extreme violence mixed with political messages. Some critics have suggested that these films were an intentional provocation to the government, in order to generate free publicity resulting from censorship controversies. According to
33:
348:, Wakamatsu has Poppo look directly into the camera and address no character in the film, but the theatrical audience, saying, "My mother was gang raped, and then she gave birth to me. Are the tears we two shed when raped, the tears women shed? What tears? What sadness? I am not a woman. I’m not sad, not sad at all. I don’t cry. I’m never sad. I…I’m not at all sad…..FUCK YOU..FUCK YOU."
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Poppo, a teenage girl, is carried by four teenage boys to the roof of an apartment building and raped by them all. The next morning, she asks them to kill her, but they mock her and one rapes her again. Tsukio, another teenage boy, has been watching the rape passively. Over the course of a day and a
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Totaro points out that in spite of the limited budget and location, "Wakamatsu sacrifices little in terms of aesthetics, using both the location and the cinemascope frame to increase the character’s psychological expression." Though warning that "he relentless, downbeat atmosphere will prove tough
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is "clearly a film that will enthrall some with its ultra-stylized perversions while horrifying nearly everyone else." He calls the movie "a serious and profound work of filmic art," adding "rom the experimental, jazzy score by Meikyu Sekai to the shocking use of color in a predominantly black and
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When the gang returns and again rapes Poppo, Tsukio kills each of them and their three girlfriends. While he is doing this, Poppo follows him complaining that he refuses her request, yet is killing the gang. The story ends with Poppo and Tsukio both jumping off the apartment roof to their deaths.
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Reviewer Donato Totaro calls the film an "alternating teenage expression of the sex (Eros) and death (Thanatos) drives, with sex continually made ugly and death the ultimate conqueror." He further points out that
Wakamatsu often puts moments in his films which appear to criticize the standard
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These films were usually produced for less than 1,000,000 yen (about $ 5,000), necessitating extreme cost-cutting measures including location shooting, single-takes, and natural lighting. Usually predominantly in black and white, Wakamatsu occasionally uses bursts of color in these films for
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s thematic, political and stylistic concerns. According to Macias, this film, like other
Wakamatsu films of the time, "combined, in still unique manner, disjunctive New Wave style, existentialist dread, sex, sadism, and gore, all on a ridiculously shoestring budget."
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The psychoanalytic film-critic/theorist Pieter-Jan Van Haecke, sees the roof as "a metaphor for the societal plane – a symbolic place that, with respect to dealing with youthful traumatized subjects, is but a failure". He argues that it is only by this metaphor that
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Sarudama.com's review of the film calls it "a rather dismal tale of primitive morality in the face of degradation, humiliation and abuse," and "a bizarre and despairing film which will undoubtedly cause viewers to (re)consider the role of social morality."
458:, gave the film a middling review which concludes, "Wakamatsu remains an interesting director due to his obstinate disregard for social standards. But unfortunately, he doesn't make the alternative, cultural anarchy, seem very appealing either."
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white film, "Go Go" is a director's film all the way. Wakamatsu gets away with his graphic images of sex and violence because they are staged in ways that resonate emotionally for both the characters and the audience.
391:—the dramatic, poetic final walk of the lovers—in the traditional theater. Desser also points out the interesting use of music in the film. At one point, Tsukio sings a song to his mother. American standards like
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Though long relatively unknown outside Japan, Kōji
Wakamatsu has been called "the most important director to emerge in the pink film genre," and one of "Japan's leading directors of the 1960s."
54:
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is one of
Wakamatsu's best-known films, but discussion of it in English has been hampered by its long lack of availability to the English-speaking world.
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Much of this can be attributed to
Wakamatsu's collaborator Masao Adachi, an experimental filmmaker who came to prominence with his student films like
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is able to become a societal critique on the very fact that
Japanese society fails to help traumatized subjects find a less destructive way in life.
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This is a well-known film by controversial director Koji
Wakamatsu, in which he again lives up to his reputation as "Master of the Pink Movie".
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Not for everyone, obviously, but this is a good place to start to learn more about a director who remains almost entirely unknown in the West.
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454:"by any standards a more interesting and less painful film to watch..." In 1998, Thomas and Yuko Mihara Weisser, in their
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going for many viewers," Mondo-Digital website says the film "packs a tremendous amount of artistry into every scene."
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is set mostly at one location—an apartment rooftop. It was shot in four days with a minimal budget.
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319:, "No one had up to that point, or since, filmed porn with as overtly politically radical and
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studios between 1963 and 1965, and directed 20 exploitation films during that time. When his
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DVD Delirium: The
International Guide to Weird and Wonderful Films on DVD; Volume 1 Redux
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With its release on region 1 DVD in
December 2000, English-language criticism of
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1147:. Miami: Vital Books : Asian Cult Cinema Publications. pp.
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877:. Miami: Vital Books : Asian Cult Cinema Publications. pp.
588:. Miami: Vital Books : Asian Cult Cinema Publications. pp.
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294:
1059:"Go Go Second Time Virgin (Yuke yuke nidome no shojo - Japan, 1969)"
930:"Go Go Second Time Virgin (Yuke yuke nidome no shojo - Japan, 1969)"
843:"Go Go Second Time Virgin (Yuke yuke nidome no shojo - Japan, 1969)"
704:
Macias, Patrick (2001). "Ecstasy of the Angels: Tenchi no kokotsu".
616:
Macias, Patrick (2001). "Ecstasy of the Angels: Tenchi no kokotsu".
557:"Go Go Second Time Virgin (Yuke yuke nidome no shojo - Japan, 1969)"
371:
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991:. Bloomington and Indianapolis: Indiana University Press. pp.
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Eros Plus
Massacre: An Introduction to the Japanese New Wave Cinema
647:. Bloomington and Indianapolis: Indiana University Press. pp.
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Eros Plus Massacre: An Introduction to the Japanese New Wave Cinema
518:. Bloomington and Indianapolis: Indiana University Press. pp.
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Eros Plus Massacre: An Introduction to the Japanese New Wave Cinema
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increased substantially. In his review of the DVD, Daniel Wible of
375:(lover's suicide) in traditional Japanese theatrical forms such as
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369:
compares the double-suicide with which the film concludes to the
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theatrical effect. Like many of Wakamatsu's films of this period,
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also recorded a song named after and loosely based on this film.
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387:. He contrasts Poppo and Tsukio's nonchalant suicides with the
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and became Wakamatsu's "aesthetic/political" advisor.
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Sato, Tadao (translated by Gregory Barret). (1982).
355:, along with Wakamatsu, is responsible for much of
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91:Cover of the December, 2000 Region 1 DVD release
1042:(in French). pinku.cho-yaba.com. Archived from
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1139:Weisser, Thomas; Yuko Mihara Weisser (1998).
869:Weisser, Thomas; Yuko Mihara Weisser (1998).
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708:. San Francisco: Cadence Books. p. 180.
620:. San Francisco: Cadence Books. p. 180.
580:Weisser, Thomas; Yuko Mihara Weisser (1998).
1099:"Koji Wakamatsu's Go, Go Second Time Virgin"
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706:TokyoScope: The Japanese Cult Film Companion
681:"Koji Wakamatsu's Go, Go Second Time Virgin"
618:TokyoScope: The Japanese Cult Film Companion
538:"Koji Wakamatsu's Go, Go Second Time Virgin"
1143:Japanese Cinema Encyclopedia: The Sex Films
873:Japanese Cinema Encyclopedia: The Sex Films
584:Japanese Cinema Encyclopedia: The Sex Films
456:Japanese Cinema Encyclopedia: The Sex Films
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1078:"Go, Go Second Time Virgin: Plot Synopsis"
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759:"Go, Go Second Time Virgin (1969) review"
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413:Black Is The Color Of My True Love's Hair
323:avant-garde an agenda as Wakamatsu had."
1124:, England: FAB Press. pp. 329–330.
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1022:"Go, Go Second Time Virgin (DVD review)"
980:Allmovie.com - Go, Go Second Time Virgin
954:"Headless Chickens - Second Time Virgin"
786:"Go, Go Second Time Virgin (DVD review)"
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405:Sometimes I Feel Like a Motherless Child
57:of all important aspects of the article.
1168:"GO GO SECOND-TIME VIRGIN (DVD review)"
904:"GO GO SECOND-TIME VIRGIN (DVD review)"
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824:. Kodansha International Ltd. Tokyo. (
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438:Compared to Wakamatsu's earlier films
53:Please consider expanding the lead to
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351:Patrick Macias says that writer
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1097:Totaro, Donato (May 31, 2003).
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45:may be too short to adequately
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55:provide an accessible overview
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1116:Thompson, Nathaniel (2006) .
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1166:Wible, Daniel (2005-12-31).
1040:"Go, Go, Second Time Virgin"
902:Wible, Daniel (2005-12-31).
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822:Currents in Japanese Cinema
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1282:Secrets Behind the Wall
1196:Japanese Movie Database
757:pvhaecke (2019-04-17).
447:Violated Women in White
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344:genre. At one point in
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985:Desser, David (1988).
641:Desser, David (1988).
512:Desser, David (1988).
1322:Ecstasy of the Angels
1103:Roman Porno Revisited
763:psycho-cinematography
685:Roman Porno Revisited
542:Roman Porno Revisited
493:The Headless Chickens
164:Wakamatsu Productions
1447:1960s Japanese films
117:Kazuo 'Gaira' Komizu
1422:Films about suicide
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510:Synopsis based on
427:Critical reception
74:1969 Japanese film
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722:The Sealed Vagina
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1188:"ゆけゆけ二度目の処女 (
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193:Running time
170:Release date
156:Meikyu Sekai
111:Masao Adachi
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42:lead section
1362:Caterpillar
1173:Film Threat
909:Film Threat
489:New Zealand
468:Film Threat
123:Produced by
97:Directed by
63:August 2016
1412:Pink films
1397:1969 films
1391:Categories
1201:2007-05-14
1179:2007-05-13
1108:2007-05-14
1089:2010-05-04
1068:2007-05-14
1050:2007-10-17
1031:2007-05-14
963:2007-07-26
939:2007-05-14
915:2007-05-13
852:2007-05-14
795:2007-05-14
768:2019-07-06
690:2007-05-14
566:2007-05-14
547:2007-05-14
397:Summertime
285:Background
241:is a 1969
228:ゆけゆけ二度目の処女
197:65 minutes
107:Written by
1122:Godalming
832:), p.299.
401:spiritual
389:michiyuki
342:Pink film
295:pink film
280:as Tsukio
148:Hideo Itō
47:summarize
1233:AllMovie
1083:Allmovie
649:100, 103
393:Gershwin
291:Nikkatsu
274:as Poppo
245:film by
243:Japanese
213:Japanese
210:Language
153:Music by
131:Starring
993:104–105
974:Sources
520:104–105
378:bunraku
202:Country
179: (
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1366:(2010)
1356:(2007)
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