for some friends' request.
A ooold vhs rip from KG and no sub yet, quality is not very good either, but who cares...it's a really f++king WEIRD movie. (I recoded the primal big file to a <700 mpeg-1 file.)

Perhaps more than any other filmmaker during the so-called First Wave of Japanese exploitation cinema, Koji Wakamatsu extended the country's tolerance for previously taboo subject matter, eventually leading to the extreme S&M and so-called "Ero-Gro" films of the 1970s and '80s. This film is no exception. Shot in less than a week in order to capitalize on the international publicity being given to Richard Speck's horrific murder of eight student nurses in a Chicago dormitory, there is a good deal of documentary footage of war protests framing the story of a young man who is invited to a nurses' dorm for some sexual fun. What the nurses don't know is that their guest is armed with a gun, and completely out of his mind. The expected murder and mayhem ensue, leavened with a great deal of leering Ero-Gro and a surprising amount of political moralizing about the evils of capitalism. The film was a huge success, leading Wakamatsu to continue exploring real-life crime in the same year's Nihon Boko Ankokushi Bogyakuma. ---- Robert Firsching (ALLMOVIE)


Reminiscent of a modern crucifixion, this is one of several young women systematically tortured and cut up amidst shrieks and moans by a young man with a gun and a razor; the ambiguity created by shadows and arrows augments the disquiet. The film ends in a blood bath of anti-feminist sadism.

This film is more symptomatic than significant. Its director claims that his twenty sado-masochist and erotic features project an anti-authoritarian message. The "angels" in this film are young nurses, methodically violated, shot, and/or cut into ribbons to the accom-
paniment of shrieks, moans, and croaking noises, by a young man with a gun and a razor. In a lake of blood and beautiful nude bodies, he is unable to kill the last one, curling up, fetus-like, in her lap instead. "Why did you spill so much blood?" asks the girl-mother. "To orna-ment you," he replies. While there is no doubt of Wakamatsu's ability as an artist, his anti-feminist sadism, unadorned by ideological context, ultimately gives his work an anti-humanist flavor. ---- "FILM AS A SUBVERSIVE ART"


User Comments: A sincere study of misanthropy.

A voyeur, invited into a dormitory for nurses, remains behind to violate and murder close to a dozen of them. Some of the nurses attempt to talk him out of ending their lives and much of the film is comprised of these conversations, but the talk doesn't do much good.

Most of the film is black and white and quite murky, but there are selected snippets of color to illustrate the aftermath of the killer's work.

Bleak and slow moving, Wakamatsu attempts to provide a political subtext for the nastiness, but it comes across as pretentious.

The stabbings, rapes and beatings are shot mostly at a distance, but the tone is upsetting and the constant screaming and general air of misery is palpable.

The score, by Wakamatsu, is hypnotic. ---- (IMDB)