Daisuke Miura, although not particularly celebrated, is one of the most interesting filmmakers working in Japan today. The fact that he frequently writes his own scripts, which occasionally are based on his own stage plays, but most of all, that he also deals with erotic movies are definitely among the elements that make him stand out. Furthermore, that in an industry like the Japanese, where nudity, particularly of women actors can be a huge issue, he manages to have big names in his cast adds to his whole ‘legacy'. Before the rather successful “Call Boy” which featured names like Tori Matsuzaka and Ami Tomite, he managed to come with another erotic movie, “Love's Whirlpool”, featuring Sosuke Ikematsu, Mugi Kadowaki, Tasuku Emoto and Hirofumi Arai. Let us see what it is all about.
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The movie is based on the novel “Ai no Uzu” by Daisuke Miura which was published in 1996. The storyline was formerly written as a stage play and first performed in 2005. The stage play premise becomes evident from the get go, as the whole thing takes place in a high class residential building in Roppongi, which seems to stretch to at least 3 levels. It is here where a private sex club is located where four anonymous men and four women have paid to participate on a night of eros. As the film begins, the owner of the club lays out the rules, which include frequent showers between partners, specific guidelines for condoms and conduct in general, and the rule that the whole thing has to be over by 5 am.
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Very reluctantly, the group start to speak to each other, and eventually, the first couples are formed. The euphoria from the first intercourse even results in the opening up about their real life, with many actually sharing quite intimate details. One guy is a NEET, another a salary man, one is a freeter and the more obese one, a factory worker. From the women, one is an all-girls college student, another a child care teacher, one an office lady, while the surprise comes from the last one, who seems to be attending these meetings as frequently as possible. Upon the second round, however, their real characters come to the fore and the first signs of judgment and prejudice appear. The appearance of a couple who want to try swinging a bit later, complicates things even more. However, sex keeps happening and even romance starts to bloom. By the end, the clerk there has to lay some more ground rules
Although the erotic and the sensual form the base of the narrative of “Love's Whirlpool”, as the title implies, is actually much more. For starters, Miura takes a rather thorough look at the concept of sex, what it means and what people perceive as perversion, and how it can actually bring people together, making them open up, although not always in positive ways. In that fashion, the way all of the characters reveal more of themselves with each ‘round' highlights this fact, and also results in another set of comments.
That the ones facing the scorn and the denial of others are the fat one, the regular customer and the one who smells is a direct metaphor of how people define attractiveness and its opposites, with the comment actually echoing globally. That employment and social status can also be sources of prejudice and that people may be rather different than what they appear to be, add even more to the context here. The fact that people can acknowledge and even enjoy each other's perversions but can essentially be racist about all the aforementioned, adds another remark on human nature. Lastly, the role sex plays in long time relationships is also highlighted, cementing the rather rich context here.
The erotic scenes, which include openly voyeuristic moments, are quite tasteful, through a combination of realism and slight humor that works quite well throughout, essentially preventing the movie from going the soft porn way. The same applies to the dialogue-heavy approach, with the interactions being witty, funny, realistic, revealing, dramatic and even painful, highlight the attention that was given to the writing of the lines.
Of course, all the above benefit the most by the casting and acting. That all the women are beautiful but the men a mixed bag is a social comment on itself, but there is more actually. Sosuke Ikematsu as the NEET highlights his timidness to the point of depression quite well, while Mugi Kadowaki as the university student is the one exhibiting the most revealing change. Kenichi Takito as the salaried man seems the most logical, while Hirofumi Arai as the freeter begins being playful but also shows another self. Eriko Nakamura as the kindergarten teacher is the most ‘naughty', Muck Akazawa as the regular looks both fearsome and sexy, while Yoko Mitsuya as the office lady plays the naive and sexy to perfection. Ryusuke Komakine as the factory worker is definitely the funniest character, while Tasuku Emoto and Yu Nobue as the couple are pleasantly over the top. Lastly, Yosuke Kubozuka as the clerk adds to the air of mystery surrounding the whole ordeal.
Shin Hayasaka's cinematography captures the whole thing with realism and artistry, adding to the tasteful approach of the erotic scenes. As usual, some lagging close to the end does exist once more in a Japanese movie, but not to a point that it cannot be ignored.
“Love's Whirlpool”, apart from deserving a watch for the cast only, is equally sensual, contextually intriguing, and well shot, in an overall excellent movie altogether.
