This second entry into the much fabled Guinea Pig series has a slightly better known name attached to it as many keen eyed manga enthusiasts will have noticed; Hideshi Hino of Hino Horror and Hell Baby (check out the collected volumes for some fun Manga horror if you are a fan) fame directed this entry into the series after reportedly receiving a snuff film from a crazed fan in the early 80s.
So instead of sending it to the authorities in Japan much as the basis for Guinea Pig 1 The devil’s experiment did, he decided to re-film it to protect all participants and show the world the gory escapades of a lunatic dressed as a samurai/Geisha as he butchers an innocent woman into tiny pieces. As you do. Of course, this was all just elaborate stories, as if this had any inkling of being true the Japanese police would have raided Hino and he would be behind bars for withholding evidence.
This is much gorier than Devil’s Experiment, with a little higher production values, it’s much of the same but if you are actively seeking out the Guinea Pig films you aren’t going to mind at all. Unlike many other entries into the series we are greeted with a brief warning andStar Wars style rolling credit introduction to Hideshi Hino’s reasoning behind making the “documentary”.
The film starts with a young woman being attacked late at night and knocked out with chloroform by a manic florist; that was an important side note as his aim is to create a perfect “flower of flesh and blood” which not a lot of viewers actually make a connection to, adding a goal and aim to the otherwise pointless graphic violence.
As she awakens, much to her despair she is restrained on a bed in a grotty room with a rather awesome Genki painting above her which depicts a victim wrapped in tentacles, the soundtrack is used to effect with minimal sounds over the recording; dripping water and the frantic sharpening of a samurai blade add to the atmosphere and tension in the movies early stages. It’s evident that this is trying to be more than the first entry in the series and is actually endowed with sets and a reason for the carnage.
Things take a turn for the bizarre when the viewer finally encounters the murderer in full; Samurai style helmet, missing and decaying teeth, and crazy eyes make for an all encompassing villain. The meticulous way that he puts on his work gloves examines his tools and prepares his victim is astounding. Shots linger on his caressing of the tools as the woman screams in the background out of view. The sacrificial killing of a chicken is the killers way of setting off proceedings, I am sure this was only included because of the cannibal movies from Italy, as an homage of sorts, and it sets up the tone nicely.
Our killer then drugs the panicked woman which he then explains to her that it will allow her to feel everything that he is doing to her but will render her unable to move or scream. This unrelenting sequence is an excellent tool for the viewer to experience the fear that he is inflicting to the victim; her tears and fear are realistic and I’m very surprised this is Kirara Yugao’s only acting role to date.
At around the 15 minute mark the real carnage begins, as the killer disrobes our helpless victim and once again leaves her; the film fades suggesting that several hours have passed. The killer then breaks the fourth wall by addressing the audience directly to explain about the acts which shall pass; this is disjointed and makes you feel a little uneasy. Letting the viewer know that the payoff is about be shown, enticing them to continue watching, indulgent. The dismemberment of the woman slowly begins and the effects shine as our Samurai cuts off the woman’s hand at the wrist in a gloriously sadistic shot. The camera work is heavily on the actions, and the bizarre adjoining scenes of narration add to the suspense.
Being told what is going to happen next is a fantastic addition to this movie and works incredibly well in this setting. The amount thatFlower Of Flesh And Blood has influenced Hostel also becomes evident, shots of tool benches in amongst the carnage lets the viewers imagination run wild with fear and, I dare say, excitement. The full dismemberment encompasses around 25 minutes of the short 42 min running time, all of them gruesomely vivid and accompanied by lashings of gore.
The details will remain sparse here about the actual act itself, as giving too much away will detract greatly for this viewing experience. Needless to say there is a fantastic payoff for those that can stomach it till the very end. After the deed is completed our killer then arranges the victim much like a floral display, then sits down to have a cigarette which likens the torture to a sex act. The censors will have had a field day on this one.
This film works much better as a narrative than some of the other entries in the guinea pig series and although its plot is threadbare the shock factor and realism will keep people debating for years. The film garnered so much shock on emergence that the cast and crew had to quickly cobble together a making of documentary as to falsify any claims that Kirara was actually murdered on set.
Unearthed Films have included this documentary on the disc alongside the movie, which is enjoyable. This is a perfect introduction to the Guinea Pig series much more accessible than Devil’s Experiment,and a far superior film than the Devil Woman Doctor forth entry into this series
(This was previously featured on Gorepress and is included here in order to complete the Reviews of the Guinea Pig Series)
Popcorn Delinquents 