I’m going to kick off this review with a little story I’m sure two of you may give a crap about. About eight or so years ago, I was insanely excited to see a film called Kichiku: Banquet of the Beasts. Multiple reviews stated it was nasty, depraved and disturbing. In other words, something I’d probably like. I finally saw the film a couple years later by importing a disc that cost me upwards of $50. I hated the film. These same reviews cited the films of Koji Wakamatsu as a clear influence on the film. Now I never listen to anyone else’s opinions on film, but I honestly was so annoyed with Kichiku (partly due to the $50 I wasted, I’m sure) that I steered clear of any Koji Wakamatsu films I had the opportunity to see. That was until yesterday, when I watched Go, Go Second Time Virgin. I now realize I should have been my usual self and not been influenced by others, as what I saw was something unique and compelling, from a visionary director that I now find the need to get much more familiar with.

A teenage girl named Poppo is raped by a group of teenage boys. Among the group is a boy named Tsukio, who doesn’t participate, yet stands and watches. He stays there with the girl overnight, and the next day they begin a relationship. Upon speaking with one another, they find they have much in common, such as past sexual abuse and a bleak outlook on the future; they’d both rather be dead. Poppo pleads with Tsukio to kill her, and while he says he won’t do it, she soon finds out that he doesn’t find it too hard to commit murder.

While from the outside looking in, this may look like nothing more than sleazy exploitation, it surprisingly isn’t. Wakamatsu takes this material and makes something quite sophisticated and thought-provoking. If Jean-Luc Godard ever made an exploitation film, this may very well be what it turned out looking like. Stark black-and-white photography is complimented by senses-shocking color segments that will completely catch you off guard and make you sit up and take notice. A jazzy score accompanies all of the atrocities being shown on screen, and the characters at times even break the fourth wall by talking directly to the viewer. By all accounts, this is a director that is clearly not content at making average exploitation films.

Filled with odd soliloquies and poeticisms, Go, Go Second Time Virgin can at times be a touch too artsy for its own good. While creating such a gritty and realistic atmosphere in nearly every other aspect of the film, the dialogue at times does it a disservice. But with a running time of just over an hour, this never really bogs the film down too much. It just continues to show that Wakamatsu wants to be seen as a rebel, and make films on his own terms. An idiosyncrasy here and there makes the film all the more unique and noticeable. Shock filmmakers of today should really take note of the work of Wakamatsu, as he shows that with just a little ambition, the most depraved subject matter can become more than just mindless schlock.

In many ways, I found this film to be light years ahead of its time. To show teenage depression and sexual angst in such a raw light is something that shocked viewers in the mid-90’s when Larry Clark released Kids. This was released over 25 years earlier. I can only imagine the impact and outrage this film caused upon its initial release. I know for a fact that this would definitely shock many movie goers today. The reward for the more adventurous among us however is a stark portrait of alienated youth looking for an escape from the anguish of everyday life. Mr. Wakamatsu, you’ve made a new fan.