The film is a dated, incoherent, and pretentious rambling about fictional revolutionary, or rather quasi-revolutionary, terrorist group(s) in Tokyo in the sixties. Although there may be some resemblance to early Godard, Wakamatsu seems to be much less accomplished thinker, revolutionary, or craftsman than the French master of the New Wave. Notwithstanding the typically Asian overacting, all the persons in the "plot" act as detached mechanical puppets (perhaps intentionally?). They are not good in making either revolution or love. The frequent sex scenes were quite irritating not only because the participants recited quasi-political slogans, but also due to sometimes awkward choreography or cuts necessitated by the bizarre Japanese censorship law that does not allow a glimpse of pubic hair on the screen.
I wonder if the sign "WEAPON WEARHOUSE" on a weapon warehouse in the film is a joke for insiders or rather a testimony on the level of production values in this movie.
I wonder if the sign "WEAPON WEARHOUSE" on a weapon warehouse in the film is a joke for insiders or rather a testimony on the level of production values in this movie.