A submissive hooker goes about her trade, suffering abuse at the hands of Japanese salarymen and Yakuza types. She's unhappy about her work, and is apparently trying to find some sort of ...
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A submissive hooker goes about her trade, suffering abuse at the hands of Japanese salarymen and Yakuza types. She's unhappy about her work, and is apparently trying to find some sort of appeasement for the fact that her lover has married.Written by
Ed Sutton <email@example.com>
23 minutes, which included more nudity and explicit sex, were cut from the US version to prevent an X rating. Some of the scenes cut were:
The scene at the beginning is longer.
The scene with Mr. Satoh before he talks to his girlfriend is longer, including the scene showing him actually inserting the vibrator into Ai after she came out of the shower.
Ai licking both Mr. Satoh and his girlfriend as they are having sex.
Before Ai arrives to Mr. Satoh's room, they are slow-motion scenes showing Yakuza storming into Mr. Satoh's room, yelling at him for being a failure and restrains him. Despite his pleas, the Yakuza tie his girlfriend up and hooks her up with drugs, with him watching and being helpless to help her. The Yakuza then take turns sadistically raping and beating her.
Shortly after the guy says 'Let her go' referring to Ai, the scene returns to Satoh's bedroom where the Yakuza slashes the right side of her face with a tanto knife to show who's the boss, explaining why later her face is bandaged when she returns the ring to Ai. The scene then goes back to the lobby showing Ai running into the elevator scared. Miyuki, who was waiting for her, meets up with her after she gets out of the elevator. Seeing her terrified, Miyuki asks her what was wrong. Ai shakes her head saying everything was all right, it's just he wasn't home that's all. They then go to the young client's room.
The scene where the young client asks to be strangled is longer, showing Ai and Miyuki walking into his room being addressed as Mistress and Mistress Ai.
Tokyo Decadence follows a prostitute on her way through the six gates of perversion forced upon her as her work demands. One of the imperatives of the trade is to never leave the client, something which makes her stay put in some pretty strange situations.
Miho Nikaido does a good job in her role and shows a great range from subservient prostitute to desperate woman in search for love.
The funniest part is when excellent whiskey-folk-punk musician Kan Mikami plays the bourgeois necrophiliac in search for a classic rape case where a girl got murdered.
This is most likely Murakami Ryu's best work and is a excellent commentary to Japanese bubble-economy moral decay.
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