In this sequel to Urotsukidoji: Legend of the Overfiend, the unbelievable sexual violence of the Overfiend and his cohorts from Hell continues to wreak havoc on the earth. Who can stop this relentless onslaught?
A vagabond swordsman is aided by a beautiful ninja girl and a crafty spy in confronting a demonic clan of killers - with a ghost from his past as their leader - who are bent on overthrowing the Tokugawa Shogunate.
As the Overfiend slumbers, the mad emperor Caesar rises to power, enslaving a new race of demon beasts. Into this cruel existence is born the Lord of Chaos, the Overfiend's nemesis. As the ... See full summary »
Using the now famous Nazi Death-Rape machine, Dr Munhihausen Sr. is calling forth the Overfiend, but the experiment goes wildly wrong. Now taking over for his father, Munhihausen Jr. is poised to try again. Using a new stronger machine, alloys & improved engines... Will he succeed in killing the Overfiend, then taking control over Earth....?!?Written by
During the ferris wheel sex scene, the woman's arms change position between different shots: in every other angle, her arms are bouncing at her side, but in when she faces the screen her arms are flailing in front of her. See more »
Myuni Hausen II:
Kindness is nothing but hypocracy in disguise. It is a human deception. Man enjoys the suffering of others - it gives him something to be thankful for, something to feel good about, something to feel superior.
See more »
Lacks the visceral punch and shock-value of the first film, but still worth experiencing
What I like about this film (and the broader aspects of the series as a whole) is the sense of imagination; the scope of the world that is created, and the depiction of characters and scenarios that couldn't possible exist, even within the confines of our wildest dreams or indeed, our very worst nightmares. Yes, some elements are pure sleaze, but you could make the same accusation against Pasolini's Salo, or the 120 Days of Sodom (1975), which is one of the finest works of political satire and pure cinematic art ever created. Obviously, Legend of the Demon Womb (1993) lacks any such lofty pretentious, essentially offering us a re-occurrence of that central Japanese image of the giant monster destroying Tokyo, with all kinds of episodic sub-plots and sidelines involving the war between three different worlds, evil scientists creating a machine for the purpose of rape and demonic resurrection, and the ultimate signal of the apocalypse as a final, purging rite.
Naturally, the film also finds the time to revel in the depictions of lurid sleaze, mystical prophesising and the occasional burst of grandiose destruction; but there is still a recognisable intelligence here, and a sense of imagination that is deeper and richer than what many potential viewers might expect. For example, if were to (perhaps) read too much into the film, the you could see it as something of a critique of modern society and the general negativity and selfishness of human behaviour in general. Clearly, it is worth noting that the first film began with the narrator discussing "ignorant humans" in an opening voice-over that clues us in on the three different worlds and the legend of the overfiend itself, while the narrative here - without giving too much away - suggests world domination and destruction leading to the central idea that to find peace and harmony we must destroy everything that went before and rebuild it completely from the ground up. These notions can be looked at in more detail, or they can be treated as superfluous information secondary to the violence, fantasy and action. Regardless, these elements alone show that Legend of the Demon Womb is a film far more interesting than its reputation as a work of over-the-top, sexually explicit exploitation would suggest.
The original Japanese release is the version to see, if you can find it. The story, although edited down from three single episodes, is easier to understand and the dialog manages to convey the story, as well as giving us a vague insight into the characters. The US dubbed version is often heavily censored to the point of incomprehensibility, whilst the American dialog is laughably bad and delivered so flat as to make even the most innocent of lines seem like the most childish of double-entendres. Nonetheless, besides the more controversial talking points, the elements of tentacle-rape and purely indulgent hentai, the film remains somewhat entertaining and is filled with rich characters, depth and imagination.
3 of 4 people found this review helpful.
Was this review helpful to you?
| Report this