Bounce Ko Gal (1997) by Masato Harada

A group of teenage girls spend a wild, dangerous night on the streets of Tokyo, earning money through the seedy world of ‘compensated dating’. Maru (Shin Yazawa), who has recently had an abortion for an unwanted pregnancy, goes to meet a male client. The man (Koji Yakusho) turns out to be a Yakuza and takes her ID and phone, telling her he’ll give them back when she pays him. Her friend, Jonko (Hitomi Sato), heads to the Yakuza to negotiate getting Maru’s phone and ID back. Meanwhile, Risa (Yukiko Okamoto), is hoping to make enough money to set herself up in New York, with her flight leaving in less than 48 hours. After selling her underwear and being directed to a softcore porn shoot, she meets up with Raku (Yasue Sato) and the two form a friendship. Risa has also captured the attentions of Sap (Jun Murakami) who works as a scout for young girls.

“Bounce Ko Gals”, written and directed by Masato Harada, does an incredible job of capturing the fashions and trends of the period, while shining a light on the dark underbelly of society. The early scenes with the schoolgirls, with their famous roll-down white socks, fake-tan, and relatable obsessions, set the scene for a film that, despite an apparently exploitative story, firmly establishes things from their perspective. The cast all do a great job with a script that exudes believability, with coarse, unguarded conversations alongside moments of emotional candour between the friends. They are smart, funny, worldly wise and cynical, while also being victims of a society that sees female value only in terms of appearance and sex. The camera wends its way through crowds, plunging us right into the throngs of people, creating a palpable sense of energy and movement. Told across a single day, scenes often cross-over, with the camera following one group then catching sight of another protagonist and switching to them. This all goes to help the sense of a living, breathing city and real characters.

The film is an incredible social document, offering a window to this specific period in time, the world of ‘compensated dating’ and the sexualisation of young girls. We see various aspects of this, including girls selling their underwear and school uniforms; ‘talent’ scouts picking up girls on the street to sell to hostess clubs or pornography companies; and older men paying for dates with teen girls, usually with a sexual motive. The film steers clear of moralising, but rather questions the type of society where these behaviours are prevalent and, to an extent, normalised. It is a society where women and girls are considered second-class and existing only for the amusement of men. Also one where youth is fetishized. As the teens state at one point, high-schoolers (Japan has middle and high school), are already considered old ladies. However, this film empowers its protagonists, showing them as savvy and self-sufficient in the warped economy where money rules all and girls can be easily exploited. It shows the dangers of what they are doing too, with brief indications of brutal violence, but also there is a sense of fun and camaraderie between the girls that shines through. One important moment near the end of the film sees the trio of Risa, Raku and Jonko conversing while a group of priestesses perform their rituals nearby. It gives agency to them, and suggests that the choices women make are entirely their own and that it is possible to find strength through companionship in a world that seems determined to keep them down.

Cutie Honey (2004)

An office worker by day, Honey Kisaragi (Erika Sato) has the extraordinary power of being able to change her appearance at will with a press of her heart necklace. She keeps her power up by eating copious amounts of her favourite food: onigiri. Her alter-ego Cutie Honey is a powerful crime-fighting superhero who as well as being able to transform into various costumes and disguises is virtually indestructible and fairly handy in a fight. When the Panther Claw group, led by Sister Jill along with her four supervillain underlings, Gold Claw, Cobalt Claw, Scarlet Claw and Black Claw, appear causing trouble, Cutie Honey steps in to save the day. She is assisted by Natsuko Aki (Mikako Ichikawa) and Seiji Hayami (Jun Murakami).

Directed by Hideaki Anno (Love and Pop), the film revels in a hyperactive comic-book style. Rather than attempting to turn the fantastical premise into a real-world drama, it instead embraces its origins in manga and anime. The manga was written by Go Nagai and later adapted into several television series. The opening scenes, with outlandish costumes, wacky special effects-driven fight sequences, frenetic editing, and ridiculous levels of destruction setthe stage for much that is to follow. The film is an out-and-out comedy and there is rarely any serious threat or emotion on display. Cutie Honey is a likeable lead. Kisaragi is absent-minded, obsessed with onigiri, while Cutie Honey is strong, resourceful and more than capable of taking on the bad guys. A great performance and Erika Sato excels in both roles. There are also nods to the somewhat exploitative anime version with former model Sato either in the bath, or in her underwear. The supporting cast gleefully ham things up in this comedic melodrama. Cutie Honey is full of surprises, unrestrained by a desire to be realistic, such as when one villain introduces themselves with a song and dance number. The extravagant costumes of the villains show an attention to detail and a desire to faithfully recreate the feel of a live-action anime.

Cutie Honey has some great visual gags and is clearly aimed at a younger audience. An entertaining protagonist and the film’s sense of anarchic freedom gives it an exciting edge. A lot of live-action adaptations shy away from the silliness of their source material, whereas Anno embraces it, attempting at every turn to outdo the original and utilising every tool in his arsenal to do so. The character has a good, if predictable, message about friendship and doing the right thing. But it is surprisingly fitting for the character, whose admirable qualities outshine her apparent naiveite.