Inferno Of Torture ((FULL))
Exploitation legend Teruo Ishii (Horrors of Malformed Men, Orgies of Edo) delivers one of his most extreme visions of violent eroticism in this, the sixth in his abnormal love series. Tattoos and torture await women forced into servitude in Ishii's Inferno of Torture. Unable to repay a local lender, Yumi (Yumika Katayama) takes up an offer to serve as a geisha for two years with a promise of freedom once her debt is repaid. She quickly realises that this is less a house of geishas than an extremely cruel brothel specialising in supplying western visitors with tattooed playthings. Taken under the wing of one of the leading tattoo artists vying for a coveted spot in the Shogun's good graces through his work, Yumi's body becomes a battleground as a rival artist becomes determined not to lose his spot at the top. When the madam, Otatsu (Mieko Fujimoto) trains her eye on the blossoming relationship between the benevolent artist Horihide (Teruo Yoshida) and his model, she makes sure then her stay is less than hospitable, inspiring the torturous inferno of the title. Following Ishii's legendary Shogun's Joy of Torture and Orgies of Edo, the prolific filmmaker still manages to turn up the heat in this incredibly violent and salacious entry in a filmography unlike any other. From the film's opening scene depicting some of the most perverse violence ever captured on screen, through to the shock ending that will leave the audience's mouths agape, there's nothing quite like Inferno of Torture. Tender romance clashes with vile sadism as a sea of tattooed female flesh floods nearly every frame of this film depicting Japan's Edo period as only Ishii could.
Inferno of Torture
With a title like Inferno of Torture, I was expecting a film quite shocking in nature and, with the opening credit sequence displaying a woman being speared between the legs, it seemed like gratuitous torture porn was definitely on the menu. Strangely enough, this is as dark as it generally gets before the rolling credits with the majority of the film focusing on the competition between a group of tattooists, in particular two highly-skilled artists.
Exploitation legend Teruo Ishii (Horrors of Malformed Men, Orgies of Edo) delivers one of his most extreme visions of violent eroticism in this, the sixth in his abnormal love series. Tattoos and torture await women forced into servitude in Ishii's Inferno of Torture. Unable to repay a local lender, Yumi (Yumika Katayama) takes up an offer to serve as a geisha for two years with a promise of freedom once her debt is repaid. She quickly realizes that this is less a house of geishas than an extremely cruel brothel specializing in supplying western visitors with tattooed playthings. Taken under the wing of one of the leading tattoo artists vying for a coveted spot in the Shogun's good graces through his work, Yumi's body becomes a battleground as a rival artist becomes determined not to lose his spot at the top. When the madam, Otatsu (Mieko Fujimoto) trains her eye on the blossoming relationship between the benevolent artist Horihide (Teruo Yoshida) and his model, she makes sure than her stay is less than hospitable, inspiring the torturous inferno of the title. Following Ishii's legendary Shogun's Joy of Torture and Orgies of Edo, the prolific filmmaker still manages to turn up the heat in this incredibly violent and salacious entry in a filmography unlike any other. From the film's opening scene depicting some of the most perverse violence ever captured on screen, through to the shock ending that will leave the audience's mouths agape, there's nothing quite like Inferno of Torture. Tender romance clashes with vile sadism as a sea of tattooed female flesh floods nearly every frame of this film depicting Japan's Edo period as only Ishii could.
I was almost afraid to watch this movie. I have no real interest per se in watching sustained portrayals of women being tortured (as was confirmed by my reaction to Martyrs) but I am so keen to explore more of the work of Teruo Ishii that it was entirely down to his directorial presence that I even made the plunge to check this out.
Exploitation legend Teruo Ishii (Horrors of Malformed Men, Orgies of Edo) delivers one of his most extreme visions of violent eroticism in this, the sixth in his abnormal love series. Tattoos and torture await women forced into servitude in Ishii's Inferno of Torture.
Unable to repay a local lender, Yumi (Yumika Katayama) takes up an offer to serve as a geisha for two years with a promise of freedom once her debt is repaid. She quickly realises that this is less a house of geishas than an extremely cruel brothel specialising in supplying western visitors with tattooed playthings. Taken under the wing of one of the leading tattoo artists vying for a coveted spot in the Shogun's good graces through his work, Yumi's body becomes a battleground as a rival artist becomes determined not to lose his spot at the top. When the madam, Otatsu (Mieko Fujimoto) trains her eye on the blossoming relationship between the benevolent artist Horihide (Teruo Yoshida) and his model, she makes sure than her stay is less than hospitable, inspiring the torturous inferno of the title.
The Autobots arrive and locate Inferno. Below, Megatron chews out Shockblast and sends him to join the others above in battling the Autobots, before interrogating his captive. Above, the Decepticons hold the Autobots at a standstill. Megatron tortures Inferno, demanding to know where the energon is. When Inferno refuses, he stabs him with his sword and threatens to turn him into a Decepticon. Scorponok and his Terrorcons arrive; Ironhide holds him off while Prime goes after Inferno, only to run into Mirage. Megatron forces an energy ball into Inferno's wound, saying that soon he'll be a Decepticon. Ironhide confronts Scorponok over his changed allegiance. Scorponok simply states that his only master is Megatron. Under torture, Inferno flashes back to the beauty of Earth, and refuses to yield. Hot Shot and Rodimus arrive and finally make it into the crevasse. Surrounded, Megatron retreats. Inferno lies damaged and inert. The Decepticons transform and fly/drive off into the sky. Ironhide is still angry over Scorponok's betrayal. The Autobots fly Inferno away. Weak, Inferno asks about Kicker's status... and, unseen by all, his Autobot symbol morphs into a Decepticon one.
The video is 2.35:1 anamorphic. The 1080p transfer let you see all the tattoos and tortures clearly. The audio is Japanese LPCM mono. The levels are fine so you can here the slight jazzy score and the screams. The movie is subtitled in English.
The background: Let's get this out of the way. Most of the bra's developers are women. The authors of the paper describing the device, "Food and Mood: Just-in-Time Support for Emotional Eating," include the University of Rochester's Erin A. Carroll, Microsoft's Mary Czerwinsky, and the University of Southampton's m.c. schraefel, who prefers not to capitalize her name. They ostensibly made the bra in order to explore the role of electronics in shaping behavior, and not in a tone-deaf attempt to play into stereotypes about women's emotions that could easily be used in Kathie Lee Gifford's wine-fueled, Inferno-like torture of journalist Hoda Kotb. 041b061a72