Terror of the Underworld
When Arano steps out of the station in Shibuya, his fate is already sealed. The young man came to Tokyo to make his dreams come true: he wants knives to rain down—preferably into the hearts of the Yakuza, toward whom he harbors an inexplicable and ruthless hatred. There are too many superfluous elements in this world,
is the credo he keeps murmuring to himself.
Before long, the otherwise rather taciturn Arano, played by Chihara Junia, finds himself caught in the crossfire of two rival gangs and, amid the chaos, befriends the club owner Kamijo, portrayed by Onimaru, as well as the outspoken skater Alice, brought to life by Rin Ozawa. Yet the fragile bonds he forms are quickly torn apart again by greed, revenge, and arrogance.
The film Pornostar, released in 1998, is the debut work of Japanese director Toshiaki Toyoda and can at least not claim one thing: to be normal. Somewhere between drama, thriller, and gangster film—and with a bucket of stage blood thrown in—a hint of a love story even begins to grow, all within the restless backdrop of a Tokyo on the brink of the new millennium.
Pornostar is full of blood, violence, and death. And yet all of this unfolds almost matter-of-factly, incidentally, and with such raw craftsmanship that one almost feels as if sitting in the same room, witnessing one human life after another being extinguished—only to end up back out on the street afterward with a cigarette in one’s mouth, blowing one’s hard-earned yen in the nearest arcade.
The film lacks sympathetic characters with whom one might identify. Arano’s motive for wanting to cleanse the world of the Yakuza can be sensed, but for the most part it remains hidden from the viewer. Kamijo’s fateful step into the clutches of the underworld happens just as casually as the final meeting with Alice, who, of all the characters, might have represented a possible way out for Arano and his dream of raining knives.
But perhaps it is precisely this narrative flaw that makes Pornostar so special. Perhaps one does not even want these people to find happiness. Why should they? They chose of their own free will to take part in this cruel game of the underworld. Perhaps they practically deserve Arano as an avenging angel. And perhaps he too, with the first murder, plunges himself into an abyss from which there can be no escape.
In fact, Pornostar reminded me of the film Love & Pop by Hideaki Anno, which was released the same year—without sharing any other similarity beyond the fact that both are set in the same city. Yet the raw, almost documentary-style filmmaking of both directors could be seen as two sides of the same coin. Only that one side is filled with misbehaving schoolgirls, and the other is… well… filled with blood.
Anyone who watches Pornostar expecting to feel satisfied, inspired, or even happy by the end is mistaken. The film takes no prisoners—quite the opposite. One might wish for one or another character to experience the Grand Summer of Love on Fiji and blissfully slide into the year 2000, but as the Bible already says: For all they that take the sword shall perish with the sword.
And in this heartless world, defying that sacred prophecy seems almost impossible.