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DIRECTED BY: Noboru Iguchi
FEATURING: Aya Kiguchi, Hitomi Hasebe, Takumi Saito
PLOT: A pair of geisha sisters are abducted by an executive of an evil arms corporation, who plays on their sisterly rivalry to turn them into cyborg killing machines.
COMMENTS: In 2008, Noboru Iguchi made a movie called The Machine Girl about a Japanese schoolgirl who installs a Gatling gun in her arm and goes on a murderous rampage of revenge. A year later, he came out with RoboGeisha, which is totally different. This one is about two geishas who install Gatling guns in their breasts and go on a murderous rampage of revenge.
There are other major differences between the two flicks, of course. RoboGeisha takes a (slightly) more serious stab at a plot than Machine Girl‘s bog-standard revenge template. It features two sisters with an unexpectedly complex love/hate dynamic (“sisters are… complicated,” says one, after the other appears to have been blown up during an assassination). Their relationship even comes with a minor twist at the end. RoboGeisha also favors comedy over the nonstop action and gore that marked Machine Girl. RoboGeisha‘s budget seems to be lower than its sister’s; nearly all of the special effects are rendered in CGI rather than through practical effects. The ludicrous sparkly gunshot effects from Machine Girl are carried over, but the sudden reliance on digitized blood spatters is especially disconcerting. The computerization sort of wastes the talents of special effects director Yoshihiro Nishimura, who’s at his best when building prosthetic limbs for Iguchi to lop off and hooking up hoses full of red karo syrup for him to direct onto the faces of his long-suffering actors and actresses.
I personally think that the tweaks Iguchi made to the formula result in an improved product. Many disagree. Gorehounds, in particular, may be disappointed by the paucity of severed heads and the bare trickle of scarlet bursting from neck-holes. And many complain that the focus on plot at the expense of action slows down the nonsense. To me, however, the relative restraint in the violence allows the movie to focus on the absurdity that is what I treasure in this trash. Acid breast milk, a folk protest song, fried shrimp eye-gouging, brain-caressing, and bleeding buildings are among the bizarro attractions to be found in this sleazy funhouse. And this is a movie that doesn’t simply posit the existence of cybernetic butt-swords; it explicitly demonstrates how awkward a duel would be when the contestants have to crane their necks over their shoulders and backpedal into each to parry and thrust (while muttering, “how embarrassing”). That’s the kind of attention to detail Western B-movies tend to gloss over.
As was often the case with Japanese B-movies of this ilk and period, the DVD release contains a bonus “spin-off” short utilizing leftover sets, costumes and concepts. This one is called “GeishaCop: Fearsome Geisha Cops – Go to Hell” and is partly centered around a plot device requiring girl-on-girl kissing. It includes a scene where members of the geisha army, still incognito as Kageno Steel Manufacturing workers, drink the blood of male captives during their lunch break, leading the protagonist to declare, with what some might view as understatement: “Something about this is strange. This is one twisted office.”
Unfortunately, the DVD is out of print in North America, and the available VOD version does not include the short, and offers only the English-dubbed version, to boot. It’s still worth a look if you like this genre.
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