White Rose Campus: Then Everybody Gets Raped

Beauty has certainly proven to be more curse than gift. From crashing conflict to physical desecration, attraction handles disasters like a magnet, flooding with shit until you're immobilized. This hex of social-accepted beauty and the veins leading to such lands a bus full of giddy high school ladies prepping to be hijacked by three crazed rapists. But the pipe dream of eternal pussy isn't clear of ulterior motives as there is a conflict of physical interest amok. In short, to be beautiful never seems to be worth it other than possessive desires. Clocking in at only 66 minutes is this 80s pink film coming from the reigning Nikkatsu corporation. To be honest, this was a hard sell at first. I tried enjoying the tearing of shirts and the rough foreplay but White Rose Campus just wasn't quite doing anything for me or the genre. I gradually grew tired of the lard whose fetish is apparently menstruation. His crowning of comedic vessel seemed all too abrupt, this molestation slapstick had wore thin once it started and it seemed to be a hopeless situation, enjoying the film.

Utilizing the optical blurring, Then Everybody Gets Raped is one of the few pinku eiga films that I can recall the blurring. It's been common to degrade and violate but rare seems full penetration. Then again, I've been out of the Roman porno phase for several months now, returning on a whim and promise of an exploitive journey of over-the-top sodomy. While the women were selected for future endeavors, the lard makes the effort to halt the bus and forcibly remove any girls deemed "ugly", many of which were among the prettier of the ladyfolk. This twist of conventional rape thrusts a setting other than the bus unto us and provides quite a great deal of relief. It's not claustrophobia, it's just derivative. Once a pair of fashionable truck drivers collect the stranded girls, they're then told news of the hijacking and offer to kick their ass. Thus begins the chase between the uglies and the pretties. An added subplot involves the spoiling of the teacher whom turned down the romantic offer of her boyfriend to elope. Look where her selfishness got her, not that she or it matters though. All these characters, correction, women, have a mindset built for rape. It's not a defensive instinct but more of an offensive.

The problem I suffered with Then Everybody Gets Raped is my expectations of this particular genre got caught in a cycle which forced me to expect the poetic textures of Hasebe or Wakamatsu. These two artists molded the rapescape for me, turned violence into beauty and altered not only my cinematic tastes, but the way I handle sensuality and the successful relationship I am currently in. Early in the film, I was convinced that Then Everybody Gets Raped was one of the worst offenders of violent pinku that I had seen in recent memory. As the film played out, what was once juvenile became genuine and what was three males vying to get off became a plot of depth, no matter how utilized the device has been in past. I didn't anticipate cinematic prose but as the film blossomed, I noticed that while it isn't artistic, it is groundbreaking in the sense of masculine injustice. For an added bonus, the final rape of Yoko unearths the deep psychology of sex and spites the possibility of an instinctual affair existing after all. As a completed package, Then Everybody Gets Raped toggles from inane to brilliant. Such authoritative power lies in the attitudes and reactions of the women, who start their journey with fear and end it with lust. The concluding twist of the truck drivers seals this pinku eiga film and its perilous adventure as an undoubted classic of the genre. There's no last house on any street, Nikkatsu brings the sodomy in a loaded bus.

-mAQ