Assault! Jack the Ripper opens inside of a
From this point on, Assault! becomes a dearly departed exercise in psychopathic erotica. Exploring the sexual stimuli featured at the chronological beginning of Tetsuo: The Iron Man, Assault! takes no shortcuts to quenching this man's lust for sex & death. Soon he begins killing for an ulterior motive - hatred for women. After dealing with tubby yelling at him all day and dealing with her sexual needs, it seems he has discovered a new reason to kill; not to fuck but to purge - any and all women. His "cake blade" becomes a phallic extension of which he jams into his victims vaginae and becomes bewildered by this act of carnal retribution on his part. The best films to me are ones that can accept realities and while being fiction, stomping towards these taboos unwavering and that is exactly what Hasebe does. The soundtrack even boasts excellence as we are delightfully treated to a somber Oriental jazz funk that cloyingly humanizes his actions and escape. Should such a man exist with no consequential worries? Probably not but there really isn't a damn thing we can do about it. These evil, awful things happen in the world on a second basis and all we can really do is pray that our loved ones are not affected by the wrath's of the few.
Nearing the end of Assault!, something occurred to me. Not only is Hasebe's Assault! Jack the Ripper a transgressive film in which intimacy is unrivaled in death akin to Georges Bataille's Story of the Eye, but the lead killer's skill transcends bloodshed into something . . . unnameable. In one particular home invasion scene, he makes neat and passion-blazed slices in her pretty abdomen as the struggles and spins against the outside window. Blood trails fleeing from her silk skin, tracing images on the glass panes - Hasebe has turned death into art! Where the killer was once satisfying his hatred for women, now he is applying lacerations to their canvases in what can only be considered fluid performance art. Happiness can he found in even the darkest of places. Hasebe has created yet another excellent film concerning rape with no third party intrusion. Rather than a cops-and-robbers story of a man on the run, this film is strictly interpersonal for its characters and this is such a glorious piece of sleaze you can't help but to cry.