The Lost Virgin (2002)

Director: Toshiki Sato

Also known As: Cuffs

Spread over three time periods (Summer 10 Years Ago/Summer 5 Years Ago/This Summer), Lost Virgin tells the tale of good-time girl Chisato (Sasaki), hungry for new experiences yet ultimately in search of emotional fulfilment.


Each scene begins with our perky heroine in the middle of a paid date arranged through a phone dating service. In the first she is still in school uniform, with her prospective partner slapping some handcuffs on her, telling her it is because "virgins go too wild the first time". Fortunately she manages to make her getaway from this ruffian, minus her shoes, and is rescued by classmate Takashi (Matsunaga), who takes her under his wing, removes her handcuffs, lends her his trainers and unceremoniously deflowers her in the dingy apartment where he lives apart from his parents. Coming back for more a few days later under the ruse of bringing back his shoes, Chisato bumps into Takashi's girlfriend, Hikari (Sakura). Hikari, a high school dropout from the same year as Chisato, recognises her and the two go out and get drunk together, returning later with Takashi to spend the night as his apartment.



Five years later, Chisato is now working as an Office Lady and cohabiting with a new boyfriend, but seems unable to give up tel-club dating. Egged on by her friend Mari (Saito), after a meeting for a session booth the two go on for a threesome in a love hotel with a man Mari has arranged to meet. A few days later a chance meeting with Hikari, who now is married to Takashi and with a young daughter, plunges Chisato into an emotional crisis.


Slight but sprightly, Lost Virgin takes all its best attributes from those of its lead actress, Nikki Sasaki, sister of Yumeka, here in her film debut. With her rasping, husky voice, her marvellous elastically expressive face and her wiry frame kitted out in baggy clothes one size too large, she simultaneously brings out the vulnerability and raw sensuality of her character, and is a joy to watch throughout.


Director Sato blends quirky comic sight gags with self-consciously exaggerated performances and a low-key charm, but here rather underplays the sex, with most scenes taking place in long-shot and under half-light. But like the work of Shinji Imaoka, who wrote the script for this one, the eroticism comes through by building an emotional rapport with its viewers, by putting interesting characters in realistic, believable situations as opposed to a more leering approach of using the plot solely to prop up the action set-pieces. It is no wonder that both directors are among the most popular with female pink fans in Japan, and the chances are that if you liked Lunchbox, you'll also be won over by this title.




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