Directed by: Daisuke Miura
Starring: Tori Matsuzaka, Sei Matobu, Ami Tomite, Kenta Izuka, Yuki Sakurai, Yu Koyanagi, Kokone Sasaki, Erica Mabuchi
The Film: ‘Call Boy’ is a tour de force of erotica that pushes the boundaries of cinematic expression on practically every level. One of those films that you have no idea how it got made, but are so glad it did.
There is a long tradition of pushing sexual boundaries in film and Japanese cinema is no stranger to the genre. From smaller works of artistic experimentation and freedom of expression created under an oppressive regime of censorship in the 60’s to larger studio-backed and more commercially successful productions of the 70’s, Japanese filmmakers have established a unique sophistication in their production of erotic cinema. Last year’s JIFF featured a few films from Nikkatsu Studio’s roman porno reboot project such as Antiporno (2017) and Dawn of the Felines (2017), which were shot following the studio’s old guidelines from the 70’s that called for an increased number of sex scenes in order to draw more viewers. In turn, studios granted directors more artistic freedom with their productions. It is very likely that the success of the roman porno reboot project helped to pave the way for higher production values in the highly sexual yet oddly refined Call Boy.
Ryo (Tori Matsuzaka) is an intelligent university student who finds attending class a waste of time, choosing to spend his nights working as a bartender instead. When Ryo tells his customer Shizuka (Sei Matobu), the boss of a high class host bar, that he finds women boring, and coupled with his mysteriously alluring demeanor, Shizuka is unnaturally drawn to him. With Shizuka knowing that if Ryo could somehow come to realize the complex nature of women’s desires, not only would his outlook towards women and sex change for the better, his potential for success in her industry would be limitless. So, Shizuka decides to give Ryo an opportunity to come work for her.
In Japan, a host bar has a working staff of men, all with unique looks and personalities that paying customers get to talk to and drink with. Often, long term or high-paying customers can actually take the men out on dates or possibly more. The opposite of this and more commonly seen would be the hostess bars staffed with women. The men and women working here are also typically ranked by their ‘expertise’ in customer satisfaction. Call Boy takes a close look at this lifestyle by focusing on Ryo’s life-changing lessons on sex and desire that he is exposed to while working as a male escort and rising through the ranks of a profession in which the pinnacle is seldom reached.
Ryo’s transformation relates to how he views women and sex. As for women, he finds them dull and a waste of time. Sexually pleasing one simply requires going through the same boring sequence of movements every time, like checking the boxes on a list. So After Shizuka sets up a live-session with her daughter, Sakura (Ami Tomite), for Ryo to showcase his supposed sex skills on, Shizuka’s low evaluation comes as a surprise to Ryo. Being told he lacks even a remote understanding of women’s desire and needs causes Ryo to set his sights on mastering the mysterious and diverse landscape of feminine desire. Starting from the bottom-tier classification of Shizuka’s escort service, Ryo embarks on a legendary climb to top-tier and one of her most profitable employees.
Ryo’s client calls take him through the various wards of Tokyo where he meets different women of varying ages and appearances, all of whom have their own special needs and fetishes. This gives the film an episodic like quality. Each encounter teaches Ryo something new about women and the different ways they find pleasure, with some of the more extreme cases including cuckoldry and urine fantasies. Even with the supporting cast appearing on screen in separate encounters, Call Boy still feels very much like an ensemble piece, as each of the fine actresses give a sincere and powerful performance as their respective client.
Lead actor Tori Matsuzaka was no stranger to the material after having performed in the stage play which was based on the original novel that Call Boy was adapted from. Matsuzaka’s dark aura and subtle expressions, along with his boyish good looks, help to give his character a deep complexity that help make his psychological evolution comparable to some of the richest character study films out there. But what makes Call Boy especially good is the go- for-broke performances from its amazing actresses. These women really give it their all in both their emotional and physical performances. Ami Tomite continues to impress as well and it was great to see her again this year after her unforgettable role in last year’s Antiporno.
Call Boy is an erotic drama film with a dozen or so sex scenes that leave almost nothing to the imagination. What most films would cut around in the build up and eventual portrayal of on screen sex, Call Boy makes an extra effort to include every step along the way, making for some graphic and prolonged sequences. What makes Call Boy unique in a genre that is typically regarded as low-brow is its level of sophistication surrounding the entire production. From its witty script and deep-rooted psychological themes laced with taboo, exquisite cinematography, and even its classy jazz soundtrack, everything about Call Boy radiates with artistry. All of this makes Call Boy something much more than purely exploitative cinema.
Call Boy is a unique piece of work that explores the mysteries of desire and the various forms it takes. Its Freudian approach may be a bit heavy-handed for those looking for lighter late-night fare, but for those who can handle the subject matter, buckle up because you’ll be in for a ride like no other. Call Boy pushes the limits of on-screen love making to the maximum that results in a powerful nowhere-to-hide assault on the senses. This, along with its intelligent script and full commitment from its actors, Call Boy is in a league of its own. 9/10 – a true tour de force of erotica.
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