With this review I wrap up the original Guinea Pig series with the final (produced) entry, Mermaid in a Manhole. With the notable exception of the “comedic” outlier, Devil Doctor Woman, the series so far has ranged from solid to very good and set a high standard for Extreme Cinema that is rarely equaled to this day. So, does the final film live up to the expectations set by it’s predecessors or does the series fall flat at the finish line? Well, let’s discuss.
Unlike many of the entries, this film has a very clear narrative structure and is actually the only one in the series to not use any kind of framing device for the main story. The story itself centers around an artist (Shigeru Saiki) who copes with the grief of his wife leaving him by going into the sewer and painting the filthy and decrepit things he sees. On one such trip he discovers a mermaid (Mari Somei) who has become trapped down there and brings her home to try and heal the festering sores on her stomach. Her condition rapidly grows worse however and as she becomes more and more disfigured by her ailment she begs the artist to paint her before she dies.
This film marks the return of Flower of Flesh and Blood director, Hideshi Hino, and it’s no coincidence that these two entries are not only the most brutal of the series, but also generally the most well regarded among fans. As good as FoFaB was though, it is refreshing to see Hino take a very different approach with this one rather than rehashing the same premise. Mermaid not only presents a very creative concept but also features surprisingly well developed characters and a genuinely tragic story, complete with an ambiguous twist ending that will make you question everything you saw leading up to it. Since the film is based upon a Manga that Hino himself created, it’s no surprise that the story is well fleshed out and uncompromising.
This film also takes a very interesting and unusual approach to body horror because rather than showing a man torturing a woman, it shows him spending most of the time trying to help her, but with no less grotesque results. In fact, I think a strong case could be made for this being the most gruesome, disturbing and difficult to watch of the entire series. There’s something about seeing someone writhe in agony as grotesque tumors riddle their body that is so much more disturbing than seeing them being tortured by a person. Of course, that’s just where the film starts and before long the artist is painting with her multi-colored pus, pulling live worms from her tumors and cleaning up piles of them from her bloody puke. It’s okay, you can go throw up, I’ll wait.
All these scenes are pulled off with the well-crafted, gruesome practical effects we’ve come to expect from the series, complete with copious amounts of actual, slimy, wriggling worms and bugs. As far as I’m concerned extreme films like this function as a kind of litmus test for those who claim to be fans of movies that are meant to horrify. In a world filled with art that is compromised and censored in the interest of “morality” and mass appeal, it’s always great to see the vision of an artist who doesn’t give the slightest fuck about how the audience will react to their work. Plus, it’s by far the most fucked up movie involving a mermaid that has ever been, or will be, created.