Certainly, it is nice to see a long tradition of cheaply made erotic films destined for the Japanese equivalent of the porn theatre industry being maintained through the decades, but would it be too much to ask of the directors that they make genuinely compelling movies?

"A Lonely Cow Weeps At Dawn" suffers from having little to offer beyond a little bare skin and an awesome central concept. After reading the liner notes by director Goto, one gets the idea that this is pretty much what the movie was intended to be: padding around lovely ladies and the deliciously perverse "pitch".

For those who haven't heard yet, this is the infamous pinku where a senile farmer somehow convinces himself that his daughter-in-law is his favorite cow--a situation encouraged by said daughter-in-law's continued portrayal of the cow, including barnyard scenes where one can see the naked girl "mooing" for the old geezer.

Miike fans be forewarned that this is where any and all resemblances to the prolific director's "Gozu" starts and ends.

Shot in the most pedestrian of styles and with the occasional clumsy flourish meant to dupe us into thinking that this might be more than just a mild skin flick, unlike its main female protagonist, "A Lonely Cow Weeps At Dawn" isn't fooling anyone.

A 29 year old widow named Noriko (Ryoko Asagi) lives with her senile father in law, Shukichi (Horyu Nakamura) on his farm. Shukichi believes that his favorite cow, recently deceased is still alive. Trying to keep him from further heartache, Noriko pretends to be his cow and lets him milk her--a satisfying arrangement for the both of them. However, Shukichi's daughter Mitsuko (Yumeka Sasaki) discovers the bizarre relationship and threatens to put an end to it.

Written and directed by Daisuke Goto, "A Lonely Cow Weeps at Dawn" is truly bizarre and honestly, a little disturbing. It uses the relationship between Noriko and her father in law to portray emotions and that feelings often sneak up when you least expect it. The film's narrative is quite simple and truth be told its message is very real. One may wonder as to why Noriko would subject herself to a humiliating position, but the film does make it abundantly clear. Hideo, Noriko's dead husband died at the same time as Shukichi's favorite cow. I suppose the two feel rather dependent on each other for comfort, and they feel alienated from others. Director Goto uses the "milking cow" metaphor to express the need for happiness and denial from hurtful truths.

Goto also incorporates a dose of a relationship that would be frowned upon--a doctor (Haruki Jo) is having sex with his nurse, Chiriko (Sakura Mizuki). The doctor is several years her senior and such a relationship will undoubtedly be frowned upon, but their blossoming relationship says a lot to people who should go with their heart and the hell with what people think. Shukichi and Noriko's relationship is much more complex, and no doubt be more condemned. People should just mind their own business I say.

This is a Japanese pink film and one wouldn't be hard-pressed to dismiss its narrative because of the truly graphic sex scenes. The sex scenes are gratuitous and the nudity is strong. The infamous hand over the female crotch area appears to be the signature of pink films and there are scenes of semi-penetration with almost full frontal nudity that are almost highly visible. All three actresses got to show their stuff and they did look like they were enjoying the scenes of vigorous sex. Those looking for pervy kicks won't be disappointed.

However, the acting by our two leads is quite strong. Ryoko Asagi looks very simple but she maintains that very erotic personality. Asagi was excellent in her portrayal as the "torned" widow of Shukichi's son Hideo. She manages to flesh out her character with a display of sadness and raw emotion even with the film's 58 minute run time. Horyu Nakamura is somewhat funny at times but at the same time a tad repulsive, I thought Goto was challenging us to feel pity for him. Yumeka Sasaki plays the daughter who is obviously all mixed up. She was raped by the land developer, Namamitsu (Hajime Seiji) which is why she left but she still agrees to have sex with him after many years. Quite an odd turning of events don't you think?

"A Lonely Cow Weeps at Dawn" is a different kind of art house cinema. It's easy to dismiss it as a sleazy skin flick and I think this would be the wrong approach to this film. The film does have some very human and compelling characters, even though they are a bit bizarre; one has to look past the very gratuitous sex scenes to appreciate its engaging narrative. The film's final act maybe easily misunderstood, but I thought it added a whole new level in emotional impact and an exercise in the proper morals--giving up your own happiness for someone's welfare. Sad, bizarre but truly bold in its execution, and while not a film for everyone, I did enjoy the film.

Recommended.

This movie seems the quintessential Pink flick, where the director is given free license to explore strange new territories as long as there is a sex scene thrown in periodically--certainly the plot line of this film could not get much stranger (well okay, maybe it could!), but it does offer a unique mix of sensitivity and sexuality that is unusual in the genre.

In the director's notes that are included in the extras [on the US DVD by Pink Eiga], the director states that he was basically looking for a vehicle for the film's (excellent) main male actor who plays the (sometimes) senile father-in-law who mistakes his (deceased) son's wife for his beloved (also deceased) cow Bessie. The plot has some pretty loose threads, but the concept holds up and culminates in a satisfying manner and it is hard to deny the strange eroticism of the imagery of the beautiful naked young woman kneeling along with the cows in the barn, contentedly mooing away while she is milked--gotta love the Japanese mind!