Friday, September 26, 2014

Yôko Nakajima: New Love in Tokyo

Yôko Nakajima in Ai no shinsekai ("New Love in Tokyo"; 1994)
I'm still spending all my online time in Pink-related activities these days. Besides the usual IMDb work (year 2000 and Pink Film Awards currently), the major project underway currently is identifying, categorizing and uploading that stash of 500 Roman Porno poster/still/VHS cover images I came across last week. As I've stated many times, I like the pink/Roman Porno films for their interesting film work, combined with the emphasis on the erotic, but most of the actresses are pretty dull-- the kind of thin girl that is generally held up as the non plus ultra of beauty. Once in a while there is a girl in one of these films who catches my eye, and, naturally, she is usually made an object of fun, rather than desire. One such lovely, neglected damsel is Yôko Nakajima (中島陽子), whom I came across in celebrated Pink auteur Banmei Takahashi's celebrated 1994 film Ai no shinsekai (English title: New Love in Tokyo).
Yôko Nakajima
Chubby, cutie Yôko-san was born June 1, 1967 in Saitama, stands a mere 153cm (5') tall, but tips the scales at 92kg (203 lbs). Her Yahoo profile says her interests are film and stage appreciation. As part of the preparation for this post, I have added what I could to her IMDb profile, including appearances in films which IMDb didn't have yet. Here is what appears to be her homepage at her talent agency, and it gives her quite a a respectable list of credits in stage, screen and TV.  Her filmography is pretty short, but she has appeared in some high-profile productions, with major director.
Yôko Nakajima
Yôko-san's first screen appearance seems to have been in one of Academy Award-winning Pink maestro Yôjirô Takita's early mainstream films, Yamai wa kikara: Byôin e ikô 2 (1992). In 1996, she appeared in major writer-director Jûzô Itami's penultimate film Sûpâ no onna. (Itami was the master-mind behind the huge international hit Tampopo, released in Japan in 1985).
Yôko Nakajima in Ikitai (1999)
In 1999 she had a bit part as a woman having trouble with scissors in Kaneto Shindô's Ikitai. Shindô gave Japanese cinema such classics as The Naked Island (1960), Onibaba (1964), and Kuroneko (1968). Ikitai is a late film in Shindô's career, giving us his take on the ubasute legend of abandoning the elderly to their death, which is common to Japan and Korea. Other directors who have treated this story include  two of my favorites: Japanese Shôhei Imamura in The Ballad of Narayama (1983), and Korean Kim Ki-young in Goryeojang (1963).
Yôko Nakajima in A Snake of June (2002)
Director Shin'ya Tsukamoto had Yôko-san in a nightmarishly Fellini-esque/Tin Drum-ish scene in his 2002 erotic thriller, A Snake of June.
Yôko Nakajima in A Snake of June (2002)
I saw and enjoyed this film a few years ago, but Yôko apparently didn't make an impression on me at this time, probably due to the eery imagery involved. Look at those legs though!
Sora Aoi and Yôko Nakajima in Enjo-kôsai bokumetsu undô: jigoku-hen (2004)
She doesn't seem to have acted in any true Pink films, but in 2004 she had a fairly large role alongside big-name AV/Pink stars Sora Aoi and Minami Aoyama in the Pink-style V-cinema, Enjo-kôsai bokumetsu undô: jigoku-hen (English: "Stop the Bitch Campaign 2: Picture of Hell").
Yôko Nakajima in Enjo-kôsai bokumetsu undô: jigoku-hen (2004)
This is an amusing little Pinkie-comedy in the style of Mototsugu Watanabe, whose films are kind of a throw-back to American/British nudie-cuties of the late '50s, early '60s, The Immoral Mr. Teas era, which were in turn throwbacks to the classic naughty comedic form of burlesque. This one gives us the chance to see darling Yôko in the role of Totoko, a prostitute who acts as a female sumo wrestler.
Yôko Nakajima in Enjo-kôsai bokumetsu undô: jigoku-hen (2004)
In contrast to the loveable, sweet character she displays in the more realistic film, New Love in Tokyo, she is in cartoonish, aggressive, attack-mode here... and I love it! As befits the film, her acting is over-the-top, and she is quite funny. Unfortunately, she doesn't perform any nude scenes, but who of us here wouldn't want to be splattered by that marauding mass of feminine pulchritude?! Another profile indicates that she's still working, having most recently appeared in Ashita, mama ga inai# 8 (明日、ママがいない #8) in March 2014. Her agency's mainpage says she's scheduled to appear in director Yû Irie's Hibi Rock (日々ロック) to be released November 22, 2014.
Yôko Nakajima in Ai no shinsekai ("New Love in Tokyo"; 1994)
But back to the main film under consideration tonight-- New Love in Tokyo (1994). Based on the photobook of the same name by photographer Nobuyoshi Araki, this is purported to be the first Japanese mainstream film to show full frontal (female, non-sexual) nudity. Yôko-chan, unfortunately, is not involved in that nudity. She plays the role of chubby girl "Sakura", the one sexless member of the crew/cast of a theater troupe. The script does at least give her a chubby boyfriend, to show she is desirable... if only to one of her own "kind".
Yôko Nakajima
Look at that pretty face, those thick legs and that big, full chest-- I'd much rather see her in the main role than skinny Sawa Suzuki, who won all kinds of awards for this film. Though she has a fairly extensive role in the film, I see Yôko-chan is not even in IMDb's cast listing for the film. This oversight will soon be corrected, I assure you.
Yôko and her beau in Ai no shinsekai ("New Love in Tokyo"; 1994)
This is a mainstream production from Toei, but the film is basically a feature-length Pink film with high production values. Like Pink, it gives the audience a steady variety of sexual scenes covering numerous deviated preversions-- some of these scenes even more explicit than in many Pink films. To give these sex scenes a raison d'être, and to justify the use of Araki's nude photography, it tells a story of sex-industry workers. I don't mean this as a put-down, because it is a very good movie.
Yôko poolside, in Ai no shinsekai ("New Love in Tokyo"; 1994)
One of the crew suggests that Yôko perform in the erotic posing, and I suppose we're supposed to think that's funny and snicker at the embarrassed Yôko, who bashfully refuses to respond. But I was hoping that this might come true, even if it was for laughs. Unfortunately the suggestion was not followed up on.
Yôko (L) and film's star, Sawa Suzuki (R) in Ai no shinsekai ("New Love in Tokyo"; 1994)
We do get a swimming-suit scene though, which is quite nice for us fans of the fuller figure. Look above. If you prefer the film's star (to the right) over Yôko-chan (on the left), you just may be at the wrong blog! The men in the film, of course, all drool over the skinny girl, and gorgeous Yôko-chan is just the subject of fat-jokes.
Yôko carries her boyfriend home in the conclusion of Ai no shinsekai ("New Love in Tokyo"; 1994)
The film concludes with a big celebration with a lot of dancing and drinking. In the last scene, dear Yôko shows one more advantage to having a big, solidly-built girlfriend if you're a drinker!

Wednesday, September 17, 2014

More Miyabi: ICD-259

Several things have kept me from posting here for a while.
First: Real life.
Second: When I've been online, I've been working hard on finishing the Cowie World filmography, 1967 Pink film entries. I almost finished last night-- three more to go-- and then I will go on to... Cowie World filmography, 1968. Unfortunately-- or fortunately, for my free time-- the 1968 volume does not have as complete listings for the Pinkies, and no plots at all. That will cut down on the keyword hunting.
Third: I've been continuing with submitting Pink film entries for 2000, but this is going much slower than 1999, which I ripped through in record time. Still, I'm plugging away at it, and am into May. After that, 2001 and 2002 will be the end of this multi-year project.
Fourth: In the midst of this IMDb work, I found a treasure trove of about 500 excellent Nikkatsu Roman Porno poster, VHS and still images, so I had to take a day out to download and identify them. I already have poor-quality versions of most of these posters, so I will replace them in my blogs, and re-link the IMDb citations to them. I may do this before jumping into the 1968 project.
Miyabi Hayama in ICD-259
Fifth: I have finally made good on my threat to start writing plot outlines, synopses and reviews at IMDb. My first one was for Kôji Wakamatsu's Violence Without a Cause (1969) for which I wrote Plot Summary, Storyline and started a full Synopsis I followed that with my first review This turned out to be a learning experience: For one, I learned that linking doesn't work within reviews. For another, I learned that correcting any error in a review takes forever... literally so far, since I submitted corrections and re-writings last week, and it still hasn't gone through.
A couple days later I watched Hisayasu Satô's recent non-pink Love & Loathing & Lulu & Ayano (2010) (which deals with the AV industry anyway) and wrote a plot summary and review. Again, there is an obvious typo in this one ("infant terrible" instead of "enfant terrible"), but the IMDb system won't allow me to correct it. I'd have to delete it and re-submit, and I don't know if it's worth the effort. Anyway, these two tests have been kind of fun and relatively successful (I'll just have to check more thoroughly before posting from now on. Essentially, in my experience, you can post only once and not edit your review once it's out there.) I'd like to jump into this full time, soon, doing reviews and plot summaries for the BBW AVs as well.
Miyabi Hayama in ICD-259
 ...and finally, Sixth: All the Japanese BBW studios seem to be in a slump lately. I haven't had time to devote for a full DVD review-- which takes up a whole day of online time-- and nothing really exciting has been announced from the DVD studios for a while to inspire me to post here. BomBom Ojisan has a decent-looking one with  BOMX-080. But the others seem to be drifting to skinny girls... And then... out of the blue, IZM has made a great announcement! And this leads us to the subject of tonight's post:
Miyabi Hayama in ICD-259
The one, the only, the glamorous, the glorious Miyabi Hayama has blessed us with another post-retirement DVD. Titled Shinise ryokan no bakunyû okami (ICD-259), it has been announced so recently that IZM doesn't even have its sample video clip up on its site yet. (Once it does, it should be at this link.) There is a gallery of images here, which hints that this is going to be a great DVD!
ICD-259
And that's about all I have time for tonight-- I want to finish those last three Pink films of 1967 before turning in.

Sunday, August 31, 2014

1967 Fever

That peek back to the bureaucracy-friendly, information-hostile Hell that is Wikipedia has really re-ignited my enthusiasm for contributing to IMDb. This week I finished the submissions of Pink films released in 1999 in record time, then submitted the Pink Film Award information for 1997-2000. I also gathered and began translating the credits for the Pink films of 2000. (Note that there are currently 104 titles in the 1999 link, and only 8 in the 2000 link. 2000 is about to be beefed up!) Now that it's the weekend, I've gone back to the early era of Pink that I love so much. I'm feverishly submitting info on Pink films released in 1967. So, the bad news is, I don't want to stop and take time out to do a BBW JAV review tonight. The good news is: I've whipped up a trip down mammary lane with some of the naughty beauties of five decades ago. Remember that Japanese actresses were generally thin and flat-chested at the time, so, even if these ladies don't compare to today's BBW standards, they might have qualified for Boobpedia-level buxomicity in their own day. It's all relative. But, without further ado, let's mentally put ourselves back in that day. Pour yourself a scotch on the rocks, sit back, and take a trip with me through the fascinating, mysterious world of the early, pre-JAV days of Japanese erotic entertainment: The Eroduction.
Japan's first Porn starlet: Tamaki Katori
First we must tip our hats to honor the grandest of grande dames in the history of Japanese erotic entertainment industry: Tamaki Katori. As star of Flesh Market (1962), officially the first Pink film, she was, officially, Japan's first porn star. "Porn" here is soft. Very soft. But from little acorns mighty oaks grow. Katori was still in prolific mid-career in 1967, appearing in a very high percentage of the films I've been working on. Her career total supposedly comes to 600 films!
Nami Katsura
Nami Katsura was a lovely lady who graced Pinkies from about 1965 until 1969. Though, oddly, I haven't yet come across a film she acted in in 1967 (JMDb lists one, but it's not at IMDb yet, nor in any of my other sources). [note 2014/09/15: Almost finished with 1967, I thought I found one she was in, but as I added her to the cast of Biyaku no wana, I found out it was actually released in November 1966.]
Nami Katsura
And Nami-san takes her hat off to her audience here. The Weisser book says that Ms. Katsura specialized in the S&M genre, which I can watch, but is not really my cup of tea. In this picture Ms. Katsura bares the ample assets for which she's been on my radar for quite some time. Cleavage like that was worth its weight in gold in Japan in the mid '60s.
Miki Hayashi
Miki Hayashi appears in a lot of the 1967 Pink films I've been inputting these days. She had been in the business since at least 1965 and continued working up til 1973, by which time, like many early indie pink stars, she had joined big studio Nikkatsu. In 1967, she was one of the many nurses massacred in Kôji Wakamatsu's celebrated Pinky-violent masterpiece Violated Angels.
Setsu Shimizu in Seijin Eiga #17, May 1967
Seijin Eiga (成人映画) "Adult Films" was the main journal attempting to seriously cover the new adult film genre in the '60s. Edited, surprisingly, by a woman-- Nobuko Kawashima, it was published monthly by Gendai Kôbô (現代工房) from 1965 to 1973. Here we see Setsu Shimizu, another of the more prolific starlets of 1967, decorating the pages of Seijin Eiga. The Weissers claim that Setsu-san only had two character types: The innocent school girl, or the ball-busting modern girl. 1967 was a big year for her. Having played supporting roles since 1965, she had her break-out role in 1967 in Shin'ya Yamamoto's Onna no seme, leading to starring roles in such films as Kôji Seki's Hentaima (1967), Japan's first 3-D sex film. 
Noriko Tatsumi
Noriko Tatsumi debuted in 1966 and stayed in front of the camera until 1971. She is recognized as the first major Queen of the Pink film. Her mark on world cinema was assured in 1967 when she starred in Atsumi Yamatoya's wacky cult classic Dutch Wife in the Desert.
Noriko Tatsumi
Yamatoya's film, unfortunately, is difficult to find these days, at least outside of Japan. However Noriko Tatsumi can be seen in the titular role in Pink master Mamoru Watanabe's Slave Widow (1967), one of the earliest and best Pink films widely available to English-speaking audiences, thanks to the 2008 DVD release by Cinema Epoch. Watanabe passed away in December last year, and this year was given a posthumous Pink Film Award in recognition of his career.
Naomi Tani early in her career
Also appearing in Slave Widow--in a minor role-- was future super-star, Naomi Tani. 1967 was the year of her debut, and her popularity can be gauged from the fact that IMDb has her listed in seventeen films for that year so far, and I'm not even done yet! Like Setsu Shimizu above, Tani was also featured in the May 1967 issue of Seijin Eiga magazine, as well as June and November of that year, if not more.
Naomi Tani in American Playboy, 1968
By 1968 she was well-known enough in the independent Pink genre to represent the Girls of Japan in a pictorial essay of that name for American Playboy. She would assure her cinematic immortality in Nikkatsu's S&M-themed Roman Porno films of the '70s, starting with the just-OK Flower and Snake, immediately followed by the genre-defining blockbuster Wife to Be Sacrificed, both released in 1974. But a decade earlier, 1967 was a year of major significance both in the career of Ms. Tani, and in the still new field of Japanese pornographic cinema: the Eroduction or Pink film.

Sunday, August 24, 2014

Debukawa 5: A Pocha-Pocha-Valentine

Once again I'm too busy to devote much time to this blog. Work has been extra-busy, plus IMDb has progressed rapidly: I finished 1999 and started collecting the data for 2000 today. So I'll have to do a quickie-post here tonight.
Two recent discoveries at Youtube-- both from "TomoNews"-- have inspired me to take another look at the "Debukawa Night" phenomenon. There was a fifth Debukawa Night held on February 15 this year at Loft. The theme was "Pocha Pocha Valentine" (ぽちゃぽちゃバレンタイン).
Yui Igarashi and Shokora Minami
The first video, entitled "The giant 220 lbs adult video stars of Japan: The next big thing", makes passing referenct to a recent BBW event which may be Debukawa Night.
Above, one of our big girls-- Iori Kuroki maybe?-- flips some poor slob who tries to get fresh with her on stage.
And the other video, titled "Portly beauty pageant: 220+ lb obese women compete for title in Japan", is definitely about the event, though I'm not completely sure which one it is about-- Debukawa 4 or 5.
Cha-cha Chan gives the event two thumbs up!
It includes an interview with a chubby Chinese lady whose name sounds something like "Cha-cha Chan". She approves of the event, saying that it gives larger ladies inspiration to take care of their appearance, since they are seen as attractive too.
Everybody's favorite cosplayer, LUU.
It's becoming increasingly difficult, when researching these events, to tell which images and information refer to which of the events. For the record, here are links to official "Debukawa blog" reports on the first (February 10, 2011), second (October 27, 2012), third (April 2013), and fourth (October 12, 2013) Debukawa nights.
Above, a BBW dances while a guy goes through a serious of hilarious facial reactions.

Here are a few blog entries covering the event:
* http://wiltrud.blog91.fc2.com/blog-entry-663.html
* http://wiltrud.blog91.fc2.com/blog-entry-664.html
* http://ameblo.jp/daybooks/entry-11772139955.html
* http://plaza.rakuten.co.jp/debukawanight/
* http://plaza.rakuten.co.jp/debukawanight/diary/201403240000/
* http://ameblo.jp/debukawa-night/entry-11794686911.html

And since we're on the subject of Youtube videos, among others of interest I've found recently is this clip of Rose Aoyama I don't think I've ever seen before: "lovely asian chubby girl 3".

Sunday, August 17, 2014

Miyabi, Yui & Erisa: ICD-239

Video

ICD-239

Tonight we have a highly-anticipated item up for review. For some reason, activity from the major Japanese busty/BBW producers has gone into a bit of a slump in the past couple months, with no really exciting new releases to announce here. For tonight's DVD review, we go back to late last year when Japanese BBW fandom was rejoicing over return from retirement of BBW icon Miyabi Hayama. At the time, director Ryudai had the brilliant idea of tag-teaming her with two other hefty honeys, Yui Igarashi and Erisa Natsumi, in the feature presentation, Killer Boobs Triple Huge Tits (ICD-238).
Triple Trouble!
We first made note of this fine IZM production ten days after it hit the market with a resounding boom! on December 20, 2013. We noted its coming release in a post on December 30. IZM provided sample video clip and sample images at the time. It runs a full two hours and 15 minutes, followed by a good sampling of previews.

Content (Warning: Spoilers!)

The ladies admire the manly man doing his manly work
The video starts out with a repairman doing a difficult, specialized, home-improvement job for two deliciously plump young ladies. Yui is a bit blasé, but Miyabi looks resplendent, admiring and lusting after this he-man doing his mysterious, highly complex construction work far, far beyond the powers of mere woman: Replacing a light bulb. (I'm joking, of course, ladies!)
"Oh dear! How did that get in there?!"
After he presents them with the bill for his services, Yui-san notices a rather large bulge in the gent's trousers... and it's not the bulge you would think normal for a red-blooded guy to sport in the presence of these two gorgeous specimens of womanhood. No, it seems the scoundrel has pocketed one of the ladies' brassieres as a trophy! And bras that big don't come cheap in Japan!
"Oh, you like boobs, do yah?!"
They make him sit down between them for a discussion of this incident. Yui-san verifies that it is indeed one of her 149cm Q-cuppers. The thief's profuse apologies, and repetitions of sumimasen! sumimasen! do not satisfy the ladies. They begin crowding him menacingly, threatening to smother him with too much of a good thing.
A second bulge is discovered
By now another bulge in the criminal's pants indicates that rather than being reformed by this punishment, the reprobate is actually enjoying it! The nerve!!! This guy's bound to become a repeat offender, a recidivist if ever I've seen one! The ladies decide to take the punishment up a notch.
Yui-chan sits on him, restraining him while Miyabi-chan whips out the big guns the better to smother him with.
Miyabi-san enjoying her work, as always
Deciding that it's cruel and unusual to punish him still in his hot uniform, Miyabi-san mercifully disrobes him before taking over the job of sitting on him.
Yui then unholsters her own deadly weapons to add to the arsenal.These four mighty bludgeons work the criminal over to the full extent of the law.
While being smothered, the victim struggles for breath, making continuous boob-farting sounds. Rather than inspire mercy from his punishers, this only amuses them, and spurs them on to discipline him with even more vigorous boob-crushing.
Miyabi on the face, Yui behind her
But just one of these husky lasses on him is not severe enough punishment for the crime of bra-snatching. Both pile on next. Miyabi-san takes face-sitting duty while Yui-san crushes on his chest and crotch.
Switch positions!
Then, to make sure the job is done in a thoroughly balanced manner, they reverse positions. The offender is just lucky that gassing is not used for capital punishment in Japan...
Poeetic justice
Plastic wrap comes out next, with which Miyabi binds the miscreant's arms and legs. Believers in fitting the punishment to the crime, the ladies wrap their two bras around his head, securing them with the plastic wrap as a smothering device.  The ladies leave him alone in this state while they step out to freshen up.
Freshened up, and ready to relax with a book
Miyabi-san comes back, newly attired in a stunning negligee-- one gets the feeling we missed a shower scene, and a clothes-changing here! She un-bras his face, then lies down on him to do a little reading. Her reading material of choice turns out to be Bachelor magazine-- a fine publication featuring lots of big-boobed ladies!
"We've lost him! He's in there somewhere!"
Yui comes in and joins Miyabi in punishing their victim with more boobs to the face. They take his pants off with their feet and give his enraged member the foot treatment while continuing to smother him with their motherly attributes. Pixels become a bit of a problem here, but only for a short while, because they quickly finish him of, then just get up and leave. And that's the abrupt, and rather unsatisfying conclusion of the first chapter.
Pause to think about the first chapter
This first 48-minute segment has started the video off nearly perfectly in my book-- The ladies are gorgeous, and the video gives us playful, humorous nudity with just enough plot/set-up to give the proceedings some context, while not overwhelming the action with something of Dostoyevskian complexity. (I pause here for you to finish reading that hyperlink...) The camera-work is just a little over-active for my tastes, and the inevitable distorting lens is used, but not too severely. Still Ryudai gives us plenty of scenic shots of the ladies in action-- more than enough to cancel out these minor complaints.
Q-cup (left) vs. M-cup... compare and contrast, please...
From here we move on to the subject of lesbianism. First we have a scene of these two mammalian megatrons massaging each others boobs. Oil comes out to assist with the slipping and sliding. Unfortunately, there is no set up, no middle-act, and no pay-off. It's just boob play. But boob play is fine, so I reserve my complaints.
Miyabi knows boobs
This whole section is just an abstract sex scene. We get a good variety of huge boob play from two ladies who certainly know how to handle huge boobs. Nothing more, nothing less. It's all well shot, with no distracting music, but also with nothing giving the activities any context, as in the previous scene.
Playing hide the dildo
Next our maidenly mammoths have somehow, suddenly, inexplicably procured a double-headed dildo, which they alternately suck, then rub between their boobs. Why not show the transition to this act? I often enjoy watching the lady moving, nonchalantly getting ready for the next big activity as much as I enjoy watching the main event itself... but again, the view is splendid, so I'm not complaining...
Dildo completely hidden now
The chapter concludes with the two busty babes pleasuring each other on the floor, apparently with the dildo co-inserted. We can only guess that this is the case, since the scene has just cut to them coupled up on the floor. We then immediately cut away to the next scene without seeing a climax.
Yui likewise knows just how to handle a pair of big boobs
As I've pointed out above, there are several jump-cuts in this section, for no apparent reason, and this is starting to become annoying. The girls are just suddenly in a different position. Miyabi sucking Yui's boobs. CUT. Yui sucking Miyabi's boobs. CUT. They're lying on the floor sucking each others' boobs. CUT. They're standing rubbing a dildo between each others boobs. CUT. They're on the floor again... I don't see any reason not to show the position changes. Besides harming any continuity in the scene, it robs us of the chance to see the ladies moving into another position, which is pleasing viewing in itself.
Erisa appears!
The next chapter introduces us to the third BBW lovely, Erisa Natsumi. She warms up for her performance by massaging her boobs in the viewers' face. Miyabi and Yui follow up massaging their boobs to the camera before the main event of the section.
Releeeese the Krakens!!!
This turns out to be the titanic trio rubbing their boobs on a guy, apropos of nothing. More jump-cutting mars continuity here too.
Damn! We're in a tight spot!
The old boob forest routine is performed by our titular trio of titans, and a fine performance it is too. The sheer acreage of boob flesh that surrounds this guy is awe-inspiring.
The only sex scene in the video!
The guy gets the brilliant idea of actually having some intercourse with one of the gals. Jump-cut to Yui-san on her back, getting a good rogering, with her big old booby-bags flopping around on her chest. Erisa and Miyabi attempt to distract him with their boobs to his face.
A missed opportunity
CUT. Now Miyabi is performing a nice and floppy doggy-style while Yui and Erisa do the boob-to-the-face work. This scene is generally shot too close. We get boobs or faces, and rarely the two together. But here I have a real complaint. Look at the image above. Just a little bit of planning and framing could have made this a heavenly shot-- Frame it right, leave the camera still and let us watch Miyabi's boobs flouncing about gloriously during the doggy style, in foreground, with the other four boobs in the face in the background. Instead we get roving camera with a few nice images by chance, and nothing really satisfying.
Erisa (center), we hardly knew ye...
Thus endeth the penultimate chapter. Exeunt Erisa-chan, too quickly, since she's a good match for the other two ladies.
Yui in the driver's seat
The fourth and final chapter gives us Miyabi and Yui on one guy again. This time they sneak in on a guy who is asleep in bed. Neither girl is especially known for her bouncing prowess, but this view-- spectacular though it is-- could certainly have benefited from a little more athleticism on the part of Yui-chan. That huge rack of her abounce would be a glorious sight to behold indeed. Instead she does a slow rock & roll which is not at all unpleasant to witness, but still, we get the feeling that this is another missed opportunity, this time attributable to the actress, not the director.
Miyabi takes over
And speaking of missed opportunities, another sudden jump-cut deprives us of the chance to see the two lovely ladies trading place. Now Miyabi-san is in bounce position. While she doesn't really set her boobs free to actually bounce and flop around, she is a bit more mobile and enthusiastic than Yui-san was when in the driver's seat.
That's the end!
And, having satisfied our sleeper, the two chubby cherubim cheerfully jiggle off screen.

Discussion

Should I run afoul of the law, THIS is the punishment I choose!
The first section of the video promised a little bit of thought and planning which was not followed through by the rest of the video. Even the first scene, after an interesting set-up, and some amusing chit-chat and a logical progression in scenes, just cuts off without an ending. This first section is 48 minutes, making it an acceptable length for an early AV (Mariko Morikawa's 1995 Nihon ichi dekapai joko kosei: Morikawa Mariko-- recently added to IMDb-- was 45 minutes, for example, though most of her releases of that era are 60 minutes.) If this had been the case, and with a proper ending, I'd have given the video a very high rating-- 8 or 9 stars.
Big boob ladies reading some fine big boob literature
As it stands though, as a modern two-hour-plus DVD, the following parts bring it down just slightly. The last hour and a half is not bad AV production, just run-of-the-mill work with nothing extra or inspired to give it a little boost beyond a simple BBW-worship video. The setting gets a little monotonous, all taking place in one room-- no shower breaks, no clothes-changing, nothing to break up the BBW-crushing action...
Two jolly ladies having fun, a joy to behold
Just a little planning or editing would have made the other chapters much better, I think, and improved the impression of the whole video. Setting the last sequence-- in which Yui and Miyabi molest a guy in his sleep-- as a dream sequence, maybe, with the guy waking up and these beautiful big-boobed babes vanishing into the air like nocturnal hallucinations... Or casting them as a pair of extremely succulent succubi, draining the guy's sexual energy during his slumber... Just something simple like that to add a slight narrative dimension could have made it a little cute and humorous like the first chapter, without taking away from the ogling of female flesh which is the main purpose of the video.
Our trio assembled: Left to right: Yui, Erisa and Miyabi
By giving all three BBW beauties equal billing-- a total of 434cm of bouncing boobery between the trio-- the advertising and video cover are slightly misleading. Actually it's mainly a duet between Yui and Miyabi.  Erisa is in the video for only 25 minutes of the video's two & a quarter hour running time. All three ladies are absolutely gorgeous, and it's hard for me to rank them one above the other. But I suppose the two I like best would be Yui and Miyabi, so I didn't feel really cheated by this, just a little puzzled... "Where's Erisa?"
Two mighty combatants, evenly matched!

Opinion

Models: The two main actresses-- Yui Igarashi and Miyabi Hayama-- are absolute top-notch Japanese BBW models, and we see them here in all their glory. I have no complaints about them at all. Erisa is almost up to the same level as the other two, and the three make a stunning trio during the 25 minutes in which she joins the action.
Video: Starts out on a high point with, by far, the most amusing and well-executed segment of the video. From there it descends to run-of-the-mill AV shenanigans with little context or continuity. Could have been an 8 or 9 if the quality of the first segment had held up. As it is, I give it a respectable 7 stars out of 10.

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