conqueror." He further points out that Wakamatsu often puts moments in his films which appear to criticize the standard misogynistic tone of the Pink film genre. At one point in Go, Go, Second Time Virgin, Wakamatsu has Poppo look directly into the camera and address no character in the film, but the theatrical audience, saying, "My mother was gang raped, and then she gave birth to me. Are the tears we two shed when raped, the tears women shed? What tears? What sadness? I am not a woman. I’m not sad, not sad at all. I don’t cry. I’m never sad. I…I’m not at all sad…..FUCK YOU..FUCK YOU." Patrick Macias says that writer Masao Adachi, along with Wakamatsu, is responsible for much of Go, Go, Second Time Virgins thematic, political and stylistic concerns. According to Macias, this film, like other Wakamatsu films of the time, "combined, in still unique manner, disjunctive New Wave style, existentialist dread, sex, sadism, and gore, all on a ridiculously shoestring budget." David Desser compares the double-suicide with which the film concludes to the shinjū (lover's suicide) in traditional Japanese theatrical forms such as bunraku and kabuki. He contrasts Poppo and Tsukio's nonchalant suicides with the michiyuki—the dramatic, poetic final walk of the lovers—in the traditional theater. Desser also points out the interesting use of music in the film. At one point, Tsukio sings a song to his mother. American standards like Gershwin's "Summertime," and the traditional spiritual "Sometimes I Feel Like a Motherless Child" as well as Patty Waters' avant-garde jazz arrangement of "Black Is The Color Of My True Love's Hair" are heard on the soundtrack. The psychoanalytic film-critic/theorist Pieter-Jan Van Haecke, sees the roof as "a metaphor for the societal plane – a symbolic place that, with respect to dealing with youthful traumatized subjects, is but a failure". He argues that it is only by this metaphor that Go, Go second Time Virgin is able to become a societal critique on the very fact that Japanese society fails to help traumatized subjects find a less destructive way in life. Critical reception Though long relatively unknown outside Japan, Kōji Wakamatsu has been called "the most important director to emerge in the pink film genre," and one of "Japan's leading directors of the 1960s." Go, Go, Second Time Virgin is one of Wakamatsu's best-known films, but discussion of it in English has been hampered by