Erotic Diary of a Lumberjack (1974), which, as is only to be expected of a movie with that title, has practically nothing to do with lumberjacks,
In the Sign of the Virgin (1973), which has nothing whatsoever to do with virgins,
The Living Ghost (1942), which, come to think of it, has nothing to do with ghosts– am I on a roll here, or what?
RoboCop 2 (1990), which breaks the streak by being about not only RoboCop, but another cyborg actually called RoboCop 2 as well,
The Sinful Dwarf (1974), which is exactly what it says on the package,
and…
Truck Stop (1978), which is an extremely revisionist adaptation of the Odyssey. No, really.
Nikkatsu described their brand of action films as “borderless”, which in part meant that, because of the great extent to which they were modeled upon American gangster and noir films, they did not exhibit a distinctly Japanese identity. However, there is, in fact, something very Japanese about Underworld Beauty. And that is how, with that uniquely Japanese eye for detail, it so expertly distills the noir sensibility to its very essence, cutting away any distracting nuances and reducing it to only the most potent elements of its visual iconography. In this sense – though perhaps out of different motivations – it bears some similarities to a far more well known film from the same year, Orson Welles’ Touch Of Evil. In taking the visual aspects of the noir style to their very limits, both Underworld Beauty and Touch of Evil make obvious fetishes of the deep chiaroscuro compositions, expressionistic plays of shadow, and off-balance camera angles that most previous noir filmmakers had simply used as individual elements of a more varied palette.
In 
In 
So when I discovered that Hare Rama Hare Krishna was less about the Krishnas themselves and more about the hippies who fluttered around the periphery of the religion, I wasn’t wholly surprised. It’s just that, for this round table, I really didn’t want to write about hippies. They’re the most obvious topic for a counter-culture round table. I’m not and have never been a hippie. I have very little I could add to the popular discourse on their counter-culture, what it was, and what it has become. I might have, at one time, found some satisfaction in making fun of hippies, but for reasons that may or may not be more clearly expressed later in this review, the fight has gone out of me in that regard.