Marina SiraisiI lived with my husband and mother-in-law for years until she passed away. We were living happily until a man claiming to be my father-in-law suddenly appeared. We let him stay despite my husband's warnings about his lecherous nature. My fears came true when he started spying on our intimate moments, realizing I wasn't satisfied with my husband, and decided to take matters into his own hands.
In this series, it's natural for a childless wife to be relatively young. This work and the Honoka Kimura installment are sister pieces, sharing the commonality of featuring actresses in their mid-30s and starting with the return of a father-in-law who left home due to women troubles. I consider both to be the top two masterpieces of Director Tomi's series. While the Kimura installment is overwhelmingly erotic in its depiction of the heroine's unraveling, this work has an incredibly high level of completion as a drama. This is due to Shiraishi-san's acting ability, which transcends the typical AV actress, and Director Tomi's brilliant narrative structure. What's most impressive is the scene the morning after she is violated by her father-in-law, where Shiraishi-san, recalling the horrific memory, enters the dining room where he is alone and firmly says, 'I won't tell Masayoshi-san about yesterday...' It's a brilliant scene expressing the daughter-in-law's disgust and anger; it's so realistic that some reviewers even speculated there might have been real-life trouble between the actors. Immediately after, the father-in-law tries to seduce her with his hands, and the director depicts the gradual shift from disgust and anger to affection. Thus, there are more detailed episodes than usual, and with each encounter, the ice between them melts. The defining moment is right before the final sex scene, where the father-in-law cleans a fish for her because she's struggling with a gift she received. The look of affection and trust in Shiraishi-san's eyes as she watches him is magnificent. Those who suspected a real-life rift between the actors must have missed this scene. Beyond that, the director uses various techniques, such as intentionally not focusing too much on Shiraishi-san's chest during sex scenes, but instead highlighting her surprisingly toned legs (which are very sexy). I recently rewatched this, and because I felt this masterpiece of 'drama AV' was being undervalued—to the point where creators might lose the motivation to make good dramas—I felt compelled to write a review for such an old work.
Co-starring with Ozawa-san. Ozawa-san is the 'Kiss King,' right? The lighting in that scene is way too dark! It's a crucial moment, but it's so dark I can't see anything. What was the director thinking? It's fine to care about details, but this is an AV. You need to show the scenes that matter. This is a common lighting frustration with Madonna titles. Director and producer, please take note. The only ones suffering are the performers and the buyers. The producer who gave the green light gets a failing grade.
Shiraishi-san's passionate, pleasure-filled sex is universally wonderful, but the setting and casting feel a bit off. Specifically, having sex with loud moans in a different room of the same house right after having sex with her husband is just too unrealistic. Still, seeing Shiraishi-san's loose, relaxed body is always irresistible.
This is great! The raw, physical sex between Toru Ozawa and Shiraishi-chan! That intense creampie action! I honestly wish she’d get pregnant and have a baby for real!
*The lighting in the second half was too dark. Even in an environment where you are using other content and don't think to adjust the brightness, this work is so dark that you have to adjust the brightness. Even considering Marina's breasts, she's still a star.
