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006 wa uwaki no number
Movie

006 wa uwaki no number

1965 • Unknown

Woke Score
1.4
out of 10

Plot

Japanese sex comedy film.

Overall Series Review

The 1965 Japanese film, a period sex comedy, focuses on the chaos caused by a pharmaceutical company's new 'wonder drug' called '006' that serves as a powerful aphrodisiac. The plot is a farcical tale of corporate espionage and widespread infidelity, driven by a rivalry between two drug companies and an attempt to discredit a competitor's product. The entire narrative is preoccupied with lowbrow comedy, slapstick, and heterosexual indiscretion. The humor is entirely a product of the mid-1960s Japanese cinema, dealing with secular themes of lust, greed, and corporate corruption. The film is completely devoid of modern political or social commentary as defined by the woke categories. The characters are all Japanese, and their conflicts are professional and sexual, with no reference to race, Western society, or intersectional politics. Gender dynamics are traditionally exploitative as is common for the genre and era, featuring bumbling male authority figures chasing young women, which precludes any modern 'Girl Boss' or anti-natalist messaging. It is purely a time capsule of secular, amoral, and national comedy.

Categorical Breakdown

Identity Politics1/10

The narrative is purely focused on a domestic Japanese business rivalry and the farcical consequences of an aphrodisiac drug. Characters are judged entirely on their comedic roles and competence in the corporate conspiracy. There is no presence of racial themes, vilification of 'whiteness,' or forced insertion of diversity, as the cast is entirely Japanese and authentic to the setting.

Oikophobia1/10

The film’s critique is aimed at internal Japanese flaws, specifically corporate corruption and political bribery within its own national context. It is a satire of Japanese social and business culture, not a condemnation of 'Western civilization,' therefore it does not meet the criteria for Oikophobia as defined.

Feminism2/10

The gender dynamic centers on men, particularly the older president, pursuing younger women due to the effects of the aphrodisiac, which is a traditional, if crude, celebration of heterosexuality and male desire. The women involved are often geisha or mistresses. This context is anti-feminist in modern terms, yet it avoids the tropes of the 'Girl Boss' and 'motherhood is a prison,' sticking to traditional, objectifying roles.

LGBTQ+1/10

The plot's focus on an aphrodisiac and the resulting 'affairs' is strictly within the confines of male-female relationships and traditional infidelity. There is no presence of alternative sexual ideologies, deconstruction of the nuclear family through a queer theory lens, or gender ideology lecturing.

Anti-Theism2/10

The film’s morality is entirely secular and amoral, revolving around corporate deceit and infidelity. Faith is neither a source of strength nor a root of evil, existing outside the frame of the conflict. This represents a spiritual vacuum but is not actively hostile or 'anti-theistic' towards religion, especially Christianity, which is irrelevant to the Japanese comedy setting.