RSSYoshimi Hamasaki – Legendary (Densetsu) Peach
23 Oct 2009 Comments Off
in Reviews
Yoshimi Hamasaki – Legendary Peach (August 28th, 2009)
Aqua House / Splash Girls
Catalog # – MMA-63 – Region 2 Disc – 4:3 Aspect
Running Time: 74 Minutes
The Skinny: We head off to Saipan to watch the cute and perky Yoshimi Hamasaki in Legendary Peach from Aqua House / Splash Girl. Though Yoshimi is less busty than we usually offer here at AoV, make no mistake. This is a fine video.
The Opening montage which clocks in at about three minutes shows us that there’s a good variety in the scene locations. They make all the usual stops – beach, bath tub, forest, abandoned buildings, etc. And this is good. Too much indoors isn’t to my liking.
One is outdoors. Yoshimi wears what looks like a bit of a cut-down fuzzy beige sweater but it is really a bikini top. Her panties, beige colored silk with lace trim, don’t match but it is okay. In the 1st part the trees provide the cover. Part II has her on a picnic table. Her action on the table is mostly on her back – a position designed to show off her cleavage when she’d roll up onto one hip.
Two opens in a bedroom with Yoshimi bouncing on a four poster bed. Again she wears a mismatched outfit. A cut-down yellow tee-shirt and pink with white trim panties. This scene is played more for cute and playful than for glamour. But fear not – Yoshimi is very good at cute.
Three is a baseball sequence. It looks like Yoshimi hasn’t handled catching with a baseball glove very often. A simple catch became something of an adventure. But she’s watched baseball before and was able to combine a standard baseball pitching motion (overhand) with a standard softball pitching motion (underhand). Again the cute factor is ratcheted up. But before long, she’s abandoned the pitch and catch, as well as abandoned her baseball jersey top. So what is she doing? She’s up in a tree.
Four is a glamor shoot. She wears a slinky zippered one piece item. The setting is an abandoned building that has been over-run to a degree with leafy vines. One thing about this scene is that her suit is unzipped deeply. So on occasion, when she uses her arms to accentuate her bust, you do get some cleavage shots.
Five is a bath-tub sequence. Though there are many soap bubbles, they’ve been contained and are not intrusive. The natural lighting is superb. The music is bothersome in this scene as it rarely fits the visuals. One more thing to mention is that this bathtub is situated in front of a huge window. I’m jealous. I’ve no windows in my bathrooms.
Another derelict building is the co-star in Six. Although derelict might not be accurate as the floor is spotless.
White walls strewn with graffiti provide a great background for Yoshimi. In a change from the earlier scenes, here the director has become positively enamored with Yoshimi’s butt.
Almost every composed shot or angle has been designed with this in mind. Eventually she does unbutton her muslin dress, but this seems almost an afterthought.
Seven opens on the beach. Though we have blue skies, it’s likely an early morning shoot, judging from the lengthy shadows. Still the colors for this scene make it a lot of fun. A nice departure from the usual harsh lighting that a mid-day sun would provide. Yoshimi does this scene as playful despite her tiny bikini.
Eight has Yoshimi in high heels and gown that is backless, side-less, and deeply cut in front. She posing under an orange tree. The color of her gown and the green leafy tree lack contrasting colors but soon they’ve posed her against a blue walled cottage.
Then she’s on a sheet surrounded by the Saipan flora.
Nine finds Yoshimi in a side-less tank top. Bra-less of course. This is an early Miri-Hanai trademark, and one that was copied repeatedly by Hitomi Kitamura. The scene is set in an open kitchen. There’s no cooking, and the director seemingly told Yoshimi to do whatever she wanted. What we get is a lot of pointless activity by the model before she settles into a high as in bar-stool type chair. A wooden kitchen-spoon becomes a prop for Yoshimi to poke her own boobs with. Eventually she settles down on the counter top; sorry – that soon changes to the kitchen table.
Ten is on the beach. They’ve elected to use a small tree as the setting – we do see the beach behind the model. Then they place her amid the leafy green plants that we’ve seen so often on the Saipan beaches.Finally with about three minutes left, Yoshimi finally gets down on the sand at the water’s edge. And the closing sequence playing behind the credits has the wonderful coloring made by a setting sun.
There’s an eight minute making of segment which offers nothing new visually but give us a nice look at the model at work, interacting with the director and other crew members, and just plain hamming it up for the camera.
Summary: A very well made video. No glaring flaws or problems to speak of. The model is engaging and cute. The scenes were all mastered by editing rather than a lot of camera movements. In short they don’t look to disguise or cover up boring scenes with gimmicky editing. Said another way – there are no boring scenes or editing gimmicks. Well worth your time. Four point zero.
Web Vendors
Play-Asia