When his pink film Secrets Behind the Wall (壁の中の秘事, Kabe no Naka no Hibe Goto) (1965) ran afoul of the government, Wakamatsu quit Nikkatsu to form his own production company.

His independent films of the late 1960s were very low-budget, but often artistically done works, usually concerned with sex and extreme violence mixed with political messages.

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.

"[5] Patrick Macias says that writer Masao Adachi, along with Wakamatsu, is responsible for much of Go, Go, Second Time Virgin's thematic, political and stylistic concerns.

"[3] 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.

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.

[8] 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".

[9] 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.

"[12] Go, Go, Second Time Virgin is one of Wakamatsu's best-known films,[13] but discussion of it in English has been hampered by its long lack of availability to the English-speaking world.

"[5] Though warning that "[t]he relentless, downbeat atmosphere will prove tough going for many viewers," Mondo-Digital website says the film "packs a tremendous amount of artistry into every scene.