Vintage Pulp Nov 22 2014
STRAY CAT STRUT
She slinks down the alley looking for a fight, howling to the moonlight on a hot summer night.


Since we featured Reiko Ike yesterday it seems only right to have Meiko Kaji today. Which of them is the real queen of 70s Japanese action cinema? It’s up for debate. Maybe it’s even someone else entirely. Anyway, you see above and below two posters for Nora-neko rokku: Mashin animaru, known in English as Stray Cat Rock: Machine Animal. It was the fourth of five Stray Cat Rock films, and Kaji starred in all, though as different characters in each.

The series is about juvenile delinquency and takes place against a backdrop of industrial cityscapes and inside the sorts of groovy nightclubs you might associate with Austin Powers. The plot involves Kaji and her cohorts planning to sell stolen LSD in order to help a soldier escape the Vietnam War, but getting entangled with rival gangsters who want to horn in on the deal. It’s very much worth a viewing, and stacks up well against the previous entries. Wild stray cat—you’re a real gone girl. Nora-neko okku: Mashin animaru premiered in Japan today in 1970.

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Vintage Pulp Nov 21 2014
GAMBLING ADDICTION
When you play with her you’re betting your life.

Above, a rare alternate poster for the very entertaining pinku flick Hidirimen bakuto, aka Red Silk Gambler, with Reiko Ike. The movie, which we touched upon briefly a few years ago, opened in Japan today in 1972.

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Vintage Pulp Nov 17 2014
THE SCORPION'S STING
Someone’s going to pay for what happened—in full, plus interest.

This poster for Shin joshuu sasori: 701-gô, aka New Female Prisoner Scorpion: 701 promotes the first film in what today might be called a franchise reboot. Meiko Kaji established the character of Prisoner 701 in four hit films, and a few years after she left Toei Company decided to resurrect the series with Yumi Takigawa in the lead. Framed for murder, she ends up in a women’s prison where she’s harassed, sexually assaulted, and marked for death. A prison riot finally gives her the chance at revenge, and lets just say she takes full advantage.

She feels even less forgiving once she escapes, meaning she has a score to settle with the men who railroaded her in the first place. You know what to expect, so we don’t really need to go into detail. The poster above is an ekibari, which we gather means it was made for subway walls, and it’s in bo style, which seemingly means two pieces. Below we have the bo-ekibari in its separate, very cool sections, with Takigawa giving the stare of death that’s usually the last sight of her enemies’ lives. Shin joshuu sasori: 701-gô premiered in Japan today in 1976. 

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Vintage Pulp Nov 8 2014
BAD TECHNIQUE
Is it strange that of all the ways to seduce someone we never thought of this one?


Yes, we’re doubling up on the movies today, not because we think the internet needs more amateur reviews, but because we want to show the posters. As always, it’s about the art. We have it, and it’s pointless to have it and not share it. Behold the poster. Done? Great. Okay, regarding the movie, we can sum it up by telling you there’s a scene in which a male character sticks his head in a toilet—in a nightclub—sucks up a mouthful of liquid and spits it in a gentle stream upon the chest of the woman he’s in love with. More strange yet—it turns her on. This visceral horror is counterbalanced, just barely, by a weird yet very affecting fantasy sequence where the same character sprays the object of his affection with water from a garden hose while she’s in a jail cell. Have a look at the screen grabs below.  

 
That is a very provocative expression lead actress Mari Tanaka is wearing. Is it because the water is cold? No—it’s a male character’s fantasy, so that’s supposed to be arousal. Our girlfriends don’t make that face at us, but now we’re seriously considering ways to make it happen. At least, as long as they don’t involve spraying water all over our place. Anyway, you have the yin and yang here—two scenes involving a man drenching a woman with water, of both clean and not-so-clean varietals. Is it symbolic? Maaaaybe just a little.
 
The plot goes like this: Tanaka teaches at a college and several of her students collude to break up her engagement to a chemistry professor so one can have her to himself. But everything they try only seems to make the relationship between Tanaka and her chemist stronger. Finally in desperation the students rig a lab experiment to blow the chemist to constituent particles, but succeed only separating him from his prostate, leaving him impotent. Since a sizable amount of dialogue is devoted to his prodigious endowment his maiming is a tragedy not just for him, but all women (this from the character Oharu-san, who has encountered the fiancée in her brothel and is reduced to tears at the news of his injury).
 
Will Tanaka finally ditch her love now that he’s been turned into Jake Barnes (extra credit if you know that one), or is their relationship held together by something more than sex? We’d answer, but we swore off spoilers a while ago, which means only a viewing of this exceedingly strange movie will give you the answer. Meanwhile, below, Tanaka shows her technique for hiding her naughty bits, as required by Japanese law at the time. Kanno kyoshitsu: ai no technique, which was called Excitement Class: Love Techniques in the English speaking world, premiered in Japan today in 1972.


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Vintage Pulp Nov 1 2014
ONE COOL CAT
No helmet, no jacket, no problem.

The above poster is the original promo Kôyû Ohara’s motorcycle gang roman porno Shiroi mesuneko: mahiru no ecstasy, aka White Female Cat: Ecstasy at High Noon, and as you can see star Hitomi Kozue is completely flouting the mandatory helmet ordinance. Well, the point of riding a motorcycle is to feel the wind blow through your… er, hair. We haven’t screened this one, but we love the poster so we thought we’d show it to you anyway on its premier date, which was today in 1975.

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Vintage Pulp Oct 19 2014
ZONED OUT
She’s dreaming of the day when she gets to change out of that ridiculously uncomfortable outfit.


Above, an alternate promo for Yoru no saizensen: Tôkyô onna chizu, aka Secret Zone of Tokyo. This one is nice, but the previous version is one of the coolest Japanese posters we’ve seen.

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Vintage Pulp Sep 22 2014
HARM SCHOOL
One wrong answer and you’re done.

Sachi Hamano’s pinku flick Bankaku joshikökösei no sex to böryoku no jittai was retitled for its English language release True Story of Sex and Violence in a Female High School. If you’d like to experience a bit of digital age paranoia, think about inputting that online as a search term knowing that various entities are saving your browsing data forever. Luckily, we’ve done the work for you, and though we haven’t managed to find a copy of the movie, we know it involves Hitomi Kozue earning her way into her local high school’s female gang, which is led by Naomi Oka, and later realizing that the two were already linked by a terrible event in Oka’s past. In addition to the two main stars you get Meika Sera, Noriko Igarashi, and Hidetoshi Kageyama. If we ever find a copy of this we’ll screen it and report back. In the meantime, enjoy a previously unseen promo shot of Hitomi Kozue, below. Bankaku joshikökösei no sex to böryoku no jittai premiered in Japan today in 1973. 

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Femmes Fatales Sep 9 2014
LEARNING CURVES
Suddenly being the teacher’s pet doesn’t sound so bad.

Just because we had it sitting on our hard drive, here’s an image of Japanese actress Yuki Kazamatsuri, who we discussed just last week after watching her movie Onna kyôshi-gari, aka Female Teacher Hunting. She posed for this promo image around that time, 1982. 

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Intl. Notebook Sep 7 2014
FOAM ALONE
Reiko Ike again demonstrates the utility of soap foam for covering her naughty bits.

Remember a while back when we watched Sukeban berûsu: mesubachi no chosen, aka Girl Boss Blues: Queen Bee’s Challenge, and got such a kick out of Reiko Ike's brief bathtub scene? We stumbled across this promo shot from the film, and once again she shows a deft hand for manipulating foam. The photo shows less than the film—in that she didn’t cover her top half, but in any case, this is a fun shot. Check out our previous post on the movie here.

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Modern Pulp Aug 28 2014
ILL WILL HUNTING
Yes, in pinku films there actually is a point to all that bloodspray.


You know what we like about pinku films? Their symmetry. Generally, slimy guys have the upper hand for about 65 minutes before the girls band together and, to the accompaniment of arterial bloodspray to spice things up, shoot them or stab them or chop off their heads. It’s nice. Balanced. In that way they’re like blaxploitation movies. In those, generally, the villain meets ruin at the hands of a black hero or anti-hero. Nice, you see? The films touch on serious problems—sexism and racism—but in a freewheeling, taboo-busting fashion that both entertains and makes the antagonist’s eventual violent demise a catharsis for audiences that know the wicked aren’t generally punished in real life. Taking all that into account then, you can see why removing the cathartic revenge from the proceedings would be problematic.

But that’s exactly what has happened with Onna kyôshi-gari, aka Female Teacher Hunting. Director Junichi Suzuki and writer Hiroshi Saitô, at the behest of Nikkatsu Studios, actually want to make a serious movie about gender roles and sex, but cloaked in a quasi-pinku flick in which a student falsely accused of sexual assault is driven by stress and rage over his predicament to later commit a sexual assault. It’s all beautifully shot andquite well acted, but what’s the message here? Was the monster always part of this man? Was he falsely accused because his accuser already saw this in him? Does the old saying about how any man will kill under the right circumstances also apply to rape? All are worthy themes to explore, but not embedded in a movie genre that by nature trivializes serious questions.
 
But the message of Onna kyôshi-gari might be something else entirely. Maybe it’s simply telling us—at a time when women were gaining more control over their own bodies and, after long last, wresting an iota of political power from the male establishment—that sexual consent was becoming a blurrier concept for confused men losing their hold on the top of the pyramid. But we don’t buy that either. For our part, we can’t remember the line between consent and coercion being blurry—at least not outside well-crafted fiction, and certainly not during the 1980s, when this movie was made. But as always there’s the one disclaimer—we aren’tJapanese, have never lived in Japan, and don’t know the culture deeply. If there’s one thing we’ve learned doing this site it’s that language, psychology, behavior, metaphors and signifiers simply don’t translate from culture to culture. In other words, for all we know this may be considered in Japan to be a wildly feminist movie. Nevertheless, we have to assess Onna kyôshi-gari as best we can with our deficiencies, and we say: interesting effort, but in pinku, realism without revenge converts the sex to sadism, and this entire movie into an anti-feminist polemic.

The star of the film (and poster), Yuki Kazamatsuri, in the final scene discovers a killifish inexplicably living in a swimming pool. She observes to her female friend, “Killifish are strong—I guess they can live even in a pool.” And of course the fish are metaphorical women and the pool is male-dominated society. But sorry, after an entire plot suggestingwomen are complicit in their own degradation, a morsel of dialogue telling us they’re tough enough to take it (and men are to be forgiven for supposed weakness) doesn’t excuse what came before. On the contrary—it makes it worse. Onna kyôshi-gari premiered in Japan today in 1982.

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History Rewind
The headlines that mattered yesteryear.
November 28
1942—Nightclub Fire Kills Hundreds
In Boston, Massachusetts, a fire in the fashionable Cocoanut Grove nightclub kills 492 people. Patrons were unable to escape when the fire began because the exits immediately became blocked with panicked people, and other possible exits were welded shut or boarded up. The fire led to a reform of fire codes and safety standards across the country, and the club's owner, Barney Welansky, who had boasted of his ties to the Mafia and to Boston Mayor Maurice J. Tobin, was eventually found guilty of involuntary manslaughter.
November 27
1934—Baby Face Nelson Killed
In the U.S., killer and bank robber Baby Face Nelson, aka Lester Joseph Gillis, dies in a shoot-out with the FBI in Barrington, Illinois. Nelson is shot nine times, but by walking directly into a barrage of gunfire manages to kill both of his FBI pursuers before dying himself.
November 26
1922—Egyptologists Enter Tut's Tomb
British Egyptologists Howard Carter and Lord Carnarvon become the first people to enter the tomb of Pharaoh Tutankhamun in over 3000 years. Though sometimes characterized as scholars, Carter and Carnarvon were primarily interested in riches, and cut up Tut's mummy to more easily obtain the jewels and gold affixed to him.

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