Kaji escapes from jail a while later, seeks out Ryumei, finds him transformed into a cold-hearted suit, and is imprisoned again, this time by the father’s evil thugs. The main problem with this movie for Kaji fans is she doesn’t get much screen time. Instead much of the tale is told from the other end, as Kaji’s friends, led by Yoshio Harada, plot to free her. This isn’t fatal to the movie, though. If you can embrace the other protagonists you’ll find plenty to enjoy. The sentiment of hippies-versus-power may seem quaint, and indeed the film handles certain elements of their lifestyle comedically, but all these years later, with Japan’s rich getting richer while its poverty rate is among the highest for developed nations, is anyone still laughing? Nora-neko rokku: Bôsô shudan ’71 premiered in Japan today in 1971, and you can see more posters for the series here and here.

This excellent Japanese poster promotes the film Joshuu sasori: Dai-41 zakkyo-bô, aka Female Convict Scorpion: Jailhouse 41, starring Meiko Kaji as the female convict of the title. This is second of ten movies dealing with the character of Scorpion, but Kaji played the role only four times before passing it off to Yumi Takagawa in 1976. We shared posters for Kaji’s four excursions back in 2010 and mentioned there was alternate art we didn’t possess. Well, we do now. This was painted by Toru Shinohara, who also created the manga the movies are based upon. It’s a rare piece.

The movie itself is sinister, psychedelic, and extraordinarily stylish thanks to director Shunya Itô’s clever set-ups and shot-framing. For most fans, Kaji is the only Scorpion that matters, and it’s hard to argue otherwise. She’s about five-feet-four and probably didn’t hit triple digits on a scale back then, but with eyes and posture she radiates lethal menace. As far as plot, this fits end-to-end with the previous movie, so consider watching that one first. Female Convict Scorpion: Jailhouse 41 premiered in Japan today in 1972.

Tômei-ningen: okase! was known in English by two titles—Lusty Transparent Man, which sounds pretty innocuous, and Invisible Man: Rape!, which sounds horrible. We’re really more interested in sharing the poster, but with regard to the film what you get here is a Nikkatsu roman porno production about a college student who invents an invisibility elixir. At that point he clumsily pervs his way like a dirty Jerry Lewis from one voyeuristic entanglement to the next, bumbling his way inside the lady parts of the female leads. How do you shoot love scenes with an invisible man? You have the women writhe around by themselves. They’re all taken by surprise, but all end up enjoying themselves. There’s some doubt whether they even realize their partner is a man, rather than a horny ghost or a figment of their own imaginations, but in any case these encounters aim for laughs, not eroticism. The question is whether you think they’re funny. We didn’t. Tômei-ningen: okase! premiered in Japan today in 1978. 

These two panel length posters promote the pinku flicks Neon kurage and its sequel Neon kurage: Shinjuku hanadensha. We also have a normal promo for Neon kurage below. The movies, though well known, never had any Western releases as far as we know, but would be called Neon Jellyfish and something like Neon Jellyfish: Shinjuku Float. Shinjuku is a place, so that’s easy enough to grasp, but we were unsure on the “float” aspect until we looked it up. It seems to derive from a type of Japanese tram decorated with flowers in the manner of a parade float, but its secondary meaning has something to do with sexual performance, specifically vaginal insertions of, well… anything from blowguns to ping pong balls.

Yamauchi only appeared in a handful of productions, but the term masterpiece was thrown around by some critics when writing about Neon Jellyfish. Yamaucho was also in School of the Holy Beast, which we discussed here. As a side note, there are dozens of websites now offering to stream or sell or preview this genre of movies, but of course they have nothing but malware and viruses. We are immune, thanks to Apple. If you aren’t, don’t dare go looking. You’ll get stung right in the hard drive. Neon kurage premiered June 20, 1973, and Neon kurage: Shinjuku hanadensha premiered today the same year.

Chûsei Sone’s Irogoyomi onna ukiyoe-shi, which was known in the West as Eros Schedule Book: Female Artist, is the story of an unsuccessful painter in Edo period Japan who, after his wife is raped while picking herbs by a river, swears revenge upon the man who disrupted their lives. Meanwhile the trauma unlocks something inside the wife that she deals with by beginning to paint her own canvasses. Her violent works all include images of her rapist, and as the paintings become more acclaimed, the rapist becomes a sort of local celebrity and the husband becomes more sexually alienated and professionally jealous. This is all disturbing enough, but it’s of course merely setting the stage for the rapist’s reappearance.

The movie was well reviewed, especially for a pinku, but like many from the genre it’s almost impossible to find outside of Japan. That may be a good thing—we appreciate that the male antagonists in these movies generally suffer gruesome fates, and while that is quite satisfying, these plots just don’t play well today. Sone, who was just beginning his directorial career, would go on to helm many other movies over the course of two decades. Conversely, the star of Irogoyomi onna ukiyoe-shi, Setsuko Ogawa, like a whirlwind appeared in twenty-five films in a mere three years before pretty much vanishing from the scene. Irogoyomi onna ukiyoe-shi, which by the way is not part of the nine-film Eros Schedule Book series made around the same time, premiered in Japan today in 1971.

You know that we’re sticklers about sharing art on its premiere date. Just by coincidence we had two tabloids published today, which we’ve shared above, and we also have movie promo art. This all makes for a very naked day on Pulp Intl., but that’s the way it happens sometimes. We take no responsibility—this is the smut of previous generations, not ours, so blame your grandpa. Anyway, the above poster is for Toei Studios’ Tôkyô dîpu surôto fujin, aka Tokyo Deep Throat, aka Deep Throat in Tokyo. This is a non-pornographic film because, as we’ve mentioned many times before, such acts were illegal to show in Japan at the time, so what you have here is really a pinku or softcore flick with a lot of suggestive action—such as star Kumi Taguchi tonguing a mango, as seen on the poster art—but no actual sex.

The plot is similar to the real Deep Throat in that a woman has a clitoris in her throat. How did it get there? Well, her husband had her undergo implantation surgery after she refused to give him a hummer. We know. She won’t go down on him, but somehow he’s able to make her go under the knife. Whatever. After the surgery oral sex is equally pleasurable for both of them, though she seems to have lost her voice, and what happens is… zzzzzzzzz. Where were we? What time is it? Oh yes—plot. Taguchi can now orgasm by eating a banana—that’s not a euphemism, as she does exactly that twice—and there’s some mobster stuff and a murder that really isn’t. But none of it matters. Just know that with a disastrously crappy transfer from the original print, production values here are so low you’ll feel like you’re in a sleazy, mid-disco era Kabukicho wankhouse. Not that we’d know. Tôkyô dîpu surôto fujin premiered in Japan today in 1975.

The action drama Shurayuki-hime, aka Lady Snowblood, is considered classic cinema for good reasons—it’s bold, lyirical, and stylish, with an unusual narrative structure and a great star in Meiko Kaji. Every piece of art we have on this game-changing movie appears below, and as far as we can discern much of it has never before been shared online. Shurayuki-hime premiered in Japan today in 1973. 

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.

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.

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.