Hell yeah! My dance moves are tight, and this outfit will definitely make me the center of attention.
We've come to the last page in Reiko Ike's 1972 Weekly Playboy calendar—this fun shot for December where she seems to be having a party of one at home. But we imagine her heading to the hottest club in town. Having been to several of the better discos in the western hemisphere, we think this outfit will get her past even the most jaded doormen. Of course, nobody can really trust our opinon. We've also been arbitrarily refused entry to some of the better discos in the western hemisphere—Pacha! Pacha! Excuse us. Little touch of cold coming on.
Anyway, it's been a pretty nice year of Reiko images, and we're happy to have uploaded them for all of you to enjoy. She's outpaced her competitors to become the most featured vintage actress on Pulp Intl., ahead of Marilyn Monroe (if we don't count tabloid appearances), Pam Grier, Christina Lindberg, and a few others. We'll have even more shots of Japan's greatest cinematic girl gangster at some point, so look for those down the line.
She's small but she has enormous appetites.
What would ’70s erotic cinema be without Swedish movies? And more importantly, without Swedish actresses? Above is a Japanese poster for the softcore film Justine och Juliette, known in English as Justine and Juliette, or sometimes Swedish Minx, and it starred the small wonder known as Marie Forså, who pound for pound was probably the best performer to come out of Swedish sexploitation cinema. That's what we think, anyway. We talked about the movie last year, so all we're doing today is showing you this eye-catching piece of art. Oh, and the rare image of Forså below. Let's not forget about that. We also have the rear of the poster. In addition, you can see a colorful Japanese promo for Forså's movie Butterflies here, and a very, erm, interesting one for her movie Bibi here.
Black don't crack a smile.
Above is a second excellent tateken poster for Shin joshuu sasori: 701-gô, known in English as New Female Prisoner Scorpion: 701, with Yumi Takigawa dressed in black from head to toe and looking ready to deal out death. These tateken style promos are rare, so we're happy to have found two. As usual, we like to share posters on a film's premiere date, and that was today in 1976.
They don't make virgins like they used to.
When Nikkatsu Studios attempted comedy, it may have been uproarious for audiences of the 1970s, but to us it's usually about on the same level as a Pauly Shore movie. But Joshidaisei: Nise shojo, known in English as College Girls: Fake Virgins, is, we have to admit, actually a bit amusing in parts. Or maybe it was just our mood at the time. We aren't going to watch it again to test the theory. When it comes to Nikkatsu, because its films are capable of being so shocking, when you get something pleasant you take your profits and don't look back.
Basically, what you get here is Kenji Simamura as a habitual molester who runs a real estate company. He meets Masumi Jun, Reiko Maki, and Natsuko Kurumi when he feels up Maki on a train, and is stunned when she snaps a pair of cuffs on his roaming hands. She isn't a cop. She just has them around because gropers are apparently a problem on Japanese trains of that time. From this auspicious encounter Sinamuraends up hiring the girls to pose as virgins for three unsuspecting squares who own vast tracts of land he covets. Virginity is—at least as posited by the movie—what all men want. The three land-rich marks are, of course, unattractive klutzes, and not very bright besides, but for all that, it's obvious Simamura's grand scheme won't come off as planned. The humor in this film is on a pretty basic level, but as we said, there are a few good moments. How can you not be amused when, after that groping on the train, the girls make Simamura buy them lunch—while still handcuffed to Maki? But most of the comedy is lame. Luckily, the movie has its beautiful leads to compensate. Since Jun and Maki star on the poster, we're having them star in the promo images below. Joshidaisei: Nise shojo premiered in Japan today in 1973.
Age is just a number—a pointlessly restrictive one.
We've been sharing Reiko Ike images via her 1972 Weekly Playboy calendar, posting one shot each month, but a few times the magazine used a photo for two months at once, which leaves us to find imagery to fill in the gaps. October was one of those months, so above are a couple of replacement images for November. They're also from Weekly Playboy, just not from her calendar. The text says Reiko-kun was due to turn twenty in May 1972, and she announces, with the wisdom of her advanced years, “It's too late for me to be nude.” And of course she reversed course on that crazy notion pretty quick, as her many subsequent unclothed photos prove. Here's the thing: It's never too late to be nude. Not for her, not for us, not for anybody.
Yes, we all saw your new boots, and for the last time—we all love them.
If you've never watched Japanese television but this person still seems familiar, it may be either because we used her in a collage several years ago, or because there are lots of high kicking images in Japanese posters and promo shots, and she reminds you of those. Either way, this is a fun image of Lisa Komaki, who rose to fame playing the character of Peggy Matsuyama the Momo Renjā, or Pink Ranger, on the hit tokusatsu series Himitsu Sentai Gorenger, which debuted in 1975. Komaki appeared in several short films and one other series, all along the same lines as Himitsu Sentai Gorenger, and was out of show business by 1979. But tokusatsu series represent a cult niche in popular Japanese culture, which means she's well remembered.
Worse than Alcatraz. Tougher than Rikers. It's the prison island of scantily clad women.
This tateken style poster was made to promote the Edo era drama Onna-ro hizu, generally known in English as Island of Horrors. The story centers around Nembutsu Island, a rocky outcropping in the Shiranui Sea used as a prison. It's inhabited by about fifteen coincidentally beautiful female captives and six samurai guards. Nobody calls the island by its real name. It's usually referred to as either the Isle of Women, which sounds kind of fun, or Decapitation Island, which does not. The new warden has been assigned there as punishment for not being tough enough in his other stops—a charge he's eager to disprove, with the help of the slap-happy guards and their baroque tortures. Additionally, the women are terrorized by Omasu the Ripper, your typical sadistic prisoner who subjugates the others in order to curry favor with her captors. And worse still, bubonic plague arrives. So, it's not overstating the situation to say that things are pretty bad on Nembutsu Island.
So how do you get the hell off that godforsaken rock? It isn't easy. The women are aware that sometimes there are pardons or paroles, and that knowledge gives them hope. But what if those lucky recipients sent from the island are not freed, but instead secretly sold into sexual slavery? Not saying that's what going on. But, you know, what if? Of course, there's no way the prisoners could ever find that out unless someone who was supposedly freed returned to the island. Omasu has her own departure plans. She tells the warden she knows where a cache of stolen ryō—gold currency—is hidden, trying to leverage it for freedom. She tries to leverage her body for that purpose too. But in the end, release from Nembutsu Island may come down to simple teamwork, and watching the inmates come to that conclusion makes for a well above average women-in-prison drama, worth a watch for the darkly beautiful cinematography and island visuals, as well as good performances from stars Maya Kitajima, Reiko Kasahara, and Yuki Aresa. Onna-ro hizu premiered in Japan today in 1970.
There's never a cop around to perform a cavity search when you need one.
You probably suspect at a glance that this is a Japanese poster for an x-rated movie, and you'd be right. It was made for Trinity Brown, starring Sharon Kelly, aka Colleen Brennan, who's backed by a supporting cast of stalwart porn studs and b-level starlets. This is the fourth movie of Kelly's we've looked at, after Love, Lust and Violence, Gosh!, Scream in the Streets, and Ilsa, Harem Keeper of the Oil Sheiks. Do we have a special affinity for her? Not really. But the Japanese did, apparently. We've found Japanese posters for many of her flicks. They've retitled this one 弾を握る女, which means “woman holding a bullet.” Or possibly they've retitled it SEXリボルバー, which means “sex revolver.” The rest says, “Right now, a miraculous comeback, Sharon Kelly. A trap of terrifying passion, the scent of lavender drifting in the cloudy darkness. A man never forgets the smell of Sharon.” Indeed.
You can always expect a plotline with vintage porn, and in this case Kelly plays a tough L.A. cop partnered with John Leslie, who she also happens to be banging off-duty. The two are assigned a murder case in which a strip club owner is thought to have shot a local gangster. Brennan and Leslie delve into the world of exotic dancers and show business to unravel the mystery. It isn't much of a mystery—psst the gangster's girl set him up—but getting to the end is reasonably fun.
Generally vintage porn features realistic sexual performances, without a lot of asinine screaming and backbreaking positions. It was made before the medium became festishistic performance art, and takes itself seriously as erotica for normal people. This particular flick was made without any of the most inspiring porn beauties from the era (Ginger Lynn, Angel, Shauna Grant, Jody Swafford, Annette Haven, et al), so it's possible some viewers might be aesthetically nonplussed by Kelly and company, but everything is real, rather than silicone, and that's worth something. We'll discuss some of those top stars again, and Kelly will be back too, on yet another Japanese poster we have. Trinity Brown premiered in the U.S. in 1984 and reached Japan today in 1986.
Summer's over but the heat lingers.
The Reiko Ike Weekly Playboy calendar is in its last quarter—in its autumn you might even say. Above you see the magazine's entry for October and November 1972, featuring Reiko in a groovy fringed vest—yet another look from that era we think needs to return. And under the vest she's wearing, well, herself. Always her best look. Obviously, since this shot encompasses November we'll need to dig up an image from elsewhere for the first of next month, but luckily, we have plenty. Stay tuned.
Some things are too ugly to be prettied up.
A thriller with two of Ernest Hemingway's granddaughters as stars? We had to check it out, especially when we found this beautiful Japanese promo poster. The movie was titled Lipstick, and the Japanese title リップスティック is identical. Margeaux Hemingway plays a New York City model, and her little sister Mariel Hemingway plays her daughter. They become obsessions for a pig of a sexual predator who insinuates his way into their lives, and things don't go well. At all.
Using rape as the central element of thrillers is not very 2022, even as the actual issue exists in perpetuity. Any film that aims for a realistic depiction, no matter how well meaning, opens itself to charges of exploitation. There's no doubt the filmmakers wanted to wrap an issue inside a thriller, which means despite the beautiful cinematography and a setting in the glitzy, glimmery realm of high fashion, there's a disturbing aura of reality that makes the movie tough to watch in places.
However, this is a serious production and deserves a fair assessment. It's adequately-but-not-amazingly acted by Margeaux, co-star Anne Bancroft is solid, Mariel—who was only fifteen at the time but is playing a character of thirteen, and looks it—does adequate work, and Chris Sarandon is believable as their assailant. Lipstick falls into the category could-not-be-made-today™, but overall it's worth a watch—and a post-credits discussion. It premiered in the U.S. in April 1976, and in Japan today the same year. |
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