|Vintage Pulp||May 2 2020|
Katayama finds herself with too much skin in the game.
Above you see two posters for the Japanese movie Tokugawa irezumi-shi: Seme jigoku, which is known in English as Inferno of Torture, and, occasionally, Hell's Tattooers. We aren't going to get too deeply into the film. It's where Japanese cinema delves into bondage and tattoo fetish layered with gore, and deals with two Edo-era master tattooists who play out a bitter rivalry on the skin of Yumiko Katayama, as well as other unfortunates. If you can tolerate the frontloaded blood and torture, the latter two thirds of the movie may be worth watching for the tattoos, which verge on magical rather than merely ornate. The set design and Teruo Ishii's direction are good too. The tateken sized promo at top is rare, if not even nonexistent online until this very moment, so we thought we'd share it. Tokugawa irezumi-shi: Seme jigoku premiered in Japan today in 1969. Below you see Katayama in a nice pose, untattooed.
JapanToei CompanyTokugawa irezumi-shi: Seme jigokuInferno of TortureHell's TattooersTeruo YoshidaMasumi TachibanaYumiko KatayamaTeruo Ishiiiposter artcinemasexploitationnudity
|Vintage Pulp||Sep 22 2016|
Oshida and Co. may have been to reform school but once a boss always a boss.
First film in what would become the successful Zubekô banchô series, Zubekô banchô: yume wa yoru hiraku, aka Delinquent Girl Boss: Blossoming Night Dreams, aka Tokyo Bad Girls stars Reiko Oshida as a parolee from a reform school who takes a job in a Shinjuku hotspot called Bar Murasaki, but finds walking the straight and narrow a difficult ambition to fulfill. As usual in these pinku films set in and around nightclubs, a criminal syndicate wants to take over, which means she's soon stuck between a resistant owner and an insistent Yakuza. Some girls she knows from reform school have also found spots at the club, and in addition to Yakuza problems, Oshida finds herself drawn into the issues of her friends.
But it's good they're around, these girl delinquents, because when the climactic brawl with the villains happens, Oshida will need loyal friends at her side. On the whole Blossoming Night Dreams is tamer than later entires in the Delinquent Girl Boss series, but considering the sexual violence that began to appear, most would consider that a good thing. Of course, it's always important to remember that these films are counterculture in character, replacing the subservient women of previous eras with badass riot girls who always took violent revenge upon men who wronged them. The formula was both exploitative and pro feminist, with the sexploitation putting rear ends in the seats, whereupon the progressive message was hammered home.
Anyway, moving on to the poster, you may notice that, by a quirk of design, Oshida, star of the film, does not appear to be star of the promo art. The topmost position is given to Keiko Fuji. But a closer look reveals that Oshida gets a full body shot in the center foreground of the art, while Fuji is layered behind. It's still unusual that Fuji is placed where she is, though. While she plays Bar Murasaki's headlining performer, she has far less screen time most of the other castmembers. But she's good in her role, Oshida's excellent, Masumi Tachibana, Yukie Kagawa, and the rest of the troupe are having fun, and everyone deserves credit for making the movie well worth a screening. Zubekô banchô: yume wa yoru hiraku opened today in 1970.
JapanTokyoToei CompanyZubekô banchô: yume wa yoru hirakuTokyo Bad GirlsDelinquent Girl Boss: Blossoming Night DreamsReiko OshidaKeiko FujiMasumi TachibanaYukie Kagawapinky violencepinkuposter artcinemamovie review