The lady is a tramp, and the director is a scamp.
Junko Mabuki is back on Pulp Intl., as you see on this poster for the roman porno movie Dan Oniroku OL nawa dorei, known in English as Office Lady Rope Slave. It premiered in Japan today in 1981, and basically, Junko plays a straight-laced nine-to-fiver who gets involved with a pair of bondage fetishists. These types of films were, of course, her specialty, and she once again gives viewers everything they'd become accustomed to seeing. But we're less interested in the plot of the movie than the reaction at Japan's censorship board Eiga Rinri Kikō. Adherence to its restrictions was ostensibly voluntary on the part of film studios, but the body had real enforcement power. Dan Oniroku OL nawa dorei must have shaken the place to its foundations.
Let's set the scene. One of the censors has shown up at the Eiga Rinri Kikō office for an emergency meeting with the board chief. He and the other members of the body are proud of themselves for their work, which basically just hews to Japanese obscenity standards by forbidding shots of sex organs and pubic hair. But they never really thought it out from the perspective of directors determined to skirt the edges, which suddenly is happening with increasing frequency. Now at least one censor is in a tizzy. He'd be even more agitated if he knew digital technology would make roman porno films globally available, and thus decades later raise uncomfortable questions about Japanese culture and misogyny, but at this point he has no clue about that.
Censor: I'm beginning to think our censorship regime has backfired. I just screened Dan Oniroku OL nawa dorei and that fucker Katushiko shows dripping semen.
Chief: We didn't ban that?
Censor: No. We overlooked it.
Chief: Well, what's a little semen?
Censor: It's dripping from Mabuki Junko's mouth. He also shows vaginal juices, vaginal blood, and strongly implies that Mabuki-kun gets her clitoris clothes-pinned.
Chief: Hmm... that does sound provocative.
Censor: I watched it twice just to be sure of my eyes. It's depraved. Additionally, there's all the usual bondage, some bizarre insertions, an enema, oral sex both heterosexual and lesbian...
Chief: All this without violating a single one of our rules?
Censor: Nothing is actually shown. It seems quite revealing, though, because, well, Mabuki-kun is a very good actress. Great boobs too.
Chief: Agreed. Mabuki-kun has excellent boobs.
Censor: But in general, it feels like these roman porno directors are ridiculing our censorship standards. There's even a moment—I swear—when I felt like the actors looked directly at me and sneered.
Chief: Now you're being paranoid. Regarding the standards, we could change them, make them more restrictive, but it's hell keeping Nikkatsu and the other studios in line already. Any alteration now may cause serious problems.
Censor: *sigh* But the semen...
Chief: What's a little semen? So, that screener is VHS?
Censor: Betamax. It's a better format. Soon everything will be Betamax. I have it with me.
Chief: I better check it out—just to confirm your findings. Leave it by the Beta player over there, and close the door on your way out. Also, tell my secretary I'm not to be disturbed for ninety minutes.
Okay, a scornful look for the censorship board on one... two... and now! At first I thought this was a citrus reamer, but now I'm not sure. How the hell do you expect me to flush this way? I'll help him. I've been hiding in the shower the whole time. I have to take a short break. There's an office pool on my chair. We'll all have what she's having!
When is a flower not a flower and a snake not a snake? In Japanese cinema.
Above you see a poster for the Nikkatsu Studios roman porno movie Hana to hebi: Jigoku-hen, known in English as Flower and Snake: Sketch of Hell. In this genre, any mention or sight of a flower is liable to be symbolic. Some call them vulvic symbols, some yonic symbols, but in either case something phallic is usually about to rear its ugly head. The movie starred Kaori Asô and Mami Fujimura, and it was second in a Flower and Snake franchise that eventually numbered eight entries, with this one premiering in Japan today in 1985. That puts it outside our vintage purview, since for our purposes we define modern as anything from 1980 and after, but we had to show you the poster art. How could we not? This amazing promo was painted by famed bondage artist Kaname Ozuma, whose work you can see with an image search. Japanese film studios were very interested in bondage, and Japanese audiences must have been too, because many roman porno films with bdsm themes did well at the box office.
Much of the interest in the subject derived from literature, particularly the works of Oniroku Dan, who wrote the source novel for this film. His books were behind about three-dozen roman porno productions. While we don't get these explorations of humiliation and bondage, we understand that every culture has its particulars. For example, if you go on Japanese Wikipedia, celebrities' biographies often contain their blood types. On the other hand, if you go on U.S. Wikipedia, celebrities' biographies often contain their political allegiances. Objectively, both types of information are completely pointless, yet they suggest—interestingly—what obsesses each culture.
What we're saying is that since we're not Japanese, we can't offer much insight into the roman porno wave that swept Japan. We can do the when, where, who, and how of it—but not the why. But we like the posters, the films are usually incredibly well shot, and the actresses are generally stunning, so we watch the movies and tell you whether we liked them. You're probably wondering if we watched Jigoku-hen. We did, and it's what we expected—longform bondage and torture, softcore style, with little shown, but plenty implied. While it stars Asô and the amazing Fujimura, we don't recommend it unless you're okay with plenty of tears and pee. Neither of those are our bag, and if they're yours, maybe talk to someone. Below, Fujimura is happy after washing off the stain of having starred in such a mean and pointless film, while Asô calls home from vacation and tells her family she's recovering fine.
Junko Mabuko is unjustly detained yet again.
It's Junko Mabuki again, beset by her usual troubles on this poster for the roman porno flick Dan Oniroku joen fujin, which premiered in Japan today in 1980. This movie seems to have been retitled for its English language release either Blazing Bondage Lady or Madam Rope Flame. Different sites say it's one or the other, but both titles kind of mean the same thing, so both are probably correct.
How does Junko get caged? It's her husband's fault. He accidentally runs over a woman who's a star S&M performer and her widower shows up to claim Junko as his own (and as a bonus also kidnaps her sister, played by the ethereal Izumi Shima). Junko's captor introduces her to aspects of bdsm such as whipping and enemas (always a favorite of roman porno flicks), and her shame and resistance eventually turn to acceptance and pleasure.
Mabuki burst onto the roman porno scene in 1979 and in 1980 made a dozen films. Nikkatsu thought they had another Naomi Tani on their hands and even staged a press conference at which they introduced Mabuki to the assembled journalists while she was done up in bondage gear. These types of publicity stunts weren't unusual for Nikkatsu. They had barely enough time to congratulate themselves for finding a new star when in 1982 Junko abruptly retired.
But Mabuki left behind more than a dozen films and established herself as one of the era's most popular stars. Even so, we rarely recommend these movies and can't recommend this one either, but we love roman porno posters, which taken out of context are always amazing art pieces. Junko is like art too, below. Rest assured, this is not the last we'll see of her.
Shima's education costs become too much to bear.
Above is a poster for Dan Oniroku hebi no ana, also known as Snake Hole, starring Izumi Shima. We wish she had made a few movies in the mainstream, but she was a roman porno star, and that means some of her output can be hard to watch. We make no judgments. Well, no, we do make judgments, but we try to be open minded about these crazy flicks. Japanese filmmakers were exploding old taboos and on the balance that was a good thing, but where Toei's pinky violence usually empowered women, Nikkatsu's roman pornos recast them as victims. In this film, for example, Shima is forced to participate in bdsm fantasies. She's shaved, hung from ropes, walked with a dog collar, and is erotically vacuumed (don't ask). This was Shima's last starring role, and it came near the end of Nikkatsu's roman porno obsession. But of course that was just a marketing label. The studio continued its explorations of taboo subject matter. As far as this one goes, we don't recommend it, but we've seen worse films. If it sounds like something that'd interest you—so pee it. Dan Oniroku hebi no ana premiered in Japan today in 1983.
Based on length I'd say we've been trapped down here at least three weeks.
We don't know who painted this promo poster but we think it's pretty nice. Looking around the internet we noticed that no good scans of it existed. Until now. Our pleasure. The poster was made for the roman porno flick Dan Oniroku ikenie shimai, aka Sisters To Be Sacrificed, which was based on a book by award winning erotic author Oniroku Dan and starred Minako Ogawa and Miyuki Matsumoto. The two play siblings who inherit their grandfather's inn but are held captive and tortured by the employees. Conveniently, the place has a torture pit underneath with—among other diabolical devices—a seesaw with dildos attached that... Well, just have a gander below. Dan Oniroku ikenie shimai premiered in Japan today in 1987.
Getting into the place isn't the problem.
In Nikkatsu roman porno the question, as always, is exactly how the script will place the female lead under the control of men determined to use her. In Dan Oniroku kurokami nawa fujin, aka Black Hair Velvet Soul, it's alcoholism and debt. A gambling and philandering husband owes a pile to a slimy financier, so he puts up as collateral the restaurant he owns with his wife. Izumi Shima plays the wife. Because the place was founded by her father and succeeded because of his sweat and struggle, as she notes in a monologue, she sees no other choice but to agree to work off the debt in an S&M club run by the financier. She goes through the usual range of indignities, but in what has to be considered a bit of a twist, she at no point likes it, nor has some inner freak unleashed, nor somehow dies by ironic means. She does her bit, the restaurant is saved, and she leaves her shitty husband. Why watch the movie? Well, because Shima is a shimmering goddess and she's always worth watching. Sixty-six minutes including credits and you're done. Dan Oniroku kurokami nawa fujin premiered today in 1982.
Junko Mabuki gets deflowered.
We just saw Junko Mabuki last week, and here she is again in the roman porno vehicle Dan Oniroku bara jigoku, which is known in English as Hell of Roses. Oniroku Dan was Japan's perv laureate of erotic bondage literature, and he became so famous that his name often appeared on the front of movies adapted from his material. And his material was pretty fringy stuff, at least by our standards. Last week's Oniroku Dan movie was centered around a slimy photographer's bondage obsession. This time there are two photographers, working in tandem to produce bdsm shots of young women who don't have any real idea what they've signed up for. Junko plays a famous singer who gets into their crosshairs. She'd never submit voluntarily, so the two predators subdue her with chloroform and spirit her away to an isolated house. Once she awakens she puts up a real fight and even manages to bloody one of her captors, but she still ends up caged, roped, dildoed, etc., and then there's that roman porno pee thing again. And a snake. And a kinky blood fixation. But you know what this movie doesn't have? Roses. Go figure. Dan Oniroku bara jigoku premiered today in 1980.
Woof woof. Arf arf. I must be barking mad.
High priestess of bondage Naomi Tani is at it again in Shôgorô Nishimura’s roman porno Dan Oniroku: Nawa-geshô aka Rope Cosmetology, aka Rope Makeover. Based on yet another Oniroku Dan story, Tani plays Kanako, a frustrated housewife whose best friend puts her together with a bondage artist keen to introduce her to the fine arts of humiliation and subjugation. It’s all pretty basic stuff that he’s into at first. He lets her watch another woman being disciplined. Then he ties her up and gives her intro level treatment. He tickles her. He makes her pee in a bucket. He makes her crawl around his apartment while wearing a leash. Then this happens:
And that’s pretty hard to get past. At least it is for us. Sometimes we encounter pretty weird shit maintaining this website, and this is one of those times. Most assessments of Shôgorô Nishimura’s oeuvre mention that this film was about as far out as he got, and we suppose the world should be thankful for that. Dan Oniroku: Nawa-geshô premiered in Japan today in 1978.
Naomi Tani gets roped into a weird situation.
Above is a poster for Genso fujin ezu, aka Fascination: Portrait of a Lady, aka Fantasy Portrait of a Wife, one of many S&M movies starring Naomi Tani, aka the Queen of Pink. In this one Tani plays Hisako, a bored housewife married to a conservative art professor. Hisako is beset by bizarre sexual daydreams, including one of being captured like a stray dog and stuck in a cage. Her frustrations soon center on Tachiki, a visionary art student her husband has expelled from school for being too modernist. Hisako and Tachiki soon begin meeting, and Tachiki introduces Hisako to a world of bondage and other dubious delights. The husbanddoesn't really understand the extent of his wife’s straying until she doesn’t come home one night. Not entirely her fault, though, as she’s tied up in Tachiki’s flat. In the morning Tachiki is inspired by lingering rope impressions on Hisako’s flesh to attempt something more permanent—he tattoos her entire body with a rope design. Hisako’s husband, you can be sure, is going to be pissed.
That’s all we’ll say about the plot of Genso fujin ezu. The idea of a person’s transformation taking on psychic then physical dimensions is pretty clear, but daydreams of domination and humiliation just don’t resonate for us. Bondage and rope arts occupy an important place in Japanese culture, so maybe that’s simply the default direction for bored cinema wives, the same way American movies from the period often featured women taking a walk on the wild side with hot-rodders or counterculture types. That’s our best guess, anyway. Oniroku Dan is the mind behind the literary genre that birthed these films, and if we’d read any of his books we’d have a better idea exactly why Hisako veers into S&M, but failing that we’ll just take the movie on its own merits. Genso fujin ezu premiered today in 1977.
Scenes from a bad marriage.
If there’s one indisputably true statement about Japanese cinema, it’s this: they will try anything. 1974’s Hana to hebi, aka Flower and Snake, is a bondage comedy based on a novel by Oniroku Dan, who specialized in S&M fiction. For the screen version, Nikkatsu Studios recruited reliable sexploitation queen Naomi Tani, who had already appeared in a previous version of the same film entitled Hana to hebi yori: niku no shiiku, aka Flower and Snake: Rearing the Flesh. Where that version was a mere pinku film, this new version would be a roman porno—which simply meant Nikkatsu would spend more money in an effort to elevate the genre into something mainstream Japanese would accept. In the film, Tani plays an aristocratic wife who asks for a divorce but instead is forced into bondage and submission by a man hired for the task by her husband. She experiences a sexual awakening, the employee forms an emotional bond, and complications ensue from there. We haven’t read the novel, but apparently it’s very different from the film and its adaptation was a source of friction between studio and author. But it didn’t matter—Hana to hebi was a smash. It was the first of Nikkatsu’s many roman porno flicks, and the first of what would become a Hana to hebi franchise. It premiered in Japan today in 1974.
The headlines that mattered yesteryear.
1969—The Krays Are Found Guilty of Murder
In England, twins Ronald and Reginald Kray are found guilty of the murder of Jack McVitie. The Kray brothers had been notorious gangsters in London's East End, and for their crimes both were sentenced to life in prison, and both eventually died behind bars. Their story later inspired a 1990 motion picture entitled The Krays.
1975—Charlie Chaplin Is Knighted
British-born comic genius Charlie Chaplin, whose long and turbulent career in the U.S. had been brought to an abrupt end when he was branded a communist and denied a residence visa, is bestowed a knighthood at London's Buckingham Palace. Chaplin died two years later and even then peace eluded him, as his body was stolen from its grave for eleven weeks by men trying to extort money from the Chaplin family.
1959—Lou Costello Dies
American comedian Lou Costello, of the famous comedy team Abbott & Costello, dies of a heart attack at Doctors' Hospital in Beverly Hills, three days before his 53rd birthday. His career spanned radio and film, silent movies and talkies, vaudeville and cinema, and in his heyday he was, along with partner Abbott, one of the most beloved personalities in Hollywood.
1933—King Kong Opens
The first version of King Kong
, starring Bruce Cabot, Robert Armstrong and Fay Wray, and with the giant ape Kong brought to life with stop-action photography, opens at Radio City Music Hall in New York City. The film goes on to play worldwide to good reviews and huge crowds, and spawns numerous sequels and reworkings over the next eighty years.
1949—James Gallagher Completes Round-the-World Flight
Captain James Gallagher and a crew of fourteen land their B-50 Superfortress named Lucky Lady II in Fort Worth, Texas, thus completing the first non-stop around-the-world airplane flight. The entire trip from takeoff to touchdown took ninety-four hours and one minute.
1953—Oscars Are Shown on Television
The 26th Academy Awards are broadcast on television by NBC, the first time the awards have been shown on television. Audiences watch live as From Here to Eternity wins for Best Picture, and William Holden and Audrey Hepburn earn statues in the best acting categories for Stalag 17 and Roman Holiday.
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