1960s/1970s/1980s Japanese Genre Cinema - From Books and Magazine Articles (NSFW)

[Jason C]

Thank you Takuma

[Takuma]

Highlights from “Pinky Violence: Toei's Bad Girl Films” (Sugisaku & Uechi, 1999) - Part 4

I've been reading book the “Pinky Violence: Toei's Bad Girl Films” (東映ピンã‚ー・バイオレンス浪漫アルバム) (1999). I'll try to summarize a few highlights. My translations may not be entirely accurate.

About the controversy regarding Teruo Ishii's Abnormal Love series

While History of the Shogun's Harem (徳川女系図) (1968) was the big hit, its release was met with great public uproar. It was called “gender discrimination” and “insult towards women”. PTA and women's organizations raged against it in the media.

In November 1968 Kinema Junpo critic Tadao Sato wrote that “Japanese cinema had hit the rock bottom” with The Joy of Torture (徳川女刑罰史) (1968). “History of the Shogun's Harem was awful, but this is even worse. It's the worst. The only way to go lower that this would be a live ero show” he said and continued describing it as insulting and nauseating.

On April 14, 1969, during the production of Inferno of Torture (徳川いれずみ師　責め地獄), 24 assistant directors issued a joint statement that was posted on a union bulletin board at Toei Kyoto Studios. They condemned the Abnormal Love series, saying it “focuses on nothing but abnormality, cruelty and perversions”, “loses sight of the essence of cinema”, and “is nothing but shameless money making by Toei”. Furthermore, “the series is hurting the social evaluation of cinema [as art] and is progressing the downfall of cinema”. “These films are harmful for the mental wellbeing of us, the filmmakers who have to participate in making them.” “We will strive to end the production of such films from now on”.

[The incident was further fuelled by the actress change in Inferno of Torture: original lead Teruko Yumi took off in the middle of filming, and was replaced by Yumiko Katayama].

The media immediately picked up the incident, but the controversy eventually lead nowhere because the assistant directors weren't fully united. One of them, Misao Arai, ended up making his own directorial debut with another entry in the series, Hot Springs Pimp Geisha (温泉ポン引女ä¸) (1969) some months later [it's mentioned elsewhere in the book that Ikuo Sekimoto was also among those assistant directors].


[stills from Orgies of Edo]

[Takuma]

“Pinky Violence: Toei's Bad Girl Films” (Sugisaku & Uechi, 1999) - Part 3

I've been reading the book “Pinky Violence: Toei's Bad Girl Films” (東映ピンã‚ー・バイオレンス浪漫アルバム) (1999). I'll try to summarize a few highlights. My translations may not be entirely accurate.

About Producers Okada and Amao, Toei Going Pink (3/3):

“She [Reiko Ike] had an even more gorgeous body than was expected, and she was enthusiastic to become an actress, the only problem was that she was 16 years old. Mr. Amao made her an adult in her resume, which was a complete fabrication.”

“Ike was billed as the 'First Japanese Porno Actress' [in the advertising materials for Hot Springs Mimizu Geisha]. Naturally this sparked many questions from reporters. Ike gave them answers prepared [by Amao] in advance. In this sense, it could be said she became a star under Toei's full control.”

“She immediately caught the attention of men (and their crotches) [sic], but her big break would not have been possible without producer Amao's information strategy”.

[Takuma]

“Pinky Violence: Toei's Bad Girl Films” (Sugisaku & Uechi, 1999) - Part 2

I've been reading book the “Pinky Violence: Toei's Bad Girl Films” (東映ピンã‚ー・バイオレンス浪漫アルバム) (1999). I'll try to summarize a few highlights. My translations may not be entirely accurate.

About Producers Okada and Amao, Toei Going Pink (2/3):

At Toei Kyoto studios assistant directors protested against Teruo Ishii's Abnormal Love series in April 1969. The media took notice and a big controversy ensued. In a 1969 interview by Kinema Junpo Okada responded to film critic Eiichi Takahashi's criticism that “Toei might hurt its image by making anti-cultural and socially unhealthy movies”. Okada said “Toei isn't receiving any money from the government. People can say what they want, but all Toei's got is its spirit of freedom, and will proceed independently. There are people who criticize Toei for making ero-guro films, but that's not how I see it. The trends are changing and the system must change as well. With the television taking its share of the audiences, we cannot entertain viewers if we keep doing films in the old way.”

Regarding the protest by assistant directors, Okada says “I don't really understand that. They are free to come to me and say they don't want to work on this kind of film. They protested just because they were jealous of Ishii. That protest wasn't any kind of act of bravery”.


[two stills from Inferno of Torture]

[Takuma]

“Pinky Violence: Toei's Bad Girl Films” (Sugisaku & Uechi, 1999) - Part 1

I've been reading the book “Pinky Violence: Toei's Bad Girl Films” (東映ピンã‚ー・バイオレンス浪漫アルバム) (1999). I'll try to summarize a few highlights. My translations may not be entirely accurate.

About Producers Okada and Amao, Toei Going Pink (1/3):

Early on in the book there is a chapter discussing Toei producers Shigeru Okada (岡田茂) and Kanji Amao (天尾完次). The author of this chapter, Ban Jackson, was not able to interview them, so he's referencing relevant parts from Eiji Oshita's book “Eiga sangokushi: Shosetsu Toei” (映画三国志 小説東映) (1990).

In 1967 Okada, the head of Toei Kyoto, called producer Amao and said why don't we try to profit from pink films? “Let's make a big studio erotic period film! You do it!” Amano hesitated, but couldn't refuse Okada's order, so he made Ninja's Mark (忍びの卍) (1968/1/27) with Norifumi Suzuki. However, the film failed at the box office because the actress didn't strip. “Men don't forgive erotica that goes only halfway there!” [note: I saw the film ages ago and I'm positive there is nudity, so I guess he means either “lead actress” or “not enough”].

For their 2nd attempt, Okada ordered Amao to gather a large cast of pink actresses. Teruo Ishii was assigned to direct the film, which was History of the Shogun's Harem (徳川女系図) (1968/5/1). But there was instant criticism from peers, particularly actors and filmmakers of ninkyo films who complained “Why should a big studio like Toei make pink films?” Okada commented “I just wanted to make big hits out of pink films, like producer Koji Shudo had made of ninkyo films”. This is the way Toei Pinky Violence films were made, with a “hungry and punkish” approach. History of the Shogun's Harem became a big hit. Part of Okada's recipe for success was scandalous titles that would sell the films. For example, Okada was the one who added “Lustful” to “Lustful Shogun and His 21 Concubines” (エãƒå°†è»ã¨äºŒåä¸€äººã®æ„›å¦¾) (1972).


[still from Hot Springs Massage Geisha, 1968]

[Jason C]

Thank you so much Takuma. Great stuff

[Takuma]

An advertisement for Modern Yakuza: Outlaw's Code (現代やくざ　与太者の掟) (1969) in Feb 10, 1969 issue of Heibon Punch, with a message from Bunta Sugawara. The damn thing reads almost like a yakuza greeting, and was quite difficult for me to translate, but I tried my best. My translation doesn't do full justice to the original, though.

"My name is Sugawara Bunta, pleased to meet you.

I am hereby writing with regards to Modern Yakuza: Outlaw's Honor and Humanity, in which I have been granted the lead role. It's been less than a year since I joined Toei, but I have been making films for about 10 years now. I was surprised by this assignment and have given my utmost to live up to the honour. Wakayama Tomisaburo, Fuji Junko, Machida Kyosuke and many other senior colleagues have honoured my first starring role by appearing in this picture, and made a deep impression on me with their lively performances. I've put all my strength into it, and it may be but a novice's enthusiasm, but I would like to take this opportunity to ask for the support of all your Punch fans.

Sugawara Bunta"

[willpak]

I really wish I could read this book. My Japanese is non existent.....unfortunately.

[Takuma]

Here's a great little story I wanted to share from Norifumi Suzuki's book Toei Guerilla Senki (東映ゲリラ戦記) (page 51-52). This takes place sometime in early 1972, after Reiko Ike had become a big star and Suzuki was preparing for his 5th film with Ike. Summary and rough translation:

“One of my favourite movies is The Barefoot Contessa, which depicts the turbulent life of a girl played by Ava Gardner, who becomes a star with the help of a third rate Hollywood director played by Humphrey Bogart. Thinking about it, maybe I was a third rate director who did his best to bring up a nameless delinquent Reiko Ike.”

“I was staying in a guest house in Meguro when producer Kanji Amao barged in with a newspaper in his hand. “Reiko Ike to become a singer, refuses to take nude roles anymore. Quits Toei, joins the same music company as (idol) Saori Minami” the scoop said.

“Japan's Humphrey Bogart stood in silence.”

Suzuki and Ike filming Girl Boss Blues: Queen Bee's Challenge

[tetrapak]

great idea for a thread...:up:

[Jason C]

Thank you for sharing. Awesome stuff.

[47lab]

I bought 3 or 4 of these Hotwax books at half price when my local Kinokuniya shut down.There were a couple more I wanted but someone bought them or hid them when I came back the next day.

[Ian Jane]

These are the 2 I have.

[Takuma]

I've got a couple of those Hot Wax books, they're great. I've no idea what the articles say but they're always full of great pictures and art.

Which ones have you got? I have the one above + these two (edit: three)


(these reside on the old continent, though. I should have a couple of scans on my computer though).

[Ian Jane]

I've got a couple of those Hot Wax books, they're great. I've no idea what the articles say but they're always full of great pictures and art.