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

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  • #31
    That explain's GH's porno/kung fu movie THE ASSOCIATION...man, that movie is weird!

    (presumably because Toei's idea of “multi-cultural” was Sonny Chiba beating the crap out of foreign nationalities)
    Which is ironic, when you consider GH made a mint off Jimmy Wang Yu, Angela Mao and Bruce Lee doing the same, especially to the Japanese! Even Cheng Pei-pei got in on the act, with NONE BUT THE BRAVE.

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    • #32
      Originally posted by Killer Meteor View Post
      That explain's GH's porno/kung fu movie THE ASSOCIATION...man, that movie is weird!
      I completely forgot about that one! Good film! I never realized this before but looking at the cast list on IMDb, Naomi Oka (as Mei Ho), one of Toei's Pinky Violence girls, is there.

      And then there's John Woo's The Dragon Tamers, which featured Ryoko Ema as evil Tae Kwon Do sister! She was one of the biggest non-leading lady names in Pinky Violence, always cast as evil gang leader.


      Left: Ema & Ike in Sukeban: Diamond Showdown (1974). Right: Kano and Ema in Sukeban: Crazy Ball Game (1974)


      Ike, Sugimoto and Ema in Terrifying Girls' High School: Women's Violent Classroom (1972)

      The Dragon Tamers:




      Also Chie Kobayashi, another Toei Pinky Violence girl

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      • #33
        This reminds me that it's been a while since I mentioned how much I enjoy Ryoko Ema in general. Such a great presence and cruel face.

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        • #34
          Might have been me. Fountain Valley area?

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          • #35
            Originally posted by AngelGuts View Post
            Might have been me. Fountain Valley area?
            I'm dying to know what you mean.

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            • #36
              Thank you for the pinky violence tidbits...I really appreciate it :up:

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              • #37
                Originally posted by Takuma View Post


                There's a nice little Reiko Ike biography in the Hotwax's Who's Who Book 和モノ事典1970's 人名編 (2006). English summary (scan below, please point out if I made any glaring mistakes)

                Was scouted by director Norifumi Suzuki and producer Kanji Amao in May 1971 at the famous Aoi Heya club in Tokyo where both Ike and Miki Sugimoto used to hang out
                CORRECTION: While I believe my translation is correct, the story is not! Suzuki says in his book (Toei guerilla senki, 2013, page 14) that the whole story about Ike and Sugimoto hanging out at Aoi Heya was made up by producer Amao for marketing purposes! LOL!
                Takuma
                Senior Member
                Last edited by Takuma; 05-18-2020, 08:48 AM.

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                • #38
                  Highlights from “Pinky Violence: Toei's Bad Girl Films” (Sugisaku & Uechi, 1999) - Part 10

                  I've been reading the book “Pinky Violence: Toei's Bad Girl Films” (東映ピンキー・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.

                  Reiko Ike and Fan Letters from Kids

                  Here's an awesome little story from the book. Uechi writes that while pink films were only shown in adult theatres, “Ike and Sugimoto's girl boss films were treated as mainstream movies for general audiences and were screened as double features with ninkyo yakuza films. This gave birth to an odd phenomenon where, according to an old magazine article, Ike was receiving fan letters from elementary school 5th graders saying “your boobs are way different from my mom's””.

                  Now, I would perhaps take this with a grain of salt knowing how active Toei was at creating publicity for Ike (I wouldn't be surprised if the 5th grader was producer Amao, lol) but it may just as well be 100% true. I could imagine Ike was a goddess to 11 year old boys, and since about half of her Pinky Violence movies were rated “general audiences” (Not R-18), kids should have been able to see them, too.


                  [still from Suzuki's book Toei guerilla senki, 2013]

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                  • #39
                    Highlights from “Pinky Violence: Toei's Bad Girl Films” (Sugisaku & Uechi, 1999) - Part 11

                    From “Pinky Violence: Toei's Bad Girl Films” (東映ピンキー・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.

                    Norifumi Suzuki on Reiko Ike and Miki Sugimoto (Interview)

                    Sugisaku: “What were your impressions of Ike and Sugimoto?”
                    Suzuki: “Ike was like a flower. She had a beautiful skin and a body like a foreigner, but… the flower only bloomed for a short time. Sugimoto was gloomy and rebellious, like a delinquent girl. At first she was playing minor roles, but when she became a lead she gained self-confidence. She was the opposite of Ike, in good and bad.”

                    Sugisaku: “[regarding Ike's 1972 declaration to quit Toei and refuse nude scenes] Did Ike complain that she didn't want to be nude before?”
                    Suzuki: “Not in the first 2 or 3 films, but after that… It may have been the record company, or perhaps it was her own or her parents' wish. “

                    Sugisaku: “Was there a sense of rivalry between the two of them?”
                    Suzuki: “There was. Ike left Toei and Sugimoto became the lead actress, then Ike came back again. So then we had two lead actresses. But [producer] Amao was really good with that stuff. We made them compete. When one played the lead, the other would be the supporting star, and we'd rotate this pattern [from film to film]. Well, I thought it would be good if they didn't get along too well.”

                    Sugisaku: “It would've been terrible if they got along too well, and then decided to quit together!” (laughs)
                    Suzuki: “Not at all. I was confident I could make movies without them. Back then I was asked “why do you keep making porno films?”, and I replied “I can make a no-name girl into a star overnight… I can make legends like that. That's why I work as a film director”. So, even if they'd quit, I'd go on and find a new girl.”

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                    • #40
                      Highlights from “Pinky Violence: Toei's Bad Girl Films” (Sugisaku & Uechi, 1999) - Part 12

                      From “Pinky Violence: Toei's Bad Girl Films” (東映ピンキー・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 Hot Springs Geisha, Getting Angry at Sandra Julien, Miki Sugimoto's Nude Rebellion (from Norifumi Suzuki Interview)

                      Sugisaku:” I wanted to ask you about the title of Hot Springs Earthworm Geisha (温泉みみず芸者) (1971).”
                      Suzuki: “The original title was Hot Springs Octopus Pot Geisha. I was shooting when producer Okada came to me and said “Octopus… that's weak. Let's make it Earthworm. So that's why it's called Hot Springs Earthworm Geisha but the film is full of octopuses. “

                      Sugisaku: “That was sloppy (laughing)”
                      Suzuki: “Asao Koike gave a great performance in the film. He played a man who had become impotent because of war, and recovered thanks to Ike.”

                      Sugisaku: “War and nationalism was addressed in the film.“
                      Suzuki: “It was an era when words like anti-authority and anti-establishment had a good ring to them. The student movement was amazing back then, too, and I think I was influenced by that.”

                      --------------

                      Sugisaku: “The next film has an amazing title: Modern Porno Tale: Inherited Sex Mania (現代ポルノ伝 先天性淫婦) (1971).”
                      Suzuki: “That title can't be matched! (laughs). This film was problematic to bring together. It features French porno actress Sandra Julien. But we didn't know if she'd be available when we were making the scrip. So we composed the script in such a way, that we could make the film even without her and insert her part [if she was available]. As a result there are some things in the script that don't really connect. In the end, we were able to use Julien for 2 or 3 days.”

                      --------

                      Sugisaku: “Were there any communication problems [with Sandra Julien]?”
                      Suzuki: “No, we had an interpreter. Well, there were some troublesome things, but after I got angry I apologized properly.”

                      Sugisaku: “What did you get angry about?”
                      Suzuki: “About doing the acting job right. She was perfectly fine showing pubic hair and things like that, but there were some things she'd refuse to do. I think it was subtle cultural difference about what is embarrassing and what is not. But you can't make a film if you're concerned about such subtle things.”

                      Sugisaku: “Because Sandra did not use crotch tape (maebari), your film became “Tokugawa Crotch Tape Ban”. (laughs)“
                      Suzuki: “She said “Why should I put it on? It's perfectly natural [to be naked]”. I think Sugimoto was influenced by her because she stopped using maebari, too! “

                      --------------

                      Sugisaku: “Bunta Sugawara appears in Hot Springs Suppon Geisha (温泉スッポン芸者) (1972)”
                      Suzuki: “He came to meet director Sadao Nakajima for his role in the upcoming Cold Wind Monjiro (木枯し紋次郎) (1972). I saw them in a pub and asked if they could appear in my film next day. Nakajima is in the film, too.”

                      Takuma
                      Senior Member
                      Last edited by Takuma; 06-02-2020, 12:14 PM.

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                      • #41
                        In August 1974 Reiko Ike starred in her only Nikkatsu film, the mainstream (not Roman Porno) martial arts action film Black Panther Bitch M (黒い女豹M). The Japanese DVD comes with a very interesting booklet by Fujiki TDC detailing the film's production background. Below is an abbreviated translation of the most interesting parts. My translation may not be 100% accurate.

                        Reiko Ike at Nikkatsu, Miki Sugimoto's Nikkatsu offer

                        “In late 1973 there was a generation change going on in Toei Porno. Reiko Ike had turned 19 and was no longer perceived to have the aura for sukeban / high school girl roles. In January 1974 her final Sukeban film was released. Later in 1974 karate films became a huge hit. Toei Porno actresses started to became homeless. “

                        “Ike and fellow Toei Porno actress Miki Sugimoto both received offers from Nikkatsu. First Sugimoto was offered the film Sukeban Deka: Dirty Mary (すけばん刑事 ダーティ・マリー) (1974), but she refused and the role went to Hitomi Kozue. Then, Ike received an offer. That film was Black Panther Bitch M.”

                        “Black Panther Bitch M was originally developed under the title “The Kunoichi”. The film was released at the height of the martial arts film boom. At the time, Nikkatsu was also the Japanese distributor of The Chinese Boxer and The Big Fellow which came out as a double feature.“

                        ““I was out of work and I wanted to take this opportunity for a fresh start. I feel lucky to be able to star in a Nikkatsu film. I don't really mind being called a porno actress, but I also wanted to make a film that isn't a porno. This film isn't going to be an adult film, and the role I've been given is a departure from what I've played before” Ike said in May 1, 1974 issue of Sports Nippon. “

                        “Filming started at the end of May under a new title “Red Scorpion” and seemed to proceed smoothly until an article appeared in Nikkan Sports on July 5. “The Queen of Porno goes to Nikkatsu Porno Studio, fans expect a full-on porno film, but she won't take her clothes off in this action film. What are we paying her for, some people at Nikkatsu are thinking. A Reiko Ike who won't strip! How about that?””

                        “Indeed, Ike does not strip in the film; however, there is a scene where Ike's breast is exposed during a hand to hand flight when her blouse is torn. This scene had been added to the script and was to be filmed in a hotel room on a bed, according to information from Nikkatsu. Ike got all upset, saying “you promised there would be no fuck scene [sic]” and demanded the scene to be re-located on a rooftop.”

                        “Nikkan Sports reported Ike saying “I agreed to be in this film on the condition that it would be a general film [not an adult release]. If not, I wouldn't have taken the job. I'm doing what I promised, but Nikkatsu isn't communicating their intentions properly.” So, there was an evident conflict of intentions between the parties, but what exactly is the truth remains unclear.”

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                        • #42
                          Highlights from “Pinky Violence: Toei's Bad Girl Films” (Sugisaku & Uechi, 1999) - Part 13

                          From “Pinky Violence: Toei's Bad Girl Films” (東映ピンキー・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.

                          A few info bits about from Takeshi Uechi's Sugimoto & Ike Chapter

                          Miki Sugimoto

                          Sugimoto was born 1953 in Kanagawa prefecture. Her real name is Nobuko Abe (安部信子).

                          She had a big crush on sumo wrestler Daigoro Takamiyama (髙見山 大五郎). “I love a fat person (*). I can die if I can marry Takamiyama” Sugimoto said. A women's magazine eventually arranged them to meet, but Takamiyama was so shy they ended sitting silently most of the time. It's said even the article written about their encounter made the readers feel just awkward.

                          Sugimoto married a former classmate gone trading company employee in 1978 and disappeared from publicity.

                          * the grammar is bit unclear. I don't know if she loved all fat people or just one fat Daigoro. Probably the latter…

                          Reiko Ike

                          Ike was born in 1954 in Tokyo. Her real name is Reiko Ikeda (池田玲子).

                          Ike was arrested for the violation of the Stimulant Drugs Control Law in May 1977, and although she was not charged, she was soon arrested again for gambling. Although she managed to make a comeback to the entertainment industry, her career eventually faded out.

                          She appeared on NTV's TV series Yooi Don! (ヨーイ・ドン!!) [1972/6/1 - 1972/6/29] after she had left Toei and was pursuing an idol career. The attached bikini photo is from that time [I'm not sure if it's from the series or just from that time].

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                          • #43
                            That's a pretty tasty photo of Reiko Ike (in what is probably the world's least comfortable bathing suit). Can you elaborate on what an "idol career" would entail? Is that singing? I have an album of hers on CD.
                            mjeon
                            Senior Member
                            Last edited by mjeon; 06-14-2020, 10:00 AM.

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                            • #44
                              Originally posted by mjeon View Post
                              Can you elaborate on what an "idol career" would entail? Is that singing? I have an album of hers on CD.
                              Yeah, mainly singing. I'm not sure how familiar you are with Japanese idols, so I may be stating the obvious, but I always though Mark Schilling's definition of an idol as a "manufactured entertainer" was spot on. You might also call them real life tamagotchi or human versions of YouTube kitten videos. Most idols careers center on singing, but always need to be supported by all sorts of idolling activities that aim to sell an image of the idol as the most lovable creature on earth that fans can have daydreams of. That means releasing photo books, doing fan meetings, fan products, appearing in TV shows / TV commercials / movies / recording songs, and doing all kinds of PR.

                              The difference between an idol and a singer is not always obvious, so while the word "idol" comes up in the Reiko Ike context, I don't know exactly what the emphasis would've been in her case... if that career had taken off. But as was the case, it didn't. Her fans were more interested in seeing her nude than hearing her sing, and I'd imagine it was difficult to build an enduring idol image (loveable, fascinating but unreachable) around her since she had appeared nude in all her films already. Well, that's my speculation.

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                              • #45
                                “You should not praise me alone. If it wasn't for that great rebellious producer Amao whom I teamed up with, and the power of cheap restaurants, which characterized Toei filmmaking of the time, these films would not have been born”. - Norifumi Suzuki (1999).

                                I think I'm done with Sugisaku and Uechi's book for a while, and shall be moving on to Suzuki's book next. The quote above shall serve as closing words for now.

                                I'll get back to the cheap diner filmmaking later since Suzuki brings it up multiple times in his book.

                                So this was Highlights from “Pinky Violence: Toei's Bad Girl Films” (Sugisaku & Uechi, 1999) - Part 14

                                Takuma
                                Senior Member
                                Last edited by Takuma; 06-14-2020, 08:31 PM.

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