|Vintage Pulp||May 18 2018|
When she's bad, she's really bad.
Above is a poster in tateken size for Nikkatsu Studios' pre-roman porno action flick Furyô shôjô Mako, aka Bad Girl Mako, a film for which we showed you a standard sized promo a while back. We didn't really talk about the movie back then, but we've seen it. There's lots of fighting, lots of music, and lots of guys in suits getting roughed up. Junko Natsu plays Mako, a tough party girl who meets a boy named Hideo, lets him stick his honeydripper in her jar of manuka, and decides she's in love. It's amazing that she reaches this conclusion after one quick throw in the back seat of a convertible, but whatever. Unfortunately, before their relationship progresses much farther loverboy is killed and Mako, like any good pinku revenant, gets stabby on the bad guys. There's nothing unexpected here, but in the end you still have a reasonably entertaining entry in the girl gang genre, and the many club scenes and nice exterior cinematography add extra value. Furyô shôjô Mako premiered in Japan today in 1971.
|Vintage Pulp||Apr 26 2018|
Mine grows faster than yours, but 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.
JapanNikkatsuDan Oniroku ikenie shimaiSisters To Be SacrificedMinako OgawaMiyuki MatsumotoOniroku Danposter artcinemapinkuroman porno
|Vintage Pulp||Apr 14 2018|
If you're lucky she'll let you kiss her there.
Above is a poster we first noticed some years back at the blog Sangre Yakuza for the Nikkatsu Studios roman porno flick Inranna kankei, aka Nasty Relationship, which starred pinku icon Hitomi Kozue, and— Wait, what is she holding? Inflatable plastic lips? A novelty sized cherry gummi? Whatever it is, it's supposed to look vaginal. Pinku movies in general are not subtle, and roman pornos are even less so. But this is not a flick we were able to track down, which is sad, because we'd like to know what's going on here. Not finding films has happened a lot this month but it's just one of those random dry spells that occur when you watch nothing but rare classics. The worm will turn, the yin shall yang, and the cloud shall burst. In the meantime we thought we'd share this promo anyway, weird lips and all, because Kozue is a Pulp Intl. favorite. Inranna kankei premiered in Japan today in 1976.
|Modern Pulp||Mar 12 2018|
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.
JapanNikkatsuDan Oniroku kurokami nawa fujin団鬼六 黒髪縄夫人Black Hair Velvet SoulIzumi ShimaOniroku Danroman pornoposter artpinkucinemamovie review
|Vintage Pulp||Feb 18 2018|
Erina Miyai's world is turned upside down.
Above is a poster for the Nikkatsu roman porno flick Hatachi no sei hakusho: Nokezoru, which premiered in Japan today in 1978. The literal translation of the Japanese title for this is so convoluted and crazy it's useless to even repeat it, but for its international release it was called Brute's Desire, which doesn't bode well. But we love the poster art, and we love Erina Miyai. If the concept of roman porno is new to you just click the keywords below to have all our posts on the subject at your fingertips. Hatachi no sei hakusho: Nokezoru premiered in Japan today in 1978.
JapanNikkatsuHatachi no sei hakusho: Nokezoru20 歳の性白書 のけぞるBrute's DesireErina Miyaiposter artcinemaroman pornopinku
|Vintage Pulp||Feb 7 2018|
Nikkatsu pushes the envelope of taste—and social responsibility—with Okasu!
Above, a poster for the roman porno flick Okasu!, which premiered in Japan today in 1976. The title here, in a rare occurrence and complete contrast to the above film, translates directly—Rape! Considering that hundreds of roman porno (short for “romantic porno”) movies were made by Nikkatsu Studios during the ’70s and ’80s we take them seriously and seek to understand them. So we watched this and... we don't understand. Starring Natsuko Yashiro, who you may remember from her female diver movies, and co-starring Naomi Tani and Yuri Yamashina, Okasu! is the story of a rape victim who develops an obsession for her attacker and searches the city for him, constantly exposing herself to similar dangers.
To be clear, we make no cultural judgments here—around the same time in the U.S. on the soap opera General Hospital, Luke raped Laura and became the number one hunk on daytime television. So we're not failing to understand Okasu! from a cultural vantage point, but from a generational vantage point. We don't find non-consensual anything sexy. From our perspective this dubious flick has only two plusses: there's a highly ironic, even grimly comical, ending; and Yashiro masturbates with a walnut, which we never knew was possible. Wanna try it? Follow her lead below. But when you're making your way through vintage Japanese movies give this one a pass.
JapanNikkatsuOkasu!Rape!General HospitalNatsuko YashiroNaomi TaniYuri Yamashinapinkuroman pornoposter artcinemamovie review
|Vintage Pulp||Jan 27 2018|
Even in Japan payback is a bitch
Above, a nice but slightly damaged poster (it had a strip of tape across the top) for Joshigakuen Yabai Sotsugyô, aka Girls' School: Wild Graduation Song, starring Junko Natsu and Yoshiko Ikebo in a movie about students at two girls schools—White Rose Academy and Harbor Junior High—and how their rivalry turns into open conflict. There's a really funny scene in this where the two schools' volleyball teams get into a massive brawl after one of the girls is hit in the crotch. We knew serves could be underhanded, but that's just plain evil. Joshigakuen Yabai Sotsugyô premiered in Japan today in 1971.
JapanNikkatsuJoshigakuen Yabai SotsugyôGirls' School: Wild Graduation Song女子学園 おとなの遊びJunko Natsu夏純子poster artpinkucinema
|Vintage Pulp||Jan 24 2018|
You only get partial coverage, and that's if you're lucky.
Let it be known—if you cheat on Hitomi Kozue she'll come after you with a samurai sword. At least, that's what happens in the intro of Shin jitsuroku onna kanbetsusho: Rengoku, aka New True Story of a Woman Condemned to Hell. After Kozue slices her cheating man and his mistress, we smash cut to her chained in a prison van headed toward the rest of the movie. Jail time starts with a complimentary cavity search, and from there the amenities continue to disappoint. No pillow mints. No DSL. There's cell service, though, which comes in quite strongly after dark. But in general Kozue finds incarceration to be a bummer. Oh well. These deprivations are nobody's fault but hers—you've gotta keep a level head even when your partner is dicking a local tramp.
Kozue is lonely, but she soon learns that a man can easily be replaced by a piece of polished wood, or a religious figurine, or an inflated condom, or a willing finger or two. If she'd known all those possibilities before she kebabed her boyfriend she might have avoided imprisonment. But maybe not—we learn in flashback that what seemed like a straightforward case of catching her man cheating is more complicated. We won't say more. You'll just have to watch the film, which is a better-than-average women-in-prison entry, with that unique pinku flair, and a special beauty in the lead role, plus Yuri Yamashina in support. Shin jitsuroku onna kanbetsusho: Rengoku premiered in Japan today in 1976.
Below: a nice promo image of Hitomi. Why? Be-Kozue we had it. More from her later.
JapanNikkatsuShin jitsuroku onna kanbetsusho: RengokuNew True Story of a Woman Condemned to HellHitomi KozueYuri Yamashinapinkuposter artcinemanudity
|Modern Pulp||Jan 22 2018|
Need a little help around the house?
Above is a poster for Dorei keiyakushu, yet another entry in Nikkatsu's roman porno pantheon, and one that gets viewers to the usual place by a slightly different route. The film opens with Nami Matsukawa having her pubic hair shaved off by a man. She isn't too thrilled about it. Then he gives her an enema, and it's us who aren't too thrilled. Then he binds her in rope kinbaku-bi style, basically wrapping her like a gift, carefully places her in a crate with some packing material, closes it up and has some delivery guys take the container away. The parcel ends up in the house of Hidekazu Mikami, who's surprised as hell when he opens it, as is his wife, played by Izumi Shima. Imagine explaining that. A sheaf of legal documents around Nami's neck says that she's a slave and will serve as payment of a debt. And just like that it's straight to the kinky sex and domination. You can always count on Nikkatsu—they never fail to get you to bondage land, if indeed that's where you want to go. Us, we can take or leave it. Even though we have many more roman porno posters we'd like to share, we may shift more toward Toei's pinky violence action movies for a while. They're harder to find, but worth the effort—and we can only watch so many enemas. Dorei keiyakushu premiered in Japan today in 1982.
It says she'll do anything you ask. Laundry, dishes, handjobs, whatever.
Baby, I swear I didn't order a slave.
But as long as we have one...
Baby, I swear I didn't order a slave.
But as long as we have one...
JapanNikkatsuDorei keiyakushuSlave ContractNami MatsukawaHidekazu MikamiIzumi Shimapinkuroman pornoposter artcinemabdsmmovie review
|Modern Pulp||Jan 7 2018|
When we get together we do the usual stuff—chat, drink wine, endure whippings, have a forced enema or two.
We don't share pinku and roman porno posters just because we're interested in the films. We also share them because, first, the art is always great, and second, it's easy to get. Its availability is a reflection of how many productions of the type were made—in a word, many hundreds. That's two words. Let's go with thousands—which is not an exaggeration. These were incredibly popular films is the point, made by multiple studios trying to place double features into vertically integrated, wholly dependent cinemas every weekend. Many of the movies have fallen prey to the ravages of time, which occasionally leads to us sharing art from movies that no longer exist, but today's offering, Nawa to chibusa, aka Rope and Breasts, starring Nami Matsukawa and Izumi Shima, is one we did in fact find and watch.
The movie premiered in Japan today in 1983, and it involves a couple running a traveling bdsm show who arrive in Kyoto and are hired for a private performance that turns into something more. The woman is planning to retire, but now learns what bondage and discipline really are as she and her man are teased and tortured to within an inch of their sanity. When all is said and done the woman forgets retirement, not because she loves torture, but because she realizes her life is hell anyway and if she has to live in hell she'd like to at least make money from it. Very upbeat stuff. An interesting aspect of the copy we saw is its use of pixelation to obscure the private parts of the actors (see below). Since roman pornos are softcore the masking is purely directorial flourish, designed, we suppose, to give the action a veneer of the forbidden.
For those who've missed our previous discussions about the roman porno genre, the filmmakers generally contend that the sexual abuse depicted is symbolic of patriarchal Japan's subjugation to occupying Americans, or to modern life, or to a burgeoning counterculture, etc. As a smart man once said, when something is symbolic of everything, it's symbolic of nothing. In other words, we don't buy the boilerplate on roman porno, at least not fully. We think it was primarily money driven, and the more intellectual aspects were secondary, distantly. But the main thing we try to remember as outsiders looking in is that cultural judgement is a slippery slope, and while in this particular 2018 moment of discussion about the all too prevalent dangers men present to women, it's easy to dismiss roman porno films as masculine horror fantasies sprung from the brows of unrepentant misogynists.
But times change, and there are layers to the issue that make such assessments a bit too facile. It's possible to be on one side of a cultural issue during a certain moment in time, but be judged as on the exact opposite side a generation or two later. Today's observers could easily conclude that roman porno filmmakers were conservative nationalists, but in reality they were mainly liberal feminist allies satirizing conservative patriarchs/patriots. Their sexualization of women was spurred in part by box office need, but they believed in their own symbolism and there's no doubt most of them thought of themselves as modernist trailblazers smashing social barriers. The path their output has taken through the decades is parallel to that of Hugh Hefner, hailed as women's rights hero in 1967, reviled as a cog in a destructive porno machine half a century later. Times change.
If Japanese viewers of 1980s American horror movies had demanded to know why so many productions featured people being lured into the woods to be slaughtered it would have led to some uncomfortable conversations about apocalyptic American attitudes toward sex, as well as the eternal American worship of violence. These discussions would have been much more needed than any concerning 1970s Japanese mores. But as for modern observers, they get to judge earlier filmmakers only up to a point. They weren't there. They forget that work incommercial media has its demands, if the work is to be secured at all. Old targets are no longer fully relevant, as well as being way too easy to criticize in hindsight. Subversive messages are often slipped into popular art and those messages matter. They wink at us. They say, “You and I both know this is just entertainment, but this other thing—if you are detecting it—is what we're really about here.” But modern viewers of old films often miss these important messages. As culture changes receptivity to these small signals change too.
So, okay, Nawa to chibusa is a weird movie. It's a weird movie hailing from a weird genre. The genre was meant to both make money and provoke people, and all these years later the films remain as artifacts of an industry embarked upon a radical social discussion, spearheaded by filmmakers who hadn't yet realized that images also carry weight apart from their alleged political intent. In other words, the question becomes whether the same goals could have been achieved by other means—i.e. other means of provocation, other types of imagery. We can't answer that. We weren't there. We don't know of anyone who has tallied the social gains and losses, if any, brought about by all this shocking cinema. All we have is an inadequate twenty-first century perspective, an inadequate Western perspective, an incomplete male perspective, and a whole lot of crazy posters.
JapanKyotoNikkatsuNawa to chibusaRope and BreastsNami Matsukawa縄と乳房Izumi ShimaHugh Hefnerposter artcinemaroman pornopinkunuditybdsmmovie review