Operating at a whole new delinquency.
Above are two posters for Zubeko banchô: hamagure kazoe uta, aka Delinquent Girl Boss: Ballad of Yokohama Hoods, third in the Delinquent Girl Boss series, with Reiko Oshida reprising her role as the ass kicking Rika Kageyama. We managed to track down a copy of this and took a gander. It's similar to other entries, with Oshida going from the frying pan to the fire—or more literally, from reform school to the mean streets, as shortly after arriving in Yokohama she gets tangled up in girl biker and organized crime weirdness. She proves her mettle to the girls, then sets about causing trouble for the boys. All this is wrapped around a subplot involving a deserter from the U.S. army.
One distinguishing aspect of Yokohama Hoods is that sex and nudity are de-emphasized throughout the proceedings, and we think this actually helps the movie. We're still grappling with the often challenging role of sexual violence in pinku films, trying but not always managing to understand it in its cultural context, so Yokohama Hoods was refreshing for its lack. Other aspects are exactly as you'd anticipate—i.e. a climactic confrontation between the tough good girls and the superbad boys. Director Kazuhiko Yamaguchi goes all out, staging a waterfront fracas featuring speeding motorcycles, blazing machine guns, flashing swords, and more. If everyone actually aimed their guns rather than thrusting them wildly at their targets the fight might have ended sooner, but in any case Yokohama will never be the same. Zubeko banchô: hamagure kazoe uta premiered in Japan today in 1971.
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.
Some people just can't keep out of trouble.
We already showed you a poster for Reiko Oshida's 1971 pinku actioner Zubekô banchô: zange no neuchi mo nai, aka Delinquent Girl Boss: Worthless To Confess. She returns above on two rare alternate promos. Those inclined can visit our earlier write-up on the movie here.
She can cause serious bodily harm with knives and swords.
Zubekô banchô: Tôkyô nagaremono, known in the English speaking world as Delinquent Girl Boss: Tokyo Drifters, was Reiko Oshida’s second spin in the Girl Boss series after Delinquent Girl Boss: Blossoming Night Dreams was a hit in cinemas fewer than three months earlier. Toei Company must have planned for a sequel all along, but a follow-up installment in fewer than 90 days? Not surprisingly, the final product feels a tad aimless—though on the plus side, nobody gets fucked by a German shepherd (yes, we’re still having problems with that). There are some funny bits in this movie, which is good, because when substance is lacking comedy is a perfect time-filler. You also get reform school hi-jinks, a stylish Oshida, and a final mass sword fight against the Yakuza—so what more do you need? Zubekô banchô: Tôkyô nagaremono premiered in Japan today in 1970.
Reiko Oshida delights the senses.
Above are the front and rear cover for pinky violence icon Reiko Oshida’s album Nani ga doshite kounatta, which translates to something roughly along the lines of “Why does this happen?” It’s available with a couple of different covers, but we like the above version with its array of playful Oshidas. The rear is also nice, and some enterprising Tumblr.com user dug up an enlargement, which, since Oshida is a Pulp Intl. fave, we thought we’d share with you, just below. But what of the music, you ask? It falls, we suppose, into the kayokyoku category, which is to say it’s Western-inspired. We like it, but maybe you should judge its merits for yourself. Check out the album’s title song.
The only debt she cares about is revenge.
Info abounds on the internet about Toei Studios' Zubekô banchô: zange no neuchi mo nai, aka Delinquent Girl Boss: Worthless To Confess, but it’s a movie that falls into the our-website-isn’t-complete-without-it category, so we’re adding our two cents. The plot is complex, and really can’t be synopsized in just one sentence, but here we go: Reiko Oshida plays Rika, a recent parolee from reform school who through a series of encounters finds herself in conflict with local Yakuza thugs and eventually puts together a gang to wipe them out.
Oshida and her cohorts, with their matching red jumpsuits, may look like something from a j-pop video, but of course the coats are merely cover for their katanas, which they promptly draw and begin using to murderous effect. The climactic battle is elaborately staged, but getting five actresses and many extras to convincingly fight with swords is impossible, which means fans of realistic action may not be impressed. Even so, there are some cool cinematographic moments.
The finale may bring to mind Kill Bill, and indeed Quentin Tarantino is said to have been influenced by the sequence. Unlike many pinku flicks, this one is widely available, so at least you can see it for yourself and not have to take our word for anything. Love it or hate it, at the very least, Reiko Oshida is worth the time expenditure. Zubekô banchô: zange no neuchi mo nai premiered in Japan today in 1971.
Just can't give you up.
Poster for Jerahsî gêmu, aka Jealousy Game, with pinku star Reiko Oshida, who you see below in the original promo shot that served as the basis for the poster. We’ll be getting back to Oshida a little later on. Jerahsî gêmu premiered in Tokyo today in 1982.
It's easy. We have an uploader that makes it a snap. Use it to submit your art, text, header, and subhead. Your post can be funny, serious, or anything in between, as long as it's vintage pulp. You'll get a byline and experience the fleeting pride of free authorship. We'll edit your post for typos, but the rest is up to you. Click here
to give us your best shot.