|Vintage Pulp||Nov 1 2014|
The above poster is the original promo Kôyû Ohara’s motorcycle gang roman porno Shiroi mesuneko: mahiru no ecstasy, aka White Female Cat: Ecstasy at High Noon, and as you can see star Hitomi Kozue is completely flouting the mandatory helmet ordinance. Well, the point of riding a motorcycle is to feel the wind blow through your… er, hair. We haven’t screened this one, but we love the poster so we thought we’d show it to you anyway on its premiere date, which was today in 1975.
|Vintage Pulp||Oct 1 2014|
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.
|Vintage Pulp||Jul 1 2010|
One good pinku deserves another, and such is the case with Kôyû Ohara’s True Story of a Woman Condemned: Sex Hell. It was released in March 1975, and the follow-up, for which you see the promo poster above, appeared a mere three months later. It’s almost like they planned to make a sequel all along. Installment two was called Zoku jituroku onna kanbetsusho, aka True Story of a Woman Condemned Continues, and tells the story of Hitomi Kozue's imprisonment after she takes revenge upon her rapists. Once in jail she must deal with both the brutal inmate heirarchy, and the indignities suffered at the hands of prison staffers. It gets brutal. At one point Kozue pummels a rival badly enough to make her miscarry her baby. All we can say is the movie isn’t quite our thing, but we give creativity points—we’ve never seen hot soup poured in a woman's vagina before. Zoku jituroku onna kanbetsusho premiered in Tokyo today in 1975.
|Vintage Pulp||Mar 5 2010|
Vintage poster for Jitsuroku onna kanbetsusho: sei-jigoku, aka True Story of a Woman Condemned: Sex Hell, directed by Kôyû Ohara and starring Hitomi Kozue, who you see below. The movie is a women-in-prison flick, which means tough conditions, worse inmates, and the very worst guards imaginable. Obviously, all such movies were mainly excuses to show a lot of skin on flimsy pretexts—shower time!—and indulge in same sex eroticism and vicious catfights. As a genre, women-in-prison movies were a global phenomenon. Nearly every country with a film industry made them, none more copiously than the United States. But the Japanese entries tend to be very provocative. Jitsuroku onna kanbetsusho: sei-jigoku premiered in Japan today in 1975.