HAWSER DAY

For the most part, she's hanging in there.

At first we cropped this image of Japanese actress Miki Sugimoto frolicking on a mooring rope or hawser, but then we decided to upload it in the dimensions it appeared where we found it—in a 1972 issue of Heibon Punch. She made this to promote her role in the pinky violence actioner Sukeban, aka Girl Boss Revenge: Sukeban, in which she starred with fellow heroine Reiko Ike. It’s an iconic entry in Japanese pinku cinema, and this is an iconic shot. We have more from this aquatic session we’ll share later.

Nice for the camera but very hard on the circulation.

Every time Miki Sugimoto stars in a promo photo we can barely believe our eyes. Here the cult action actress is squeezing her frame—or part of it anyway—into a tight space to get this wonderful shot. Wonderful for who? Certainly not her. She played some difficult roles, but this may have been her hardest. By the time she finished riding the rails for this image we bet she felt like her bottom was full of novocaine. Sometimes, though, you have to go above and beyond in the pursuit of art. Click her keywords below to see amazing promo shots and movie posters.

Zero to crazy in under ninety minutes.
We first shared a poster for the pinky violence movie Sukeban gerira, aka Girl Boss Guerrilla, years ago and said at that time we’d get around to talking about the movie. We subsequently shared a tateken style poster, but still didn’t get around to the film itself. Well, it’s finally later. Eleven years later, to be exact. We refreshed our memory with a new screening last night, and to accompany today’s thoughts we’re sharing a rare bo-ekibari style poster of this classic pinky violence actioner from Toei Company.

Miki Sugimoto and three friends, who comprise the small but spirited Red Helmet Motorcycle Gang, take a trip from Tokyo to Kyoto to see if they can hustle up some yen by whatever means they can manage—grifts, graft, blackmail, whatever. They make some cash but quickly run afoul of Ryôko Ema of the Kyogoku Group, head boss of all Kyoto’s girl gangs, which leads to a Ryôko-Miki showdown for control of the city. Our advice: never fight in flip-flops. But then again, we’re not as tough as Miki. She loses her flip flops, but wins the fight.

There’s always a set of bad men in the background of a pinky violence movie, and it turns out that though Kyoto’s girl gangsters are now under Miki’s hard won control, all operate under the umbrella of the Tsutsui Gang, who are basically the Kyoto branch of the yakuza. Miki has to give regular tribute to the boys, obey the rules, or pay the price. She’swilling to toe the line, but her situation is quickly complicated when she makes a new pal played by Reiko Ike, who’s disinclined to obey anybody, but particularly the local yakuza clan, one of whose higher ups is her big brother.

Along the way to settling this mess you get fights, captures, torture, and nudity. Comedy and romance are part of the equation too, as is a bit of social commentary (a Red Helmet girl picking up gonorrhea from a priest is particularly biting). In the end a final throwdown is inevitable but how it turns out is anyone’s guess. Nothing is guaranteed in a pinky violence movie—well, except violence.

Pinky violence movies can be fun, but the misses tend to be well wide of the mark, if not psychologically disturbing. Sukeban gerira is a nice example of the genre. It’s wild, but never quite to the extent that it makes you want to run from the room. An excellent moment comes just a few minutes in, when Sugimoto aggressively bares a tattooed breast at a set of macho assholes, causing them to physically recoil. That sums up the best pinky violence: a new brand of feminine power that overcame any opposition set against it. Sukeban gerira premiered today in 1972.
Miki and Reiko rock and rule Osaka in 1973's Sukeban.


We already shared this rare circular poster for Sukeban, aka Girl Boss Revenge: Sukeban, in a group post years ago, but since it’s so rare and interesting we’re bringing it back for a solo look, and as you see below we’ve split it in half to allow you to have your own copy of reasonable size, if you’re inclined to put the two pieces together. We might as well comment on the movie too. When we first shared the art for this, we figured why discuss the film in detail when there were already plenty of reviews online? We even linked to one back then. Little did we know that Pulp Intl. would still be going ten years later and would be a top repository for vintage Japanese poster art online. That being the case, we figure we’ll tell you about the movie this time.

It stars two of the brightest stars of the Japanese grindhouse era—Miki Sugimoto and Reiko Ike. Miki plays a gang leader who calls herself Kantô Komasa, while Reiko is the girl gang leader of Namairu High School. They meet in a prison van and escape simultaneously, headed different directions but destined to cross paths again. Miki forms a new gang in Osaka called Gypsy Dance, gets into the usual delinquency, and meets a director of dirty movies who she enlists in a revenge plot. But all the fun and games take a nasty turn when she runs afoul of the North Dragon yakuza and they start dishing out pain and suffering. Only with the help of a young North Dragon footsoldier named Tatsuo is Miki able to escape her predicament.

It just so happens that Tatsuo is Reiko’s boyfriend. Reiko has been missing since her escape from the prison van, but arrives on the scene just in time to find Miki in bed with her man. That puts Reiko and Miki at odds in the worst way, but Reiko has no idea Tatsuo is working for the North Dragon. She’ll find out, though, via a stunning betrayal. We’ll end the synopsis there, but add the warning that the North Dragonare mean as hell and the tortures they administer are hard to watch. But gangsters gonna gangster—if they spent their time at garden parties and poetry readings there’d be a different word for them.

Sukeban, which was directed by Norifumi Suzuki, is a prime example of Toei Company’s pinky violence genre—wild, colorful, gritty, and bloody, with moments of humor to leaven the hard tone. Movies of this style influenced many later directors, but apart from Quentin Tarantino and maybe a couple of other mavericks such operatic exploitation is a relic of the past. The film is basically Miki’s show, and whether rolling fabulously down a hill in her fur coat and platforms or getting dirty in an alley fight, she delivers a freewheeling performance in a production that isn’t for the faint of heart. It’s worth watching for its historical value as well as for entertainment, but in either case, hold onto your hat.

As a bonus, below we have some production photos, including a rare image of Miki striking the topless pose used to create the promo poster. We always thought her head looked a little warped on that poster. Turns out it’s a defect in the original photograph—someone either shot her off-kilter or introduced the flaw during the developing process, and she stayed that way. We’re guessing, but we’re pretty sure because normally her head is very symmetrical. As is the rest of her. You’ll see what we mean below about the photo. Sukeban premiered in Japan today in 1973. You can see our other write-up on it here.
Reiko and Miki chew over a very tough problem.

Reiko Ike (front) and Miki Sugimoto pose together in a rope gnawing b/w promo made for their pinky violence actioner Zenka onna: koroshi-bushi, aka Criminal Woman: Killing Melody, which premiered today in 1973. We found this on Reddit, so thanks to whoever originally uploaded this slightly bizarre item. We have plenty on the movie in our website, including some amazing posters. We recommend clicking its keywords below and scrolling.

There's hell to pay and the only currency she takes is cold hard ass.
Above is a rare bo-eikibari style promo for Sukeban burûsu: Mesubachi no gyakushû, known in English as as Girl Boss Blues: Queen Bee Strikes Again, or sometimes Girl Boss Blues: Queen Bee’s Counterattack. It premiered in Japan today in 1971. You can see the standard promo at the top of this group post, and you can see the tateken promo here. Basically, Reiko Ike, Miki Sugimoto, Yayoi Watanabe, et al are members of a gang of hot young thieves who extort hapless middle-aged squares by luring them, drugging them, and robbing them. The movie has a little of everything—and lot of Ike, one of the towering figures of Japanese b-movies.

We find it interesting that Sugimoto didn’t make it onto the poster (nor the other promos made for the film) while Yayoi Watanabe (prone and restrained) did. Rest assured, Miki is in the film. She gets as much screen time as anyone except Ike, especially in the first forty-five minutes. Mysterious are the minds of pinku poster designers. This isn’t the first time they’ve thrown us a curve by leaving someone important off a promo. Anyway, this movie is well worth a watch for fans of pinky violence. We already showed you a promo image of Reiko Ike yesterday, but what the heck—let’s bring her back, below. And Sugimoto too. We can’t have one without the other.
We couldn't let her slide any longer.

We’ve had this sitting around for ten whole years. We were reluctant to post it because it’s so rare. This tug of war went on forever, but today we’ve finally overcome our reservations because, after all, even though the scan will proliferate on the internet—and possibly even end up on Ebay like some of our other scans—we still have the physical item. So above you see iconic Japanese pinku actress Miki Sugimoto, star of such films as Zeroka no onna: Akai wappa, aka Zero Woman: Red Handcuffs and Sukeban gerira, aka Girl Boss Guerrilla. A photographer named Takeo Sano was responsible for the image, and it was published as a four panel centerfold in the magazine Purei Comikku, or Play Comic, in 1973. Sugimoto has provided plenty of material for our website over the years. It’s difficult to choose her greatest hits, but if forced, we’d say her best are herehere, and here. And maybe here too.

It's ride or die on the streets of Kyoto.


Toei Company goes biker culture for Boso sekkusu-zoku, known in English as Hell Riders in Kyoto and Wild Sex Gang, which combines the typical Toei action film with aspects of American b-movies like Easy Rider and The Rebel Rousers. Takashi Shirai is a nihilistic and lawless twenty-something addicted to speed, and especially to motorcycles. When he’s caught speeding by police his obsession goes into overdrive, and he decides to buy a 750cc bike that will enable him to outrun even the cops. Tsunehiko Watase is also obsessed with speed. He couldn’t afford a bike to satiate his addiction, which is why he became a motorcycle cop. It allowed him to ride the 500cc bike he desired. Now Shirai is outrunning him. The rivalry between these two leads to one-upmanship that spills from the roadway and into other areas of their lives, but just when Shirai seems doomed the beautiful Miki Sugimoto arrives on the scene, and he starts to see that there’s some value to life after all. But is it too late? Well, maybe.

Boso sekkusu-zoku is an interesting but not great entry from Toei that, like many crime movies from the ’70s, hinges on the presumption of redeemability. Shirai is lost, and is a danger to all those around him, but with luck and love he could become a good person. Needless to say, this is a retro concept today, in the age of non-forgiveness, and the belief that punishment must be decisive, vengeful, and usually permanent. For that reason it’s interesting to watch the filmmakers here weigh Shirai’s potential value. And it’s also interesting to see how the cop Tsunehiko threatens to be corrupted by his hatred for Shirai. But these themes are not new, and exploring them as perfunctorily as Boso sekkusu-zoku does is a fatal flaw, in our view. More plot, more depth, more stuntwork, and more commitment across the board would have helped immensely. Still, though, it’s worth a watch. It premiered in Japan today in 1973.
A gun and an attitude will take you far.

This is the rarest of the rare. We’ve shown you many movie posters foreign to the country in which the original film was made. The most common amongst those have been French, Italian, and Japanese posters for American films. We’ve also seen a few U.S. and British posters for Japanese films. But we’ve never seen a French poster for a Japanese film, and that’s what you have here. And it isn’t just any film. It’s for the iconic 1973 Miki Sugimoto pinku actioner Sukeban–Kankain Dasso, known in English as Girl Boss: Escape from Reform School, and titled here Girl Boss – Les Étudiantes en cavale. That would translate: “girl boss – students on the run.”

This was painted using the original Japanese poster as inspiration by Constantin Belinsky, a talent we’ve discussed a couple of times before. He was born in Bratslav, Ukraine, learned his craft in art school in Chișinău, which was then in Romania but is now in Moldova, and worked professionally in Paris. He painted posters for classic dramas like Laura and Pickup on South Street, but later in his career specialized in genre films such as Creature from the Black Lagoon. He was born in 1904, so we suspect this poster was among his last pieces. But it won’t be his last on Pulp Intl. We have more to show you later.

They don't make happy music but it'll stick with you for a long time.

Above, a Toei Company promo photo for Zenka onna: koroshi-bushi, aka Criminal Woman: Killing Melody, featuring one of the great girl gangs of pinku cinema—comprising, counterclockwise from upper right, Reiko Ike, Miki Sugimoto, Masami Soda, Chiyoko Kazama, and Yumiko Katayama. We have some beautiful material on this flick, herehere, and here. It premiered today in 1973.

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HISTORY REWIND

The headlines that mattered yesteryear.

1966—LSD Declared Illegal in U.S.

LSD, which was originally synthesized by a Swiss doctor and was later secretly used by the CIA on military personnel, prostitutes, the mentally ill, and members of the general public in a project code named MKULTRA, is designated a controlled substance in the United States.

1945—Hollywood Black Friday

A six month strike by Hollywood set decorators becomes a riot at the gates of Warner Brothers Studios when strikers and replacement workers clash. The event helps bring about the passage of the Taft-Hartley Act, which, among other things, prohibits unions from contributing to political campaigns and requires union leaders to affirm they are not supporters of the Communist Party.

1957—Sputnik Circles Earth

The Soviet Union launches the satellite Sputnik I, which becomes the first artificial object to orbit the Earth. It orbits for two months and provides valuable information about the density of the upper atmosphere. It also panics the United States into a space race that eventually culminates in the U.S. moon landing.

1970—Janis Joplin Overdoses

American blues singer Janis Joplin is found dead on the floor of her motel room in Los Angeles. The cause of death is determined to be an overdose of heroin, possibly combined with the effects of alcohol.

1908—Pravda Founded

The newspaper Pravda is founded by Leon Trotsky, Adolph Joffe, Matvey Skobelev and other Russian exiles living in Vienna. The name means “truth” and the paper serves as an official organ of the Central Committee of the Communist Party between 1912 and 1991.

1957—Ferlinghetti Wins Obscenity Case

An obscenity trial brought against Lawrence Ferlinghetti, owner of the counterculture City Lights Bookstore in San Francisco, reaches its conclusion when Judge Clayton Horn rules that Allen Ginsberg’s poetry collection Howl is not obscene.

1995—Simpson Acquitted

After a long trial watched by millions of people worldwide, former football star O.J. Simpson is acquitted of the murders of ex-wife Nicole Brown Simpson and her friend Ronald Goldman. Simpson subsequently loses a civil suit and is ordered to pay millions in damages.

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