In retrospect, I probably should have had a lawyer look over the paperwork before I signed it.
Roman porno movies tend to have very descriptive titles that leave little to the imagination. You see a poster above for one called in Japanese Dorei keiyakusho: muchi to highheels, which in English is known as Slave’s Contract: Whip and High Heels. So what more do you really need to know? It stars Nami Matsukawa. It’s a sequel to Dorei keiyakushu, which we talked about not long ago. It’s a similar movie, with the exception that Matsukawa enters into her contract voluntarily. There’s also some shoe fetish stuff, as indicated by the title. And of course there’s the standard roman porno bondage and discipline. That’s pretty much it. And it premiered in Japan today in 1982.
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 ropes kinbaku 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.
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 leastnot 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 many were liberal feminist allies satirizing conservative patriarchs/patriots. Their sexualization of women was spurred in part by studio demands, but there’s also no doubt many thought of themselves as modernist trailblazers smashing social barriers through the use of sexual symbolism. The path their output has taken through the decades is parallel to that of Hugh Hefner, hailed as a 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 changes 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.
American sci-fi/horror author Howard Phillips Lovecraft dies of intestinal cancer in Providence, Rhode Island at age 46. Lovecraft died nearly destitute, but would become the most influential horror writer ever. His imaginary universe of malign gods and degenerate cults was influenced by his explicitly racist views, but his detailed and procedural style of writing, which usually pitted men of science or academia against indescribable monsters, remains as effective today as it was eighty years ago.
2011—Illustrator Michel Gourdon Dies
French pulp artist Michel Gourdon, who was the less famous brother of Alain Gourdon, aka Aslan, dies in Coudray, France aged eighty-five. He is known mainly for the covers he painted for the imprint Flueve Noir, but produced nearly 3,500 covers during his career.
1964—Ruby Found Guilty of Murder
In the U.S. a Dallas jury finds nightclub owner and organized crime fringe-dweller Jack Ruby guilty of the murder of Lee Harvey Oswald. Ruby had shot Oswald with a handgun at Dallas Police Headquarters in full view of multiple witnesses and photographers. Allegations that he committed the crime to prevent Oswald from exposing a conspiracy in the assassination of President John F. Kennedy have never been proven.
1925—Scopes Monkey Trial Ends
In Tennessee, the case of Scopes vs. the State of Tennessee, involving the prosecution of a school teacher for instructing his students in evolution, ends with a conviction of the teacher and establishment of a new law definitively prohibiting the teaching of evolution. The opposing lawyers in the case, Clarence Darrow and William Jennings Bryan, both earn lasting fame for their participation in what was a contentious and sensational trial.
1933—Roosevelt Addresses Nation
Franklin D. Roosevelt uses the medium of radio to address the people of the United States for the first time as President, in a tradition that would become known as his “fireside chats”. These chats were enormously successful from a participation standpoint, with multi-millions tuning in to listen. In total Roosevelt would make thirty broadcasts over the course of eleven years.
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…
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.
commercial 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 changes too.
