Pulp International - sexploitation

Jul 19 2022

These sisters do everything together—including men.

This unusual poster was made to promote the Nikkatsu Studios roman porno flick Yogisha no Onna, starring Mari Tanaka, one of hardest working women on Nikkatsu's roster. She made eighteen films from 1971 to ’73, streaking like a comet across the sexploitation firmament. In Yogisha no Onna she stars as an obviously disturbed woman living with her sister Keiko Tsuzuki in a big, Western style house with their invalid father. The sisters have a love-hate relationship. The love: they share baths. The hate: they share a man. The latter occurs after their father finds Tsuzuki what he thinks is a suitable fiancée, jealousy results, and Tanaka decides that what's good for the sis is good for the sibling. Where does it all lead? If you want the answer you'll have to find out for yourself. We'll just say that as a somewhat early film from the roman porno cycle, Yogisha no Onna is neither unbearably weird nor unconscionably misogynistic, though it's not exactly a portrait of normal social adjustment either. It's possible serious fans of the genre will find the movie too tame, but personally, considering where some of the subsequent roman pornos went, tame was just fine with us. Yogisha no Onna premiered in Japan today in 1972.

Japan Nikkatsu Yogisha no Onna Woman on the Night Train Mari Tanaka Keiko Tsuzuki pinku roman porno poster art cinema pinku roman porno sexploitation nudity movie review

Vintage Pulp

Jun 28 2022

She never loses that Loving feeling.

Above are two Italian posters for the 1973 sexploitation action flick Ginger il simbolo del sesso con licenza... d'amare, a very long title for something made in English as Girls Are for Loving. It's basically a spy movie, and the Italian translates as, “Ginger the symbol of sex with license... to love.” Hah hah, those horny Italian marketing guys. Well, they're horny for a reason. The main character of undercover operative Ginger MacCallister is played by the uniquely uninhibited Cheri Caffaro. There's no Italian release date known, which is amazing because we bet everyone who saw this movie remembered it for a very long time.

Italy Ginger il simbolo del sesso con licenza... d'amare Girls Are for Loving Cheri Caffaro poster art cinema sexploitation

Vintage Pulp

Jun 5 2022

If you have to call her anything call her Trouble.

For the sake of completeness we're circling back to Christina Lindberg's arthouse sexploitation flick Thriller - en grym film, aka Thriller: A Cruel Picture, aka They Call Her One Eye. We did an extensive write-up on this several years ago, but wanted to show you the cool Italian promo poster, plus a zoom. And below is possibly the best promo image of Lindberg made for the movie. Clearly, she's not someone to be messed with. In Italy Thriller - en grym film was called simply Thriller, and it premiered there today in 1974.

Sweden Italy Thriller - en grym film Thriller: A Cruel Picture They Call Her One Eye Christina Lindberg poster art cinema sexploitation

Vintage Pulp

Jun 3 2022

A classic case of accessory before the act.

We were enticed to watch the film Wakazuma ga nureru toki, aka When a Young Wife Gets Wet for two reasons: Izumi. Shima. We consider her to be among the most beautiful of stars from the late 1970s early 1980s, and we had to find out why she was on the above poster sporting a dimestore wig and grease pencil mole. We should have seen it coming, considering she features two distinct looks here, but what you get is Shima as a woman who lives a double life. In one she's a housewife and in the other—as if you couldn't guess—she's a prostitute.

The movie has a plot we suspect only male filmmakers could come up with. Shima suffers a rape before her marriage, though justice of a sort is later applied, and afterward she seems to lead a happily wedded life. But nobody knows that she also haunts the alleys of Yokohama's red light district to repeatedly relive her degradation. Obviously, she needs to keep this second life secret, and when threatened we find that she'll do anything to avoid exposure. We do mean anything.

The movie, which came from Nikkatsu Studios and is part of its roman porno cycle, is more atmospheric than most from the genre. It's quite dark in parts—visually we mean—with a nervous jazz score that brings to mind the 2014 hit Birdman. The nice accompaniment helps, but the plot treads the same old territory, with screenwriter Masayasu Ôebara exploring the madonna-whore complex on behalf of the audience. In the end Wakazuma ga nureru toki is memorable only because it stars the radiant Shima. It premiered in Japan today in 1978.

Japan Yokohama Nikkatsu Wakazuma ga nureru toki When a Young Wife Gets Wet Izumi Shima Yutaka Hayashi Yûji Yoshikawa poster art cinema pinku roman porno sexploitation movie review

Modern Pulp

Apr 10 2022

She's arrived on this earthly plane to love you to death.

We said you'd see sexploitation star Laura Gemser again sooner than you thought, and here she is—or at least here's an interesting depiction of her—on a poster made in Turkey to promote her film Ateşle Oyun. That translates as “game with fire,” but the movie was known in English as Divine Emanuelle and Love Camp. There's no Turkish release date, but we're talking about it today because it premiered today in 1981 in West Germany, where it was released as Die Todesgöttin des Liebescamps, or “the death goddess of love camp.” Death goddess, eh? That doesn't sound fun, but we'll get to that in a minute.

As you can see in panel two, the West German promo is nothing to write home about, which is why we decided to focus on the Turkish art. It's signed by an illustrator named Ömer Muz. We looked him up and got many hits, but with no way of knowing whether any of them were the Muz we were seeking. A few of them were artists, and one was even an art director in movies back in the early 1980s, but final identification eluded us.

Die Todesgöttin des Liebescamps was written, directed by, and co-starred Christian Anders, an Austrian musician/singer/composer and man-in-over-his-head in terms of technical ability. His character oversees a free-love cult on Cyprus called Children of Light. He's the servant of the Divine One, played by Gemser, who bathes in milk, parades around topless while flanked by an oiled up bodybuilder, and preaches an apocalyptic schadenfreude doctrine that sounds a lot like the Rapture. In her cult, you can give love freely, but cannot be in love. “Love for only one person is egosim,” she puts it. “When two people love each other they shut the world out. That's a sin.” Basically, that means the cult is an ongoing orgy. Rulebreakers get slapped around or whipped. Gemser even whips herself occasionally. She's a true believer.

The plot kicks into gear, sort of, when one of the cult babes decides she wants to leave and is instead thrown off a cliff by the oiled up bodybuilder guy. There had to be a dark side to all this sex, and that dark side is you can check in anytime you like but you can never leave. We next learn that the police have become suspicious about missing cult members and have inserted an undercover operative who's poking around even as Gemser tries to indoctrinate an heiress and soak her down for her fortune. Will the undercover cop learn the truth of the cult? Will Gemser expose him? Will she expose herself? On the latter score, fans will be satisfied, rest assured. But for objective film buffs, we have to tell you that, like most Gemser efforts, this flick is terrible.

But it's also significant because there's bizarre trivia associated with it. Most notably, David Koresh has a small role. You perhaps remember him? As the leader of the Branch Davidian cult he sought to create a new lineage of world leaders, had sexual partners as young as ten years old, and finally died in 1993 with seventy-five disciples during a fire that broke out at the cult's compound during an FBI raid. On top of all that, writer director Anders propagated various conspiracy theories in books and interviews. The lesson is don't take a movie script too seriously. Especially a sexploitation script. Die Todesgöttin des Liebescamps premiered today in 1981.

Witness me, little ones! Are my abdominals not out of this world?

Bring forth the divine ointments and sexual lubes!

I and my slippery, steroid enraged servant shall now engage in the holy rite of hot raw sex. You may want to rewind this part a few times.

I came here to find myself, and she gives me this room. Feels like she's mocking me.

There's something to find right under these holy raiments, little lost blonde one.

Divine One, I prefer this female version of myself. Diversity is good and all, but we're a matched set. Hope you're okay with that.

Throw them both into the pit of eternal-despair-without-hope-of-redemption-or-surcease! Hmm... probably need to shorten that name. And who forgot to order the lube for today's orgy? Throw him in the whatever pit too!

I'm a cruel goddess, it's true. But behold the everloving fuck out of this!

Turkey Cyprus West Germany Austria Die Todesgöttin des Liebescamps Divine Emanuelle Love Camp Laura Gemser Gabriele Tinti Christian Anders Sascha Borysenko Ömer Muz David Koresh poster art cinema sexploitation nudity movie review

Vintage Pulp

Apr 3 2022

Gemser always makes sure a fun time is had by all.

Above is another Japanese poster for Laura Gemser's Italian sexploitation flick Emanuelle nera, which premiered in 1975 and reached Japan today in 1976. The art shows Gemser getting frisky poolside with French actress Isabelle Marchall, who made numerous sexploitation and giallo movies. The title of this in Japanese means “love of Emanuelle,” and we echo that sentiment—which is to say, though Gemser's Emanuelle films are abysmally bad, we love them as products of an era of freewheeling, guilt-free erotic cinema.

Watching the films on cable television during our youth, they somewhat affected our views on travel and sex, neither of which we had experienced yet. We explained this influence in our write-up on Mia Nygren's Emmanuelle IV way back. At their best, Gemser's Emanuelle movies (yes, it's spelled differently than Nygren's) were straightforward celebrations of sex, while at their worst they were influenced by horror and action movies, such as the one where she takes on cannibals, and the one where she smashes a ring of snuff filmmakers. Emanuelle nera has few pretensions—Gemser goes to Nairobi and gets laid. You can see everything else we have on the movie here, here, and here. Gemser will be back. Probably sooner than you think.

Japan Italy France Indonesia Emanuelle nera Black Emanuelle Laura Gemser Isabelle Marchall poster art cinema sexploitation nudity

Vintage Pulp

Mar 18 2022

She's a wolf in psycho's clothing.

The two posters you see above were made for the Italian movie La lupa mannara, known in English variously as Legend of the Wolf Woman, Werewolf Woman, and She-Wolf. You get more or less what you expect here. Annik Borel has nightmares about being a werewolf, which would be pretty random, except it so happens that an ancestor from two centuries ago was burned by villagers who thought she was the real thing. As Borel's werewolf obsession advances she's inhabited or haunted—if perhaps only imaginarily—by the spirit of this allegedly lyncanthropic forebear. She then roams the local landscape killing unsuspecting men, until she meets one who makes her drool—with sexual desire. But is she really a werewolf, or is she just nuts?

Borel really gives this role her all, even channeling Linda Blair's bedbound possession scenes from The Exorcist, but since this is a sexploitation flick more than a horror movie, her body is considered by the filmmakers to be more important than her acting ability. Taking full advantage is director Rino Di Silvestro, who also helmed Women in Cell Block 7 and generally specialized in erotic fare. What he didn't specialize in was pacing, framing, blocking, and the like, and in the end the movie is murky and unterrifying. But it's of a particular era and style that's beloved by schlock aficionados the world over, and will certainly satiate the appetites of such viewers.

Because the version of the film we watched didn't look all that great, we decided not to bother with screenshots. Instead we have a few production stills of Borel below being costumed as the werewolf. Seems like the makeup department always has the most fun. We should also note that the film features German b-actress Dagmar Lassander, who we last saw in Le foto proibite di una signora per bene, aka The Forbidden Photos of a Lady Above Suspicion, and Maria Renata Franco, who was in Emanuelle in America. Perhaps they'll serve as additional enticements. And lastly, we were not able to identify the poster artist. We've said it before—sign your work, people. La lupa mannara premiered in Italy today in 1976.

Italy La lupa mannara Legend of the Wolf Woman Werewolf Woman She-Wolf Rino Di Silvestro R.D. Silver Annik Borel Dagmar Lassander Howard Ross poster art cinema movie review horror sexploitation

Vintage Pulp

Mar 14 2022

She's an acquired taste.

A while back we stumbled upon a low budget action-sexploitation flick called Girls Are for Loving starring Cheri Caffaro. It was part of a trilogy, the first of which was Ginger, for which you see a promo poster above. The movie premiered this month in 1971, and also starred Caffaro, who was one of the bolder actresses of ’70s sexploitation cinema. She plays a New York City socialite recruited to bust a New Jersey drug ring. She's given a few tools to help in her mission, but her main advantage is of course her slinky bod, which she uses at every turn. This is a really bad movie, the type of production where the dialogue is so stilted you'll think time has begun to flow backward, while the equally clunky action moves so slowly it might as well be stop-motion.

But we'll admit that the movie has an underdog quality, as less-than-talented writers, less-than-experienced technical personnel, a far less-than-competent director, and a less-than-conventionally beautiful lead actress strive to put together a gritty erotic action epic. You almost root for them, particularly the supporting cast who are asked to do incredible things, such as Casey Donovan, who gets tied spread eagled to a bed with his junk in full view for an extended scene. Clearly the idea is that if there's a male gaze at work in the movie, let females gaze too, and we applaud that.

Donovan, even with his dick in the wind and his hairy crack on display, doesn't have the hardest job here. That would be Herbert Kerr as a pimp and Herndon Ely as a heroin addicted prostitute, who are asked to act out an interracial hate fuck that might kill your sex drive for months. Later Caffaro drops n-bombs and many variations while relating a tale to Kerr about her rape by black men at age sixteen. Subsequently Caffaro is hogtied and taken against her will by a white guy. By the time Girls Are for Loving arrives Caffaro has the hots for her black partner Timothy Brown, so this franchise is equal opportunity sleaze all the way.

If Ginger sounds out there, trust us, you don't know the half of it. But somehow from this mess came two sequels, which we still can't wrap our heads around. Well, scratch that—we get it. All the hate and craziness in Ginger is woven amid five or six sex scenes that deliver what any fan of erotic cinema seeks—and more. We wouldn't go so far as to say these scenes are realistic, but the amount of genitalia on display is high, so no wonder fans made the film a financial success. But the value of Ginger is not artistic or erotic—it's historic. With its in-your-face nudity and harsh racial language it's a type of movie that may never, ever be made again.

New Jersey Brighton New York City Ginger Cheri Caffaro Don Schain Herbert Kerr nudity sexploitation poster art cinema movie review

Vintage Pulp

Mar 2 2022

Everyone in class is expected to give an oral presentation.

The Japanese poster you see here, which is quite striking, was made to promote the West German sexploitation movie Schulmädchen-Report 5. Teil - Was Eltern wirklich wissen sollten. Quite a mouthful. In English it was known as Schoolgirl Report Part 5: What All Parents Should Know. Still a mouthful. There's a reason for that. These films, of which thirteen were made, are legendary—or maybe infamous is the appropriate word—for pioneering the idea of sexploitation flicks as documentaries. We've talked about a few of them, specifically numbers three, seven, and eleven. The tail end of the title for this one—What All Parents Should Know—gives the film a gloss of scholarship, as if scientific research went into its making. But it was a fig leaf. People watched these movies to see nudity and sex, not to educate themselves. And if anyone actually hoped for education, well, they were steered horribly wrong.

The movie consists of six vignettes. In the first, three high schoolers bet during a rural field trip that they can lay their straight arrow teacher. In the second, a man is seduced by his granddaughter and ends up on trial. And so it goes, from scenario to scenario, all of them strange. None of the performers involved, female or male, would win a beauty contest, but a few are appealing, such as Sonja Jeannine, who features on the poster, and Ingrid Steeger, who was a stalwart in sexploitation films and men's magazines. While a couple of the vignettes have serious undertones, they're mostly meant to be tongue-in-cheek. What is incredibly serious, though, is how far the envelope gets pushed thematically. Grandfather/granddaughter incest? That's not good at all. We can't recommend the film, but we love the poster. You won't see it anywhere else. Schulmädchen-Report 5 premiered in Sweden in 1973 and opened in Japan today in 1974.

"Oh, come on, grandpa! I'm sure your heart will be just fine."

"Heh heh, I have to admit, my dear—that get-up is a lot sexier than the bunny pajamas you used to wear."

"I'm out of order? I'm out of order? Your Honor, are you kidding me? She's out of order!"

Japan West Germany Schulmädchen-Report 5. Teil - Was Eltern wirklich wissen sollten Schoolgirl Report Part 5: What All Parents Should Know Sonja Jeannine Ulrike Butz Puppa Armbruster Judith Fritsch Cleo Kretschmer Marisa Feldy Marina Blümel poster art cinema sexploitation nudity movie review

Vintage Pulp

Feb 22 2022

It's paradise found in cheeseball sexploitation flick.

This Italian poster was painted by Ermanno Iaia for the 1972 sexploitation comedy L'isola dei piaceri proibiti, which was originally West German made as as Robinson und seine wilden Sklavinnen, and known in English as Robinson and His Tempestuous Slaves. We have another poster below, and Magda Konopka stars on it but she isn't in the movie. Don't ask us how that happened. Some mysteries aren't meant to be solved.

So, yes, we watched this, and it's terrible. A schlub pharmacist named Robinson, who's descended from Robinson Crusoe, is trapped in a life of drudgery and domestic strife, but has fantasies of escaping to the tropics. You'd think there would be something in that pharmacy to lift his mood, but instead he actually goes to a jungle island. Since the scantily clad trio of Andrea Rau, Anne Libert, and Ingeborg Steinbach (but not Magda Konopka) are with him everything seems perfect (even with the obnoxious wildlife whose thoughts we get to hear).

By definition, paradise can never last. In this case, sadly, everything goes pear-shaped when cannibals turn up. Did we mention that this is a Jesús Franco movie? But it's Franco trying to be funny, and that isn't pretty. Talking wildlife, remember? Not pretty at all. In that case, why should you watch it? Because you get to see Rau stark raving naked in a waterfall. Boom. Book it. The movie has no Italian premiere date, but if we ever find one we'll update this post. We have some production photos below, and, as a bonus Rau, Steinbach, and Libert in three nice glamour shots.