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Japanese Cinema Encyclopedia:

The Sex Films

Also by Thomas Weisser

Asian Cult Cinema

(published by Berkley IBoulevard/Putnan Books

Asian Trash Cinema: The Book

Asian Trash Cinema: The Book 2
Japanese Cinema:
The Essential Handbook
by Thomas Weisser and Yuko Mihara Weisser

Japanese Cinema Encyclopedia:

The Horror Films
by Thomas Weisser and Yuko Mihara Weisser

Spaghetti Westerns:
The Good, The Bad And The Violent
(published by McFarland & Company)

Violets Of Dawn
a terror novel
with an introduction by
Herschell Gordon Lewis

The Second Volume in a Series of Reference Books

Japanese Cinema
The Sex Films


Thomas Weisser
Yuko Mihara Weisser

Vital Books Inc.

Asian Cult Cinema Publications

Miami, Florida USA



By Thomas Weisser
and Yuko Mihara Weisser
Text Copyright 1998 by Thomas Weisser and Yuko Mihara Weisser
Book registered 1998 by Vital Books Inc
PO Box 16-1919
Miami FL 33116
(305) 386-2227
Color and B&W illustrations and photographs
by various institutes, organizations and companies.
Grateful acknowledgment is made to the following companies,
whose properties illustrate this book in the spirit of pUblicity:
Nikkatsu, Cinema Purasetto, Daiei, Dreamy Express Zone,
Japan Art Theater Guild, Gento-sha, [JHV] Japan Home Video,
Wakamatsu Productions, Okura, Million Films, Oshima Productions,
Tokatsu, Shishi Productions, Toei Central Film, Kokuei,
ENK Promotions, Toho, Excess Films, Shintoho
Toei, Tohokushinsha, and Shochiku
Book design by Francine Dali
All rights reserved. No part of this book may be reproduced
or transmitted in any form or by any means, electronic or
mechanical, including photocopying, recording or by any
information storage and retrieval system, without the written
permission of the Publisher, except where permitted by law.

Published by Vital Sounds Inc and

ACC Publications P. O. Box 16-1917, Miami Florida 33116
Printed in the United States of America
Asian Cult Cinema is a registered trademark
of Thomas Weisser and Vital Books
ISBN 1-889288-52-7
10 9 8 7 6 5 4 3 2 1

This book is dedicated to

Maki Hamamoto
our friend
who helped us every step
of the way

Thank You

Japanese Cinema

The Sex Films

by Thomas Weisser
and Yuko Mihara Weisser
Introduction by Naomi Tani

Foreword by Thomas Weisser




A Brief Historical Perspective


Fogging, Editing And Censorship


The Films: A-Z Listing And Critique


Spotlight Sections:

The Four Kings Of Pink


Appendix A: Japanese to English Titles


Appendix B: Director's Filmography


Appendix C: Performer's Filmography


The Pink Rebel: Tetsuji Takechi

Heroes Of The First Pink Wave
The Three Pillars Of Pink
The Pink Godfather: Koji Wakamatsu
Queens And Idols: Top Nikkatsu Actresses

:Naomi cr'ani

by Naomi Tani
English Translation
by Megumi Sato

With my second starring movie,

.;iEilf M::., #..,It'tf:\H'FJl,


( 1974 ) iJr,

5ttfj-lj-:/7 7

Wife To Be Sacrificed (1974),

Nikkatsu Studios recognized the

S&M genre as an eminent pinku
eiga venue. Twenty-five years later,

/'A:J\:, -7I:IlIIn1

that memorable movie finally

L:t, *.L<t:

opened theatrically in the United

States {premiering in San Francis

#.1;1:, 1979 :1:iOOW.B Ii!!LtI.
*, -mm, *
tLjlIjf!L IJ 1Lt::.iJt,

IJ, *fiJ.:L1;;7 /' .




?(ACC), iOOLtj' 17 'J7'L

o/'1/,j'-M11J, n;
M$$J,.Ln, 8

m < J: -7 I: IJ 1 Lt::.o
:n;-ilA-/;( /' Hi, ijl,1E,
a :y,g;t;Rl!@hn'.o#.

co, June 1998, to very favorable no

tices}. Even though I retired from
the movie industry in 1979 - pur
posely staying away from the enter
tainment world while pursuing a
business entrepreneur career - I
agreed to an extensive interview
with Asian OUU Cinema magazine
(ACC #19, April (98) to help cele
brate the American release of the
film. Since then, I've received nu
merous queries from Japanese pub

., ILL<L<n1

lications including offers from a few

Lt::.iJt, #.EI.I:t IJ 1 Lli,


major newspapers. These develop

18 :*I 11' lviJttf-ttT .o/lll

ments have made my life hectic, dif

'L,iJt, 1l!fI:Liliil9>< 'b, mLIt'.

ficult for a juggling businesswoman.

But, at the same time, the fact that

I.'T 0

people are still interested in me Ivq:"



A,Jtli)1 j')v /'J:7U

;;1'}=--;;(. ;f.?

:7OT -( 7-t:/':7iOOJ:&



m;-ttt, 1/'rO:73/'.

il(iim 1 Lt::.o

:: I.'li, #. IJ

liIt'iJ't, ij l It Lt::.*.

after almost 20 years away from the

screen - fills me with buoyancy and
surprise. It embarrasses me, too.
Meanwhile, in the midst of every
thing else, Vital Books contacted
me about writing an


for their new Japanese Encyclope

dia series <The Sex Films> and I
was honored to accept.

Introduction by Naomi Tani



Prior to the time when ACC re


quested the interview, I didn't think

l:mt.J nt.:01. ACC (=/1 Iv'

"1 "J 'J U) 0J&MiI: J: 1' L. t.:o

U.S. movie fans were interested in

me or my movies. I thought Ameri
cans ignored my films because of

n'. nMt.M&7

the SM theme, since these movies


give the impression of being abusive


toward women. Regardless of the


"'b SMff. -J!"9:11mJ&t.J

n L. ilt'HJ.It't:*lIt';Q\


lIt't.:l: L. '

filmmaker's intent - the intellectu

al or artistic merit - I thought
Americans viewed these produc
tions as

politically incorrect. I

knew, for example, in the Nether

lands and some Southeastern Asian

I. t'7 1'Jlfm77 .It

il9 "110j1;t;t" I:"?"'* t.J ;Q\OO4

't'1. :mtE't' U1-011*t jg Ll.

countries - where people are open

minded to human sexuality - my
movies are shown continuously. But
I could not imagine that kind of ac

nllt'0't't;6f, 7j')1'i')t.J

ceptance in the United States. I was'i

under the impression that some

000't'1, i!tilIt'#>


0It'. ItnMf'M'I:It'1rt\ "

11" 07::' 7Jt;6{m$lJn Li lIt'


ACC il;$:i!li

thing called the Moral

Majority, an

insubstantial but powerful organiza

tion, dictated sexual freedom in
that country. MaId Hamamoto, the
interviewer from ACC, informed me

R.c;6't.J, IiiIti;Qfji0:tJ Iv 7.,

that this magazine {and its publish

"?i. ::tf0rdll::fN0Iii1gH.'$


't' Ail-I:7 -Iv L lIt'0t!

ent kind of American, a hip cult

CIt' HI!It', JIM L, 't'


Vital Books} appeals to a differ

movie fan who can enjoy and

appreciate the

differences between

the two unique cultures as well as

the similarities. So, finally, as sim


plistic as this answer may be, I un

M;Qfili07" Hn Lt.:0;6'. It'

derstood why my films (and I) are

-) l'U':o

being recognized in the USA!


o 9J I: I "9: U'fftE LIt'. "?i

Then I became curious about

what exactly charmed the foreign
fans. It's an undeniable fact that

CIt' '0;6t, lit, < t

the world is filled with only men

't'lJJ .It\. I:l:t:B7tl'

and women. Life completely sev



'J A

0;$:fJ9"0IJ:. jijlt' ''77

ered from human sexuality can not

exist. Indeed, it is integral part of
our world. For a foreign audience to

Introduction by Naomi Tani

tt 8*If.J7j:m, tbfDb'?t.:J!!l
M t.tL, 7j:;fi..
t'FIHHf Ln'J.,l.'I;l:7j:"'l.'L J:
1t.:, -fhl;l:;fi..ft*f'Fa- Iv

-) 1J'?


be enticed b y Japanese pinku

than the basic sex foundation. I be

lieve these films offer
sisting of

'?t'Fh7j:f, -fh

j;JiiIJ 00 kJTJfi::i: -;kid ,


'::h':-:J"'I;l:, IiilU7N1fIiilt:.
1.', ;fi..I;l::tHt(}xL1Lt.:o


means it must offer something more


quality con

a highly dramatic plot

an entertaining aura, coupled

@ a distinctly Japanese ambi

ence. I would say this is also true of

my non-Nikkatsu movies, the earli
er releases by Kokuei, Shintoho,

Okura and all the other energetic

independent production companies.
When I discovered my supposition

I;l:, ;fi..;6f:P:fI, tl-T:t I:aLn'

t iL < 'LtA'?t

is shared by the authors of this

book, I felt elated.

quality was always the

prime motivating factor for Naomi

s Mt.t"'-)I;l:'tl:Uj7j:t

Tani, too. The world of S&M con


tains very extreme types of love. If

fiIIlf.JI:4iib -).:: t1.' J.,t I:ll

the SM behavior is not derived from

7j:'thl!, 7j:"'l.'To .::h

a-it':T':: tl;l:, iUi'" r7
' 7ttl:;6!
iTo(.;6!;7j:"'tL, ;fi..I;l:IIj:
AVI:, 9;'7j:;6';fLn'lTo)

{or based on} love, providing spiri

tual benefit to both individuals, the
behavior is meaningless. Satisfying
this premise leads to a highly dra
matic plot (in this sense, I am sore


ly disappointed by recent adult


videos). In Naomi

*,flL < .l.'ib7j:#;,
-:Ji < 4*-:J8*:P:tt1
-fL. Vlf.Jl.'ibJ.,ijl.'

Tani's search for

expression in her performance, it

was often necessary for me to argue
with the directors and scriptwriters.
The heroines she portrayed are sup
posed to be gentle,

modest and vir

tuous ladies who do not loose their
beauty, strong will or pride under
a disgraceful condition. This de
scription coincides with many peo
ple's common image of Japanese

7j: < . to 1;;;*bTrtt

women. To capture such a charac


ter's delicate emotion is of prime

a-. 1tl:-t;, i Lt.:o

l!I:IHf;6'7j:it -t;,gJ.,.
HIt, l1Q*ttr41:LtflhJ., 8*ll.

importance to me. The woman's

naked body must not only be seen
as a sensual object, but must also
be able to express emotion; so, I did

Introduction by Naomi Tani

my best to keep Naomi Tani's body

as close as possible to perfect con

fL tttL .,ot

dition. Furthermore, whenever pos

sible, I emphasized her grace with


traditional Japanese dress - a flam

tj. ffil:L Lv'''.N')'';;--I:

boyant Kimono - to accentuate the

,. 977tt'Im

Japanese ambience {landscape?} as

another type of seasoned natural

i Lt.:o' LB&1

beauty. Then to gain sympathy from

the audience, I engaged in elabo

:tJ . !fH..:i!tinN') JJlv't..:tn

rate discussions with the filmmak


ers concerning

74. B*-ljA

ture scenes, to insure that they


were both cruel and beautiful.

Naomi Tani's tor

Now, I am very honored to discov


er that my past efforts are recog

nized once again. Hence, as one

f! tji'.I::I!.:.-,m1l-Lt..:V'
iJt r-? ' '71-+f-t::Lrj':J' I\

'71-+f-t'F. "V l' I'::'-

;;-;f.? .r..-lT170T17 -l!7


:hti. 77

41:t . B*"l!7j".

i &iJtfflW,l:h&N') 'J:
f .tIft..:"

member of the Nippon filmmaking

community, I would like to pay
homage to the international movie
fans who view with fair and keen
eyes. To such fans, I would love to
introduce this book by Thomas

Weisser & Yuko Mihara Weisser,

Japanese Cinema Encyclopedia:

Itfi." ..:.-mtlffl

The Sex Films, as an indispensable

N') JJl <t..:N'). ,m'F51.ttj

guide. It will help you understand while deepening your love for -

i t. t'ThB*lj:""I.
1tJ" JL7'o" ftt'FJ1.1: i m

Japanese pinku

eiga, the world cre

ated from my country's passion.

I should mention that this book
even includes films produced by the

!ffNtlf. fhl*t L-iIIH:

numerous independent companies

it N').tlft..:.!:I;t. B*OOI:' i l'

first wav e, 1964-1971}, before

t $L.tIH ,-g
ti i o

MaLL i

during the "age of competition"

Nikkatsu conquered the pink world.

These movies are forgotten in


Japanese cinema history. So it's no


exaggeration to say there has never

#tfJixJIH:. ,(..!flj'F*t..:v,

been such a comprehensive sex film

l! 7 lOO.IH t..:. ::_r't

book before, even in Japan. I re

spect the tremendous obstacles
faced by the authors while re-

Introduction by Naomi Tani



searching this mammoth volume.


And I applaud the results. The pink


-::>WeJri < -:tb, * U

industry has been the birth place

for many directors and performers
- the arena where they developed

and nurtured their craft (as coined

to-:tlJ: o

in Japan, "the gate of the ascending

1., -771-t
?:J . /\7 71-jilijEi;, i"l

117)v /'J 7 UI:I;!:, t:.1i


C\?n'o-:ti, :JilJFtbtlUrtln'


7)7.tolmt, i"hi7j
1) 'fJ, 1;ttll'j(H:1J1Jr<hn'om

iIlI;!:, *lfC\I;!:<, v';r.



IUt:., tl, ;aHHmlft:.1Jil

dragon" ) . As such, this volume is

not merely a reference book, but it's

also vibrant reading as you, the
fans, can now trace the footsteps of
the people who became Japan's
most influential filmmakers.
Finally, I pray that Thomas and
Yuko Weisser

( and Vital Books

and ACC) continue what they're do

ing. In the long term, their grass

root activities in America will com

pliment film culture as a whole.

'itB9rPN;7")v- /ttflJfu: b

Obviously, some morally-outraged

t3}jjjt-:-?, 1if'

citizen groups won't excuse them


, 8.#.,

il':7tNf(: tlnU{v'A

Itht'fl.I;!:;t ijv'ito

from blame - after all, the Weissers

are the ones who finally opened the
huge door and shed light on the
darkness inside. Nevertheless, I

rt:'bAiltolJ: ? ii

dare say, "You love someone, don't


you? When you love somebody, it's

v'itil'? lhI:I;!:4jrWo

natural to have sex with her or him.

Ilt:.t." -I:'J 7 itolJ:o

-:t i, Z;hI;!:V>lti-It IvJ

But different people believe in dif


-:tl*I:ol!&tHl!m ln'o

ferent styles of exchanging love.

Don't you ever forget this fact!" I
was and am proud of my movies. My

t, t!l;ftt)1';'- JviH fIljji!Jt

initial quest for excellence - for


quality - resulted in a longevity

"hn'? < hobt-mt{>hi
-It Ivo

which has spanned beyond genera

tions and genres. I know the au
thors understand this fundamental
sense, and I trust they can keep
fighting against the censors, as an
evolutionist on the front line,

j ust

as I did.

Summer, 1998
Naomi Tani

by Thomas Weisser
This is the second volume in a projected life-long venture. Over
time, Yuko and I hope to write a series of books, collectively called
Japanese Cinema Encyclopedia, which will assemble the vast number
of contemporary Japanese films, chronicling them by genre. Our first
outing, The Horror, Fantasy and Science Fiction Films, in 1995, met
with success. We are encouraged by the laudatory critical comments
which heralded this series as "the definitive word on Nippon Cinema."
When we initially announced Japanese Sex Films as part of this se
ries, some fellow researchers asked us "why?"
as if pink movies are
somehow less important than other motion pictures. But now, after
three years of exhaustive viewing, studying and cross-referencing, I
can unequivocally assert this unique genre may be Japan's most impor

tant contribution to world cinema, certainly a valuable tool toward bet

ter understanding that complex society.
Exactly, what is a pinku eiga? The term "pink film" was coined
by a critic in 1962 while reviewing Saloru Kobayashi's Flesh Market
[Niku No lchiba), used as descriptive jargon to explain the over-abun
dance of scantily clothed actresses. {The Japanese, similar to Ameri
cans, also associate the color pink with girls, and thus, with movies
featuring girls; however, the opposite terminology bloomed in America
where erotic films became known as blue movies because they ap
pealed primarily to a male audience.} Okura Studios, the production
company for Flesh Market, liked the pinku label and began using it in
promotion for subsequent films. Before long, pinku eiga became the
common moniker for any erotic and/or lurid sex film. Then in 197 1,
when powerful Nikkatsu elected to abandon its mainstream roots to
concentrate on an upgraded pink product, the studio introduced a new
term, roman-porno, to describe the genre. This abbreviated japaniza
tion meant "romantic pornography" and - as suggested by the phrase the goal was to produce "mass market sex films with a deliberate ap
peal to couples." To achieve a mixed audience, Nikkatsu added more
story and a bigger budgets to pink productions. The films transcended
the seedy roots, becoming "erotica" in the truest sense of the word;
however - despite the high production standards and lofty intentions -


Japanese Cinema Encyclopedia: The Sex Films

the studio was virtually unsuccessful in attracting women or couples to

the theater. As a result, by the middle '70s, the roman-porno line gave
birth to two offsprings, the more sinister and male-oriented Best SM
Pink (sado/masochistic pink films) and Violent Pink (ultra-violent rape
movies). These misogynist roughies were criticized in the international
marketplace for their unbridled violence towards women, but in Japan
they were accepted as viable escapist entertainment. For many years,
these films dominated the pinku eiga arena. By the mid-80s, with the
advent of cheaply produced AVs (Adult Videos) and stiffer government
intervention {see essay starting on page 21}, the theatrical pink market
began to wain. Nikkatsu closed its production facilities in 1988. Inde
pendent producers and directors emerged in the '90s, dedicated to con
tinuing the pinku eiga genealogy. They met with varying degrees of
success, but the "golden age" was over.
Initially, we had planned to include every Nippon sex film released
in Japan since the mid '60s when the industry first bloomed. But that
lofty dream proved impossible. Shear volume alone would immediately
curtail such a project. Thousands of pinku eiga were released over the
four decades and, unfortunately, many of them have completely disap
peared without a trace of information. So, Yuko and I have concentrat
ed on the movies from the major studios and distributors (still no easy
task). This book contains a filmography and critique for most every
Nikkatsu sex movies (1971-1988) plus hundreds of projects from Shin
toho, Million, Tokatsu, Okura, Wakamatsu, Nihon Cinema, and the
maverick pink studios which flourished during the first wave of Nippon
porn (1964-1972). We have also included all the important sex movies
of the '80s and '90s. However, despite some notable exceptions, we
chose to ignore the girth of shot-an-video features. These are essential
ly interchangeable productions with little plot, suffering from minimal
artistic qualifications.
Even though we transcribed this text as meticulously as possible, it's
not perfect. No reference book is. But I believe it is more accurate than
any chronicle on Japanese Cult Movies previously printed in the West.
Yuko or I have personally watched a high percentage of the films re
viewed in this text and the critiques are based accordingly. However,
in some instances we have relied on documentation from various Japan
ese books and periodicals including Kinema Junpo, Peer Cinema Club
Annual, Eigageijutsu, and Kinejun Film Yearbook. Each review con
tains a star rating system, from [****] the best to * [the worst].
This rating is based on the merits of film within the intended sex market
and not necessarily on artistic quality when compared to other genres.
All Japanese names are treated in Western style, with the surname
following the given name. This is how the people of Japan prefer to

Foreword by Thomas Weisser


write their names when transcribing into English, so we followed their

lead. Often, we had a difficult time deciding whether certain titles
should be included in this volume or an alternative one. Thriller-styled
S&M pinku eiga presented the biggest dilemma. Eventually we opted
to include the "sado-fare" here instead of listing it in the Horror Book.
On the other hand, dramas and comedies with incidental sexual themes
(e. g. , the Hole In The Pants series and Masato Harada's Bouncing
Young Girls) were not listed here. However, in some instances, we
decided to include certain "crossover" titles in multiple volumes.
We encourage our readers to contact us with comments. You can
reach us through the Asian Cult Cinema offices c/o Vital Books, PO
Box 16-1919, Miami FL 33116 or by E-Mail:
Hopefully, if the cinema god continues to smile on our endeavors,
we'll be back with more.
- Thomas Weisser
Summer 1998


Due to inconsistencies within

the industry itself, many difficulties
arise when compiling a book on
Japanese sex films:
Q) Many independent studios,
looking for the best return
on their investment,
would re-release a movie
numerous times under an array of
different titles;
@ often a film underwent
a name change after becoming
available through a
new distribution company;
and @many times, the name
is changed yet again
for the video release.
The authors have attempted
to use the film's original title
in this text
whenever possible.

Japanese Cinema Encyclopedia: Acknowledgements


In addition to Maki Hamamoto and Naomi Tani (acknowledged
previously), we wish to thank the following people for their assistance
with this book:
Makoto Ishii and Hidehisa Kurihara who helped with the exten
sive research work in Japan; Hirouki Matsunaga, the Nikkatsu
Branch Manager who became both a supporter and a friend; Plus a spe
cial mention to Mike Ruiz who made the computers do the impossible.

And also a special thanks to George Patino, Oliver Stone, Michael

Weldon, Elizabeth Beier, Kokuei No Onesan, Max Allan Collins,

and Donna Lucas, Tony Williams, Sandra Moux, Ric Meyers,

and our attorneys Robert Van Der Wall

Tom Brown, Ray Ranaletta

and Stephen Baker.

But mostly, to our daughter Jessica Weisser, who did the cross ref
erencing and pain-staking detail work.
-Thomas Weisser
and Yuko Mihara Weisser

A Very Bri ef
Hi s tor i c al
The term "pink film"

Per spec t i ve:

fpinku eiga} was originally used to describe

movies which feature an abundance of scantily-clad actresses. (The

Japanese, like Americans, also associate the color pink with girls; but in
terestingly, in the U.S., adult films became known as

blue movies because

they appealed predominately to males.) Generally speaking, the first wave

of pinku

eiga (1964-1972) consisted of low-budget movies produced by

numerous independent studios. Of these, Shintoho, Million, Kanto,

Wakamatsu and Okra are considered the most influential.

The second wave, the Nikkatsu Era {1971-1982}, began when the pow

action roots and con

Pinku Eiga. For this new venue, the company coined the
term Roman-Porno {i.e., Romantic Pornography}. During its fifteen year
erful "mainstream" studio decided to abandon its

centrate on the

reign, the studio developed many successful pink subgenres, including the
Best SM and Violent Pink lines. Their big-budget sex movies squashed

the competition and Nikkatsu held the industry in check until the mid
'80s when AVs {adult videos) essentially killed the theatrical sex business.
With the dedication and persistence of visionary filmmakers in the

Pinku eiga managed to survive - albeit, at a fraction of its original

strength. The four men who led the new sex revolution are Kazuhiro

Sano, Hisayasu Sato, Toshiki Sato and Takahisa Zeze. They became
The Four Kings OJ Pink (this book contains a special section

known as

dedicated to their work, see pages 457-492).

Although even Nikkatsu used the term pornography to describe pink
films, these movies should not to be confused with "porn" in the Interna
tional Marketplace. More accurately, pinku eiga should be called
erotica. While it's true that the genre indulges in some strong and per
verse storylines - pink movies have forever been attacked by church
groups, moral guardians and feminist organizations worldwide - all films
are "soft core" due to strictly-enforced Nippon censorship laws allowing a

preponderance ojnudity but limited to "breast, leg and backside" cine

matography (i.e., nofullJrontal nudity, no genitalia shots) {for more
information see Spotlight Section: Fogging, Editing And Censorship}
The Japanese censorship laws changed in the early '90s with the release
of New World Of Love (directed by Banmei Takahashi), the first non
censored pinku

eiga showing genitalia. This was followed by the non-re

stricted "art theater" release of the French film, La Belle Noiseuse and

Orlando later in '94. Toshiharu Ikeda's remake of The Key (1996) be

came the first "mainstream" Japanese movie to include full frontal nudity.


Fogging, Editing
and Censorship


essay written by Thomas Weisser And Yuko Mihara Weisser

even a glimpse of pubic

hair would be grounds
for arrest and legal pros
ecution. It was a viola
tion of Artic18 175 of the
Japanese Criminal Code
dealing specifically with
the Koshu Eisei -ho
{Public Hygiene L aw}
which forbids the flaunt
ing of obscenity to any
member of the general
public. The exact word
ing (or rather, transla
'SaIonI 's under
tion) of this law is:
ground genre hit Flesh Market
(1962) is the first Japanese
Obs ceni ty disp lay ed
movie with nude scenes but it
through th e wri tten
received only limited di.Ytrib
w ord or through any
utio", while SetJufl Suuki's
Ga&e8 Of PIesh (1964) is gen
. form of visual or audio
erally recogn ized the first
I media is not p ermitted
mainstream film to break the
to b e sold, loaned nor
taboo .

Nudity, both male and

female, has been promi
nent in Japanese Cine
ma since the early '60s'
however - before the
major cultural revolu
tion of the mid-1990s these scenes were strict
ly limited to T&A shots
(i. e. , upper torso and
Depiction of genitalia
was against the law;

passed to the public for

any reason . Furth er ,
obscene material may
n o t be shown to any
m em b er of th e public,
alone or in a group . Vi
olators w ill be subjected
to a m aximum 2 y ear
p rison sentence and/or
a fine to be determined
in a court of law.
It's unclear how this
vague law became the
foundation for Japan's
prohibition against pu
bic hair and genitalia.
For instance, why is
hair considered obscene
while a b u tt is not?
Opinions differ widely
on how this type of cen-

sorship came to exist in

Japan. The most com
mon answer is "eti
qu ette. Traditi onally
the Japanese have "re
spect for privacy, " but
they are not particularly
modest people. After all,
social nudity is accepted
and encouraged by the
culture. Public Bath
Houses are common
meeting places for fami
lies, friends, and busi
ness associates. But
even in that environ
ment, flaunting ojgeni
talia is forbidden; eti
quette requires that the
bathhouse customers
cover themselves with
towels until they enter
the water.
The "why " is a moot
point. In the '40s and
early '50s, cinematic nu
dity was cultural no-no
most everywhere in the
world. "Breast shots" be"

( e.g., Louis Malle's The

Lovers (Les Amants} )
and Swedish ( e.g., Ing
mar Bergman's Su m

mer With Monika (Sam

marrmMedMonika) films

hit the internati onal

marketplace in the late
'50s. Of course, the "titty
taboo" was broken most
assuredly by Russ Mey
er in 1959 with the re
lease of Immoral Mr
Teas. These movies and
many others were im
ported to Japan and
played without incident.
As mentioned earlier,
Satoru Koba yashi's

Flesh Market became

the first Nippon movie

to show upper torso
(breast) nudity; it was
distri buted exclusively
to the "adult movi e"
theaters. Seijun Suzuki
helmed the first main
stream Japanese film
with a nude scene,
Gates Of Flesh, in 1964.

At this time, full-frontal

nudity wasn't even an
option. It was generally
considered "bad taste."
As cinematic skin be
came more common
place (and daring) in
imported International
cinema (Michaelangelo
Antonioni's BlowUp

(1966) was the first

movie to show pubic
hai r and geni talia),
Japan developed "visual
censorship. " This is the
practice of optically
camouflaging genitalia.
One of three methods is
used: CD to di gitally
scramble the objection
able area, @ to covel'
the pubic region with a
black box, or ob
scuring it with a white
fuzzy dot (the most com
mon form of joggi ng ,
thus t h e descriptive
Most Japanese film
makers framed their
movies so joggi ng
wouldn't be an i ssue.
They strategically posi
tioned a foreign object
[like a candle or a bot
tle 1 to hide the forbid
den area, or they would
shoot the scene by film
ing the actress from be
hind, or by using medi
um shots from the front.
To insure that genitalia
and accidental glimpses
of pubic hair were kept
off the screen, Nik katsu
Studios developed the
maebari, a skin-colored

tape which fit slugly be

tween the actress' legs
{this was a constant
source of complaints
from many uncomfort
able starlets}.
Three different agen
cies are ultimately re
sponsible for enforcing
the government stance
on obscenity: 0 The


and Police Force,

Customs & Immigra

and e Eirin. The

Prosector is primarily
involved in jurisdiction
of printed matter, live
performances {including
stage theater, nightclub
acts, and burlesque}
plus enforcement of civil
complaints. Customs is
in charge of all foreign
films imported from any
country outside Japan.
And Eirin, a self-govern
ing board similar to
America's MPAA (Mo
tion Picture Association
OJ America), is respon
sible for rating {passing


or denying} all domestic

Eirin is a powerful or
ganization. If it denies
the "stamp of approval"
to a film, then that film
cannot be shown in
Japan. If a studio opens
a movie in defiance of
Eirin's non-rating, the
insolence is immediately
considered "prosecutor's
business." The film will
be confiscated and all
participants are subject
to arrest and a civil suit.
Significantly, Eirin is

not a governmental
agency. It is a gentle
man's club, formed by
the six major motion
picture companies and
funded by the Japanese
Film A llian ce (for fur
ther information, see
the interview with Eirin
following this essay).
Their purpose is to "pro
tect the studio or pro
duction company from
legal problems pertain
ing to the obscenity
laws." They interpret the
law and "make sugges-

tions" on how to avoid

possible legal trouble. If
the studio doesn't follow
its "suggestion" to ini
tiate the edits then the
film will not receive the
Eirin s tamp . Without
the stamp, the movie
doesn't get distributed.
Each of the three
agencies has its own
agenda, usually working
independently of each
other. For example, Cus
toms is inclined to be
more tolerant of a film's
storyline. Traditionally,
the customs' officials
adopt a laissezjaire phi
losophy towards foreign
cultures. They tend to
censor only the depic
tion of pubic hair and/or
genitalia. On the other

hand, Eirin is a tougher

watchdog, concerned
with both the film's de
piction of offensive nudi
ty and the narrative.
Under the Japanese sys
tem, once a foreign film
passes through Customs
it automatically receives
the Eirin stamp without
being subjected to
Eirin's philosophical
dogma {i. e. , it has al
ready been approved by
the government, so theo
retically Eirin has no
reason to make recom
mendations for edits}.
However, all Japanese
product falls under
rougher scurity. It must
be submitted to (and ap
proved by) Eirin in order
to receive the stamp.

In 1975, Pier Paolo

film S aIo :


1 2 0 D ays Of S o d o m

passed through Customs

with only minor cuts. It
received the rubber
stamp from Eirin and
went directly into main
stream distribution. But
a bit later, audiences
were shocked when un
fogged "pubic hair
scenes" flashed across
the screen. Apparently,
someone at Customs had
taken a bathroom break
at the wrong moment.
Inadvertently, Salo was
the first movie shown in
Japan with "hair." But
the historical moment
was cut short. The Pros
ecutor' s office dis
patched the police and

prints were confiscated.

30 scenes got snipped
before the movie went
back to the theaters.
Most importantly, the
Saw accident caused a
few Nippon filmmakers
to reconsider their dis
tribution options. Some
directors decided to
make movies in partner
ship with foreign compa
nies to circumvent
Eirin's iron fist. Seem
ingly, Cus toms had a
much more liberal atti
tude towards obscenity.
In 1976, director Nag
isa Oshima helmed the

production with a
French company, Serge
Silberman Industries.

The master print was

shipped into Japan
through Customs from
France. Despite the
steamy subject matter,
the motion picture was
approved intact, minus
the hardcore scenes.

But this ploy of beat

ing the censors didn't al
ways work. Bestselling
novelist Masuo Ikeda
helmed Dedicated To
The Aegean Sea [1978].
his first (and only)
movie, in Italy with an
all European cast. But
this time, when the mas
ter print was shipped
into Japan, government
officials were ready,
waiting, and determined
not to be scammed. The

film was delayed by the

customs office for two
months. Finally, after
the deletion or visual
fogging of 52 scenes, the
print was released.
The all-time winner for
edits at the Custcrms Of
fi ce is the Tinto Brass
movie Caligula [1990]
with 332 edits (equalling
536 meters of film). The
runner-up is Ruggero



[1979] with
287 edits (lots of naked
savages wearing fuzzy
dots in that one).
Pertaining to ques
tions of 'censorship vs
leniency.' the climate
was erratic in the late
'70s. Nikkatsu was in
volved in an expensive
and lengthy lawsuit
which spanned the
decade. In 1972, shortly
after the launching of
the studio's roman-porn
line, the Prosecutor's of-

fice had filed a civil suit

against the double-fea
ture Love Hunte r and
Office Lady Journal:
Sce nt Of The Female

T h e h e ad l i ne r ,
Hu nter, w a s
busted on public ob
scenity charges and di
rector Seiichiro Yam
aguchi was arrested .
He took a hostile atti
tude towards the au
thorities, claiming that
his film was a "noth
ing but a scapegoat"
and he was being "cru
c i fi e d . " His stance
made him a darling of
the media . Many im
portant celebrities and
columnists came to his
rescue, in print and at
the trial . He was ac
quitted in 1978 after a
v e r y l e g nthy t r i a l
which kept the movie
out of circulation (but
in the headl ines) for
more than s i x years .


The government was

not happy with the
court ' s decision and
appealed the loss . It
went back to trial in

July of 1980, but the

innocent verdict was
A few months later, in
September, the Customs
office made the follow
ing statement "if pubic
hair was displayed in a
natural setting, then it
would be passed." The
first film with pubic hair
to slip through the gates
unscathed was Yasuzo
Masumura's Garden Of
Eden in January 1981.
This was a Japanese/Eu
rope an production shot
in Italy on the Sardinia
Island (see listing in the
text portion of book).
Eirin disagreed with
Customs' decision and

reiterated its stance

against the depiction of
genitalia. Seemingly, as
the media began point
ing out, Eirin had for
gotten the reason for its
existence. It had - iron
ically - become more
conservative than the
Japanese government.
"If the government says
'okay, ' who is Eirin pro
tecting us from?" the
studios wondered.
Director Shohei Ima
mura decided to butt
heads with Eirin. In his
big-budgeted student re
bellion film Don't Mind
{Eeja Naika} (1981), he
purposely included a
scene showing a line of
female protesters taking
a piss in front of the
conservative officials.
Ei ri n met Imamura's
challenge and passed
the film for general au
diences, apparently feel
ing they had no choice
but to allow the scene.
Tetsuji Takechi, a di-

dating back to his prob

lems with D aydream
and Crimson D r e a m
[both 1964] plus a
messy lawsuit over
Black Snow [1965] (see
Spotlight Section: The
Pink Rebel) - submitted
his pink film Courtesan
to the rating board in
1983. It was edited and
fogged in 93 different
places, altering the film

from a near-hardcore
opus to a very soft cos
tume drama. However,
Takechi took the oppor
tunity to poke fun at
Eirin though a special
advertising campaign.
Apparently, in the fog
ging process, Eirin had
camouflaged a penis by
simply air-brushing the
protruding member with
a rainbow of colors.
Takechi promoted his
movie by saying: "See
the first multicolored
penis in Japanese Cine
In 1984, despite Cus
toms' lip-service to le
niency in the fogging
dilemma, the Prosecu
tor's Office decided to
join forces with Eirin in
a crackdown against the
adult movie houses. A
new, tougher interpreta
tion of the Moral Sensi-

Before and After the 1984 ''1ce Age:"

Right: Advertising posterfor Rope And Skin

flaunting nudity and breast shots in 1979;

Below: Flower And Snake: White Uniform

Rope Slave with breasts descretely covered

but a new emphasis on ann-pits and "hail'"

"advertising was beyond

the realm of good taste."
Then, in an unprece
dented move, the pink
companies banded to
gether and called for a
discussion with Eirin
and representatives of
the prosecutors' o ffice
and the police . Within
the industry, this confer
ence became known the
Ice Age Summit.
The government offi-

cials agreed to be "more

tol erant" of the p inku
eiga industry if certain
conditions were met.
Here is the list of Pink
Commandments of 1984:
.. Movie titles could not
imply under-age sex;
words like Female High
School Girl, uniform ,
coed, virgin were forbid
.. No graphic words like
rape, l ick ing , insert
could be used in titles or

.. No slogans nor phras
es which could stimulate
criminal activity, vio
lence, and/or sexual
promiscuity would be al
lowed in any form of ad
.. No posters nor pic
tures depicting nudity,
including see-thru gar
ments, would be permit
ted in any form of adver
tising or promotion;
.. No photos nor draw
ing of breasts, particu
larly the nipp l e area,
would be permitted; also
no lower torso shots (to
include even models
with panties) would be
permitted if the pose
was suggestive (i. e. ,
crouch shots);
.. No advertising could
depict two bodies touch
ing or mingling in an af
fectionate embrace.
The p ink ind ustry

complied with the rules.

For instance, Ryuichi
Hiroki 's movie playing
the sex circuit under the
title The Molester and
the High School Girl

{Chikan To Jogakusei}
was changed to Curious
Man And The Skirt in
the wake of the Ice Age
Within the first month,
the pinku eiga boxoffice
dropped a whopping
36 % . The sex studios including Shintoho, Mil
lion and the once
mighty Nikkatsu - al
ready wounded by the
Adult Video invasion
now faced a new threat.
The studio immediately
began working on ideas
for new ways to exploit
its product and save the
Meanwhile, Customs
did not budge from its
more liberal posture. In
fact, Customs played a
key part in the first
Tokyo In tern a tional
Movie Festival held in
1985. The festival fea
tured 10 foreign films,
each containing scenes
of full-frontal nudity,
and each passing un
scathed through Cus
toms office.
In a public statement,
Customs declared: "Be
cause festivals tradition
ally show respect for dif
ferent cultures and the
films generated by those
cultures, a decision was

made to pass these mo

tion pictures uncut
across our border."
Some skeptical critics
said that the decision
was not based on Cus
toms' promulgatory 'lib
eral stance,' but rather
because they were
afraid of causing an ugly
international scene. But
regardless of the reason,
the films - including
Michael Ra4ford's Nine
tee n Eighty-Fo ur and
Neil Jordan's Company
Of Wolves - did play un
fogged at the festival.
But a few weeks later,
when the Japanese dis
tributor submitted Com
pany of Wolves to Eirin

for the stamp of ap

proval, the rating was
denied without manda
tory fogging of genitalia
and pubic hair. It
seemed a war was brew
ing between Eirin and
Home Video continued
to take its toll against
the theaters. In 198 2 ,
profits had been neck-n
neck between video and
film. After the Ice Age
Sum m i t in 1984, the
pink theatrical business
plummeted. Nikkatsu
developed Roman X
{"harder than pink"} to
rekindle interest in their
product. The biggest dif
ference between Roman

and Roman Porn was

the discontinuation of
the m a e ba ri . The ac
tresses were "completely
nude for the camera,"
and often engaged in ac
tual sex acts. However
this modification was
largely inconsequential
due to Eirin ' s fogging
practice. Audiences
were underwhelmed by
Nik katsu's new venue.
"She may be naked," dis
gruntled fans com
plained, "but we can't
see anything anyway."
Controversy struck in
1986 when a non-fogged,
non-censored print of
MkkoJsu 's Sexual Abuse:
The Pleasure was acci
dentally distributed to

movie theaters in Tokyo

and Osaka. The infrac
tion didn' t last long,
however. The police con
fiscated the prints and
fmes were administered
to all parties from the
studio to the theaters.
Later that year, Eirin
surprised the industry
with a new far-reaching
proclamation: "If a film
has a limited story, but
is only concerned with
the sex act, it cannot be
submitted for a rating."
This was a major blow to
the pink industry; many
insiders believe it was
part of a conspiracy to
wipe the pinku eiga
from the marketplace,
because - without a rat-

ing, a film could not be

shown theatrically in
Japan. In April of 1988,
N ik k atsu
tired of
fighting Eirin, and be
leaguered by the AV
trade - closed its pro
duction facilities. The
company changed its
name to Roponica, and
became a distributor for
youth oriented films,
mostly imports.
On the brighter side,
the '90s represented
sweeping changes in
Nippon censorship. It all
began in 1991 with a
new administration in
the Prosecutor's Office.
When photo books
flaUll ting pubic hair (by
actress Natsuki Ozawa
and Kanako Higuchi)
were brought before the
Judicial Affairs Bureau,
the prosecutor made the
following statement:
"These pictures should
be viewed and appreci
ated as art, and should
not be subjected to the
obscenity laws." With
this simple affirmation,
the floodgates swung
open wide; by mid-1991,
full frontal nudity be
came commonplace in
Japanese magazines and
At the same time, the
Tokyo In tern a t io n a l
Film Festival was gear
ing up for its 4th year.
The festival organizers
announced that they
planned to premiere

film Belle Noiseuse, directed by Jacques Rivette. Despite the profusion of "hair" shots and
full-frontal nudity in this
story of an artist and his
naked model, Customs
agreed to allow the 240
minute version to enter
the countryjor the jestival engagement without
any editing or fogging.
Eirin agreed not to interfere with Customs '
After the festival presentation, the movie was
submitted to Eirin for
its distribution "stamp
of approval . " Despite
pressure from the media
to allow the film to play
intact, Eirin demanded
16 cuts. A heated argument raged between the
French distributor and
Eirin over the fact that

Customs had already

cleared the film for public display.
Eirin officials realized
they were sitting in a
very unpopular position.
The agency decided to
amend the criteri a for
judging movies.
Eirin revised the wording of the doctrine from
"Motion pictures should
never show genitalia
nor pubic hair" to "Basically motion pictures
shO'uld never show genitalia nor p ubic hair. "
The media had a fieldday over Eirin's reluctant concession, one
critic jokingly said: "it
took them 40 years to
add one word!"
While the trigger for
the reformation was obviously Belle Noiseuse,
Ei rin boss Sh imiz u
claimed that they had

been talking about relaxing the criteria ever

since the Prosecutor's
decision to permit publication of genitalia and
pubic hair. "We now
have the attitude that
pubic hair does not always equal obscenity, "
Shimizu said.
Offici ally, the first
mainstream production
distributed in Japan to
visibly show "pubic hair"
was Sal l y Potter 's Orlando, a British import.
But initially, the movie
had run i nto troubl e
with Customs despite
that agency's li beral
rhetoric. Customs had
advised the European
distributor that 11 edits
were necessary or the
film would not be admitted i nto J apan. The
French-based distributor retali ated by doing

something no one had

tried before: instead of
arguing with the Cus
toms' Office , the im
porter went directly to
Customs' home office,
the Minister Of Finance,
and they lodged an offi
cial International Com
plaint. The matter was
quickly resolved in favor
of the distributor. Cus
toms released Orlando
and it played unfogged
to commercial theaters
in September of 1993.
By the mid-90s, every
thing was in place for
Japan's censorship ma
chinery to be terminated
once and for all. But the
wheels of bureaucracy
turn very slowly. Per
haps a few more years
must pass before the
Japanese people can en
joy complete cinematic
freedom. In the mean
time, each movie is han
dled on an individual ba
sis. Banmei Takahashi' s

Ethics ) . Initially, the

New World Of Love

organization was called

(1994) was the first pink

film to be released un
fogged. Numerous others
have followed, including
Akio Jissoji's remake of
Walker In The Attic
(1995). And Key (1997)

directed by Toshiharu
is the first Nippon
film with full-front nudi
ty to play the main
stream theaters. These
are the pioneers as the
Sex Film finally comes
of age in Japan.


Eiga Rinri Kitei Kanri


Iinkai. But in January

In May of 1996, the au

Maki Hamamo to Eirin
for further clarification
and background infor
mation. Initially, the au
thorities were reluctant
to talk publicly, but they
slowly warmed up to the
idea. The full text of that
interview with Eirin
representative Mr Kam
iya was originally pub
lished in Asian C u l t
Cinema magazine # 1 3.
Here are the hightlights:

of 1 9 5 7 , we dropp e d
"Kitei" from the name.
The word really didn't
belong in our name. It's
t o o strong, me aning
"ruling" o r "legisla


Yo u're n o t
involved i n legislation
or p rosecution o f the
moral codes?

EIRIN: Absolutely not.

We merely make sug
gestions to movie stu
dios and production


Q UESTION: When was

Eirin formed?

EIRIN: "Ei" is an abbre

QUESTION: By whom?

viation for "film" and

"rin" is short fo r
"ethics. " Eirin comes
from Eiga Rinri Kanri
Iinkai (which, in Eng
lish, means Ad minis

EIRIN: The 6 major mo

tion picture companies
formed an organization
called Nihon Eiga Ren
Alliance) . That group

tration Commission of

created Eirin.

Motion Picture Code of

Q UESTION: Who funds

Eirin? How does the

Wh a t does
"Eirin" mean?

EIRIN: In June 1949.

go-kai (Japanese Film

EIRIN: The "Japanese

Film Alliance" funds us
indirectly. It started
with six studios back in
'49; But we've had peri
ods when there were 44
movie companies in our
organization. Currently
there are 23 members,
including a few repre
sentatives from foreign
motion picture studios.
We are not affiliated
with, nor fmanced by,
Japanese government.
Q UESTION: Wasn 't i t
connected with the gov
ernment at one time?
EIRIN: The first direc
tor of the board was
Mr Takahashi, the for
mer Minister of Educa
tion, at that time there
was some association
b e tween the govern
ment and the organiza
tion. But all that ended
by the mid '50s. Today,
the director is Mr
So, in answer to the
questi o n ,
Eirin receives operat
ing money directly from
the "examining fee" it
charges studios to re
view the product.

Q UESTION: What hap

pens if y o u screen a
film which you find to
be objectionable?
EffiIN: In that case, we
return the movie to the
studio without our seal
of approval. We make
suggestious on how the
film could be altered to
fit within the current
legal restrictions.
QUESTION: Let's say the
studio follows your sug
gestions and makes the
changes, then what? Do
they resubmit the film
and pay the screening
fee again?

Q UESTION: How much

does Eirin charge the
studiofor a screening? I EIRIN: Well, of course
EIRIN: 100 Yen per me
ter of film The cost for
an average movie
screening would b e
246,600 Yen {approxi

m ately $ 2 0 0 0 in U SA
currency} .

they d o . How else

would we know the film
was altered to our
specifications. Then, if
the film falls within the
legal perimeters, we is
sue our seal.

Q UESTION: Wha t h ap
pens if a studio refuses
to make the alterations.
Does Eirin get involved
in a law suit?
EIRIN: We do not sue

nor bring lawsuits

against anyone, studios
or theaters. That's the
responsibility of the
Prosecutor's Offi c e .
An d sometimes, i n the
case of foreign films,
the Minister of Finance
can l evy such suits
through the Japanese
Customs Bureau.
Eirin examines and
makes suggesti o n s .
This organization has
two functions: to ex
amine the film and ad
vise the movie studio as
to the current legal sit
uation regarding cen
sorship and obscenity
based on our interpre-

tation of the law; and

if, according to our cri

teria, the studio has

acted within the legal
standards, we will sup
port them against any
governmental prosecu
tion which may arise .
Advise and protect,
that's our position.
QUESTION: What type of
obscenity cases have in
volved Eirin?
EIRIN: There have been
obscenity cases against
studios. But usually it's
the movie director who
gets sued for "public
indecency." Sometimes
actresses are also pros
ecuted because of the
way they allowed them
selves to be filmed.
QUESTION: Are scenes
actually edited from

EIRIN: I want to empha

size our position again.
We do not censor. We
only advise the studios
pertaining to the con
tent of the fIlms. Eirin
has the responsibility
of viewing the movie
and issuing a certifica
tion seal. We cannot
give our Approval Code
if the film contains ma
terial which we know is
against the law.

Since the
aters are also members
of the Alliance, a film
without the Eirin seal
will not get distribu
tion. Isn't that correct?
EIRIN: You are correct,
most theaters in Japan
will not run a film that
doesn't have the Ap
proval Code. However,
I think there are some

theaters, some under

ground theaters, show
ing films which include
objectionable elements,
that is - films without
the Eirin stamp . But
that's out of our juris
diction, it's a matter
for the prosecutor and
the police.
QUESTION: What is actu
ally beingfogged? Pubic
hair or genitalia?
EIRIN: Remember, we
only make suggestions
to the filmmakers. But,
today, I guess genitalia
is being censored.
Since August of 1994,
with the Japanese re
lease of the French
movie Bel l e N oisease ,
the rule has softened.
This fIlm was released
the atrically without
the fogging of any pu
bic hair. Today, the in
terpretation of the
"public decency" laws
seems to be if hair is
naturally part of the
film's expression then
it is considered accept
able. Regarding Bel l e
N oisese , the main ac
tress is an artist's mod
el, considered an "ob
ject of art." To censor
that would be inter
preted as presumptu
ous on our part.
QUESTION: Do you have
an opinion on the fU
ture of censorship?
EIRIN: Officially, I have
no comment.




F i lms :

An Alphabe t i c a l L i s t i ng
and C r i t i qu e
erally considered one of the best ac
tors in the pink business . Nao Saeiji
rna surprised everyone with her as
sured pe rformance (A V actre s s e s
seldom were capable o f making the
transition into "real movies " where
they were actually expected to deliver
l i nes o f d i al o g u e ) . S h e was later
picked by Hisayasu Sato to star in
his mainstream production Meet Me
In The Dream: Wonderland ( 1996) .

[Saej ima Nao : Ijo Kofun]
director: Masahiro Kasai
Nao Saejima Toru Nakane
and Taikei Shimizu
Excess Films

I n t h i s pink thril l e r , A V {Adult

Video} starlet Nao Saej ima plays a
wife who inexplicably develops the
psychic ability to "contact the spirit
world. Her opportunistic husband
Toru (Toru Nakane) convinces Nao
to conduct seances designed to milk
large money from people suffering
the loss of a loved one . They rake in
the bucks , with little regard for sinis
ter repercussions . But then the King
of the Darkside gets angry over the
crass display and kidnaps Nao . Her
husband hires a Chinese monk to help
find the psychic wife . This unlikely
duo g o e s l o o k i n g fo r her in the
netherworld where they encounter an
alternate galaxy of chills and sexual
perversions .
Another grand variation on the
pinku eiga theme b y Masahiro
Kasai, the future director of Female
Neo Ninjas ( 1991) { see separate list
ing} . The cast is also quite good .
Toru Nakane shows why he is gen-


RAZOR ( 1977)
[Ijojochi Jiken: Kamisori]
director: Giichi Nishihara
Yuri Izumi Jiro Kakubu
Aoi Eiga


* '/2

Reiko (Yuki Izumi) i s worried

about her father . It seems while they
were making love , he almost died
from a heart attack . She goes to an
attorney/friend who advises her to
find somebody else , get married and
stop playing around with her daddy
because "he ' s too old and susceptible
to a stroke . " Reiko asks the lawyer to
become her fiance, but he can't. He's
already committed to another woman.
But that does n ' t stop the attorney
from attacking her on the sofa . Their
lustmaking is interrupted by a phone


Japanese Cinema Encyclopedia: The Sex Films

call from his girlfriend . After hang

ing up, he tells Reiko : "I don't need
to rape you after all, Yoshiko is com
ing over." But he does agree to pose
as her fiance in a meeting with papa.
To convince the old man that this is
indeed true love , Reiko allows the
lawyer to shave her pubic hair (thus
the title of the film). Daddy is so
overcome with grief that he has a fa
tal heart attack; Reiko , in her an
guish, kills the attorney with a butch
er knife .
Another staggering sleaze-fest from
director Giichi Nishihara { also see
Grotesque Perverted Slaughter
( 1 976) , I'll Rape You Whenever I
Want ( 1 977) et al. } Rumor has it
that he cranked out an untold number
of these k inky pink movies fo r a
"front" film studio owned by the Os
aka yakuza. Nishihara was a profes
sional boxer in the early '50s. Initial
ly , he broke into the film business as
an acto r , playing a fighter in the
m o v i e Town Of The Iron Fist
[Tekken No Machi] ( 1 95 3 ) . While
still i n h i s 20s , N i shihara drifted
from s t u d i o to s t u d i o (Daiei to
Shochiku , Mainich i Television to
Japan Broadcasting Association) un
til he was tapped to establish Aoi
Produ ction s i n 1 96 6 , a company
which would specialize in new sex
market. However, it wasn't until he
"discovered" Yuri Izumi - in the
early ' 70s - that his films became
box office hits . She brought a touch
of class to Nishihara' s lurid produc
tions , Miss Izumi is especially memo
rable in Please Rape Me Once More
( 1 976) . Apparently , they are husband
and wife .
[ljoh BohkobzaiJ
director: Toshio Okuwaki

Masayoshi Nogami Kaori Aihara

Setsu Shimizu Miki Hayashi
and Honey Yoshikawa
Nihon Cinema
* 1fz

While a case could be that all rape

is abnormal, this film dwells on the
deranged behavior of one particular
sociopath, Eij i (Masayoshi Nogami) .
He viciously assaults a naive farm
girl (Kaori Aihara) who ' s visiting
her city-wise girlfriend, Nori .
Actor Nogami has cinematically
raped his way across two decades
(i. e. , from this film to Seduction Of
A White Angel ( 1 972) , to Office
Lady Rope Slave ( 1 98 1 ) , et at) . But
he surprised many pink fans when he
came "out of the closet" with the gay
films Legend Of The Big Penis and
Mansion Of Roses (both 1 983) .
Filmmaker Okuwaki was a studio
d irector for sleazy Nihon Cin ema
throughout the late '60s (see separate
listing for Taste Of Women [ 1 967] ,
Sweet Wedding Night [ 1 96 8 ] , to
name only two) .
ECSTASY ( 1 967)
[ljo Na Hanno : MonzetsuJ
director: Giichi Nishihara
Tamaki Katori Mari Azusa
Teruko Amano Yasushi Matsura
Aoi Eiga

A somewhat restrained early project

from Giichi Nishihara, the director
who made a career of sleazy pinku
eiga in the ' 70 s . He ' s probably the
trashiest filmmaker of them all , the
Jess Franco of Japan.
This is a low-budget erotic thriller
about a g r i e v i n g w i d o w ( M a r i
Azusa) who discovers that - perhaps
- her husband is really alive . Obvi
ously , he is. And he' s got a pretty lit
tle thing on the side . The betrayed

Thomas Weisser And Yuko Mihara Weisser

w i fe concocts a u n i que revenge

which impales the lovers on a stake
in their bed .
Gutter cinema with little to offer.
The violence is fleeting . Even the sex
scenes are stilted when compared to
Nishihara' s later efforts .
[Ijoh Sei Hanzai]
director: Koji Seki
Mari Nagisa Kohei Tsuzaki
Nami Katsura Midori Enoki

M inor s l e aze-artisan Koj i Seki

(i. e. , Erotic Culture Shock: Swap
ping Partners is his only marginal
claim-to - fame) recruits a bevy of
World Eiga/Nihon Cin ema starlets
for this mean-spirited tale about a
man ' s brutal treatment of wome n .
Giving n e w meaning to date-rap e ,
this psycho captures girl s , ravishes
them mercilessly while he beats these
beauties into submiss ion . There ' s
more nudity than many o f the ' 60s
entries (Mari Nagisa is especially de
licious), but the tone is so misogynist
that it can hardly be considered enter
see Spotlight Section: Hisayasu Sato
[Gyakutai Dorei Shoujo]
director: Akira Yoneda
Makoto Yoshino Yuka Takemura
and Shiro Shimomoto

Actress Makoto Yoshino began her

p ink career with Nikkatsu ' s Serial
Rape in 1 982 . She followed that in
auspicious debut with many other
projects ranging from superfluous
{ Female College Dormitory Vs


Nursing School Dormitory [ 1 984] }

to stellar { Pornographic Ukiyo-E
[ 1 983] } . She supplemented her busy
Nikkatsu schedule with some cine
matic slumming, like this picture .
Here , she ' s joined by another studio
alumnu s , Shiro Shimomoto, from
Girl And The Wooden Horse Torture
( 1 983) . And they star in this quirky ,

albeit inferior, production. A woman

(Makoto Yoshino) becomes young
again through a wonder drug , but a
side effect causes nymphomania. She
meets an elite business man (Shiro
Shimomoto) who is understandably
attracted to her feral sensuality . They
begin a torrid r e l ationship wh ich
eventually escalates into some sur
prisingly vicious S&M coupling .
This one is all over the board . The
story is too unmanageable for direc
tor Yoneda' s meager talents . He al
l o w s too many s c e n e s to unravel
" natural l y " without respecting the
idiosyncratic plot. While the storyline
rumbles along unchecked , Yoneda is
more concerned about sexual posi
tions than a cohesive narrative.
ADULTERY ( 1 986)
director: Chusei Sone
Miyuki Kojima Kyoko Takara
and Sho Nagareyamaji

Miyuki Kojima, an idol starlet of

the '70s, returns to the screen as a
p i n k actre s s fo r d i re c t o r C h usei
Sone, in one of his finest movies .
She plays a wife who discovers her
husband is conducting an affair. He
convinces her to " forgive and for
get, " but Miyuki secretly begins turn
ing tricks to get even . Soon the girl
realizes that she actually enjoys it.
Despite the tears, the anxiety, and the
suffering , M iyuki can ' t stop herself


Japanese Cinema Encyclopedia: The Sex Films

Twilight instead of Affair In The

Afternoon) , the presence of Kazuko
Shirakawa in the starring role, and
d i rector Nishimura r i d i n g he l m .
Also see Apartment Wife: Mid-Af
ternoon Affair for yet another spin

from taking strangers into her bed .

Nikkatsu , who lured director Sone
back into the pinku arena with the
promise of a bigger-than-usual bud
get, expected to save their dwindling
empire with this ambitious project .
The critics ignored the film - not
surprising after the insulting caravan
of sub-par p roduct released in the
mid-80s - and, in turn, the audience
never found this movie . It would be
Sone's last production for the studio.
He retired from cinema two years lat
er, after the mainstream hit Flying in

[Hirusagari No Joj i : Koto-mandara]
director: Masaru Konuma
Yuri Yamashina . Morio Kazama
* * 1/2

[Tasogare No Joj i]
director: Shogoro Nishimura
Kazuko Shirakawa Hidemi Hara

A housewife , Reiko (Kazuko Sbi

rahawa) , is having a liaison with a
lower-level gangster hotshot, a man
with an amazingly nasty personality .
She doesn't love him, but the poor
girl is completely mesmerized with
his bursts of unpredictable brutality .
And so the affair continues . One day,
Reiko and her brutish boyfriend are
seen at a sleazy love-hotel by one of
her husband ' s friends. The dimwitted
gangster decides to kill the unlucky
witness , but in a ridiculous plot twist,
he ends up stabbing the husband in
stead . Reiko is h y s t e r i c a l as she
watches the police cart her boyfriend
off to jail . The husband slips into a
crazed stupor after learning the truth
about his unfaithful wife .
T h i s fi l m i s i n d i r e c t l y p a r t o f
Nikkatsu ' s Apartment Wife concept
{ see separate listing} , tied to that se
ries with a similar title (Affair At

Similar to early American sexploita

tion of the ' 60s , u s i ng themes of
sadistic confrontation as a substitution
for the more socially unacceptable
hardcore theme s , Nikkatsu a l s o
gravitated t o the sado-sexual arena .
This film was the flIst of its soft -core
Roman-Porno [Romantic Pornogra
phy] pics to incorporate S&M .
A young banker is introduced to a
g i r l by h i s superv i s o r . S he ' s the
adopted daughter of a wealthy client,
an old artis( who lives on the out
skirts of the city . The banker quickly
falls in love and wants to marry her .
But she holds a terrible secret . The
girl is deeply involved in a twisted
sado-sex relationship with her stepfa
The film becomes a character study
as the girl tries to detach herself from
the shameful but addictive domina
tion of the eccentric artist. Masaru
Konuma is generally considered one
of the better directors with a compe
tent, dependable style as seen in his
pink films Love Hunter: Hot Skin
( 1 972) , Flower And Snake ( 1 974)
Wife To Be Sacrificed ( 1 974) , et al.
After a couple " featuring" parts ,
this is the first starring role for Yuri
Yamashina in a Nikkatsu film . The
actress is actually Saeko Tsugawa, a

Thomas Weisser And Yuko Mihara Weisser

p inku eiga veteran from Hiroshi

Mukai' s stable .
REAR WINDOW ( 1 972)
[Hirusagari No Joj i : Uramado]
director: Shogoro Nishimura
Kazuko Shirakawa e Taiji Tonoyama
Junko Miyashita e Keiko Aikawa


[Hirusagari No Joj i : Henshin]
director: Noboru Tanaka
Miyoko Aoyama e Keiko Aikawa
and Akira Takahashi

Jun (Akira Takahashi) works a s a

delivery boy for a flower shop . He's
secretly infatuated with a store sales
* * V2
Ayuko (Kazuko Shirakawa, once
girl named Ryoko (Miyoko Aoya
again capitalizing on the popularity of
ma) . While she may appear to be as
her Aftern oon Affair: Apartm ent
pure as fal ling sno w , Ryoko is no
Wife hit) plays a woman who needs
virgin . At night, she secretly works
the thrill of voyeurism to get sexually
as a prostitute to support her young
aroused . S he ' s a kept woman - a
child . Jun discovers the truth one
mistress to a older wealthy man evening when he delivers flowers to a
but she also fills her life with a pa
" love hotel" and sees her in action.
rade of much younger lovers . Before
The incensed young boy tells every
long , one of her studs asks for a sub
one at work about Ryoko ' s outside
stantial loan. Reluctantly, Ayuko be
activities . She ' s fired from the j ob .
gins blackmailing some of the people
And when her fiance hears the truth
that she ' s been peeping . But one of
about his angelic bride-to-be, he can
the disgruntled victims turns tables on
cels the wedding . Ryoko is left bro
her by showing incriminating pictures
ken hearted .
of Ayuko and one of her young lover
Like so many Japanese pinku eiga,
to the patron footing the bill s . Ayuko
it' s often difficult to grasp the mes
ends up with nothing when both the
sage behind the film. This one is in
old guy and her young romeo dumps
deed perplexing . Jun is such an imher.
: mature dreamer that it' s impossible to
There is no relationship between
j u s t i fy h i s v ic io u s t i r a d e a g a i n s t
this film and Nikkatsu ' s Afternoon " Ryoko a s any kind o f reasonable be
Affair: Transformation ( 1 973) . Per
havior . And Ryoko , truly the film' s
haps the only significance of this film
only sympathetic character, i s ex
lies in the cinematic foreshadowing ,
posed and destroyed by Jun ' s ugly
namely b o t h M s S h i rakawa and
denunciation .
Junko Miyashita occupying space in
In many ways, this film is the tlip
the same fllm. Within the year, after
s ide of d i rector Tanaka ' s earlier
Shirakawa left the pink business to
" flower shop" parable, Beads From
become a housewife in Osaka, Junko
A Petal ( 1 972) { see separate listing } .
snatched her crown and became the
This time his symbolic comparison
Nikkatsu queen.
between Ryoko and her flowers is
It' s far from great filmmaking, only
more poignant, if not heavy handed .
recommended for Kazuko Shirakawa
Perhaps , the fllmmaker' s message is
performance . But she even seems to
nestled comfortably in this metaphor.
be growing tired of this convoluted
Ryoko is delicate and beautifu l sexual intrigue .
like her flowers - but she is ulti-


Japanese Cinema Encyclopedia: The Sex Films

mately cut from the root and left to

die .
[Himsagari No Aibiki]
director: Hiroshi Mukai
Shusaku Buto Kimiko Asuka
Nihon Cinema
* * '/2

A sex actioner from filmmaker Hiroshi Mukai who specialized in both

types of cinema throughout his long
lasting career. This time he weaves
the story of a bank robber (Shusaku
Buto) who bumps into his first child
hood sweetheart during a holdup .
The thief takes the girl (Kimiko Asu
ka) hostage and flees with her. Later,
after rekindling their love during a
passionate sex scene, they commit a
lovers ' double suicide .
Significantly, the cast is the peculiar
aspect of this fil m . Nihon Cinema
usually relied on its stable of studs
and starlets for the movies , but this
time they used two relatively un
known bit-performers in the starring
role s . Ne ither Kimiko Asuka nor
Shusaku Buto brought much pinku
eiga experience to the production,
s t a r r i ng only i n Fun ( 1 9 6 6 ) and
Lustful Valley ( 1 966) , respectively .
But director Mukai was vocal about
his desire to make a "relationship
movie" here and he didn ' t want it
marred by the audience ' s "precon
ceived notions" about the performers .
AIM AT THE PIT ( 1 968)
[Ana 0 Nerae]
director: Takae Shindoh
Yuichi Minato Yoko Mizusaki
Kanto / Seinen Geijutsu
* V2

A police detective becomes involved

with a prostitute (Yoko Mizusaki)
when he investigates a series of sex

[Aizome Kyoko Kareinam Tsuioku]
director: Tadashi Yoyogi
Kyoko Aizome Masayoshi Nogami
Joy Pack Film

After her debut in Tetsuji Takechi' s

hard core production of Daydream
( 1 98 1 ) , Kyoko Aizome became an
overnight sensation, directly resulting
in her-name-in-the-title clout . For
this film, she also plays a sexy wife
named Kyoko Aizome traveling from
Paris through southern France to see
her ex-boyfriend (Masayoshi Noga
mi) . For the journey Kyoko hires a
young male tour-guide who provides
fu n - n - g a m e s a l o n g the way . B u t
when she finally arrives , Kyoko dis
covers the old boyfriend is already
happily consumed in a relationship .
However, Kyoko believes that she ' s
i n love with him . When h e rejects her
brazen seduction, Kyoko ' s heart is
broken. Poor girl .
ALLEYCAT ROCK ( 1 970- 1 972)
[Noraneko Rokku] 5 Episodes

Here ' s a c o l l ection inspired by

Toei' s inferior Delinquent Boss se
ries , initially cloned from Roger Cor
man ' s notorious biker flick Wild An

gels ( 1 9 6 6 ) . T h i s t i m e , i t ' s Th e
a bad-ass gang of females
led by sultry Meiko Kaji, future star
of Lady Snowblood ( 1 973- 1 974) .
Nikkatsu Studios, often described
as the American International o f
Japan , were masters a t this kind o f
teen-oriented fare . Although the stu
dio became predominately the home
for sexy pinku eiga (pink movies) by
the end of 1 972, its name is long as
sociated with the best looking , the
hippest , the most fashionable e x
ploitation films in the Nippon market
place . This collection is a prime ex-

A lleycats ,

Thomas Weisser And Yuko Mihara Weisser

a m p l e s e x u a l l y o r i e nt e d - a c t i o n
movies , fi v e excellent entries over a
two year period .
Studio editor Yasuharu Hasebe de
veloped the concept and he directed
three of the five installments . Later,
he w o u l d j o i n Nikkatsu ' s roman
porno division (making stylish adult
movies like Rape! [ 1 976] ) , but with
thi s project he delivered his finest
films . U l tra-chic , yet surpris ingly
grim. This is not a series in the truest
sense of the word . While most cast
members remain the same through
out, there is no direct relationship be
tween the sequels . Often the entries
end with the gang being dissolved or
members getting killed .
Alleycat Rock: Female Boss [#1]
s t a r s h o m e l y pop s i n g e r Akiko
Wada , but she i s murdered by a
Yakuza torpedo after the girls get
caught in a boxing scam . Her lieu
tenant (Meiko Kaj i) takes over the
gang and seeks revenge .
AUeycat Rock: Wild Jumbo [#2]
came quickly on the heels of # 1 , as
soon as the studio realized it had a
hit. Toshiya Fujita was tapped to di
rect . He had made two successful JD
movies for the company in the late
'60s (Juvenile Delinquent: Howling
At S u n r i s e [ 1 9 6 7 ] and Youth
Fortress [ 1 969]) so Fujita seemed to
be the logical choice . It' s the story of
a crooked Christian preacher who
tries to sucker the girls into a scheme
aimed at robbing his ministry and
splitting the money .
S imultaneously , the studio started
yet another sequel , this one helmed
again by Hasebe, called Alleycat
Rock: Sex Hunter . Actress Meiko
Kaji and her Alleycats were shuttled
back and forth between the two sound
stages, but the male leads stayed put.
Tatsuya Fuji (future star of In The
Realm Of Senses [ 1 976]) is in #2 ;


and #3 features TV actor Rikiya Ya

suoka .
The third one is generally consid
ered the best in the series. It's about
a gang of interracial kids called The
Brats . Their leader is looking for his
missing siste r . M eanwhil e , there ' s
another gang called The Eagles and
these g u y s are the e q u i v a l e n t to
America' s Skinheads . They hate any
body who ' s not Japanese, but they
especially hate black people . This ha
tred is justified because the leader's
sister was raped by a black soldier
from the nearby military base . Then
there ' s the female Alleycats , bikers
who enjoy a night on the town with
the America GIs . The city erupts l ike
a powder keg when Eagles gang-rape
and assault the Brats ' missing sister .
The Alleycats get caught in the mid
dle of a deadly Prejudice War. This
episode was rewritten by the scripter
Yukihiro Sawada and turned into a
Nikkatsu pinku eiga in 1 972 under
the title Sex Hunter: Wet Target
(see separate listing) .
Director Yasuharu Hasebe keeps
the same locale for Alleycat Rock:
Machine Animal [#4] as Meiko and
her female bikers try to help two
American soldiers defect to Sweden
after being framed on drug traffick
ing charges . And Tosbiya Fujita re
turns to direct AlIeycat Rock: Crazy
Riders '71 [#5] . The Alleycats are no
longer a motorcycle gang, now they
are a clan of hippies living on a com
mune in Shij uku . Yoshio Harada
(future star of Hunter In The Dark
[ 1 9 7 9 ] and Last Frankenstein
[ 1 992]) is Meiko ' s boyfriend, the son
of a powerful yakuza boss , who does
n't want to go back to his gangster
father even if it means war . And , of
course, it does.
The series came to an abrupt end
when Meiko Kaj i left Nikkatsu to


Japanese Cinema Encyclopedia: The Sex Films

s t a r i n To e i ' s Female Prisone r :

Scorpion series (Joshu Sasori) be
g inning in 1 972 . Director Hasebe
made a very loosely based sexy se
quel in 1 974 called Sengoku Rock:
Female Warriors {see Naked Seven
for information} .

Hidemi Hara

Alleycat Rock:
Female Boss ( 1 970)
[Noraneko Rokku : Onna Bancho]

director: Yasuharu Hasebe

Akiko Wada Meiko Kaji

Alleycat Rock:
Wild Jumbo ( 1 970)
[Noraneko Rokku : Wairudo Janbo]
director: Toshiya Fujita

Meiko Kaji Tatsuya Fuji

Alleycat Rock: Sex Hunter ( 1 970)
[Noraneko Rokku : Sekkusu Hanta]
director: Yasuharu Hasebe

Meiko Kaji Rikiya Yasuoka

Alleycat Rock:
Machine Animal ( 1 970)
[Noraneko Rokku: Mashin Animaru]
director: Yasuharu Hasebe

Meiko Kaji Tatsuya Fuji

AlIeycat Rock:
Crazy Riders '71 ( 1 97 1 )
[Noraneko Rokku : Boso Shudan ' 7 1 ]

Chigusa Takayama


Here are the Alleycat Rock fIlms . Indi

v i d u a l r a t i n g s are u n n e c e s s a r y ; e a c h
movie is recommended:

When they discover their mother is

about to die from cancer, four greedy
sisters (and their mates) visit the fam
ily mansion. Mother is rich, but ever
since the death of the patriarch she ' s
also become eccentric . M o m invested
the entire family fortune in a 2 mil
lion dollar diamond . While the young
people are alternately bickering with
one another and cheating on their
spouses , mom is resting in her bed
fondling the valuable gem. Eventual
ly the mother gives up the ghost and
dies . All the heirs attempt to find the
precious diamond , but it has disappeared . Apparently , mom ' s last defi
ant act was swallowing the diamond
to keep her money-hungry daughters
from getting their paws on it.
This " inheritance " sex-comedy is
not in the same league as either of
Tanaka' s previous Nikkatsu endeav
o r s , Night Of T h e Felines o r
Woman O n The Night Train (both
1 972) . It has all the markings of a
"work for hire , " simply devoid of the
artistic touches which usually charac
terize his films . It' s fun, but forget

director: Toshiya Fujita

Meiko Kaji

Yoshio Harada

[Koshoku Kazoku : Kitsune To Tanuki]

director: Noboru Tanaka

Mari Tanaka Mikiko Sakai

ANGEL GUTS ( 1 978- 1 995 + )

[Tenshi No HarawataJ 9 Episodes
Takashi Ishii / Nikkatsu Studios

Initially , Takashi Ishii had a diffi

cult time breaking into motion picture s . Like many of his contempo
rarie s , he wanted to make movies
because he loved movies . But Ishii
didn't particularly love the compUlso
ry education requirements necessary
for getting into the business . He did
poorly in college , even failing his
film production courses . He blamed
it on asthma problems .
In 1 972, Ishii began drawing . H e

Thomas Weisser And Yuko Mihara Weisser

put together an adult manga [comic

book] called Angel Guts [Tenshi No
Harawata] which saw publication the
fol lowing year . The darkly surreal
i m a g e s c a u g h t the atte n t i o n of
Nikkatsu Studios who hired Ishii to
write a screenplay based on the man
gao Angel Guts: High School Coed
was released in 1 978 and became a
surprise hit. This began a series of
seven films including Angel Guts :
Red Porno (a 1 98 1 thriller by Evil
Dead Trap director, Toshiharu Ike
da) plus two movies directed by Ishii
The Angel Guts films (as with most
everything else by Ishii) are instantly
recognizable due to a preoccupation
w i th water and , l i ke the mangas
w h i c h i n fl u e nced them , they are
filled with an excessive quota of rain.
Any excuse for dripping water or any
type of liquid coating is snatched by
the filmmaker to create a glistening,
colorful shroud of evil . Often these
watery images begin harmlessly [i. e. ,
a shot of a drain during a shower] but
become quite horrifying as they slow
ly mix with large helpings of blood
and gore . This is a favorite tech
nique , used four different times in
Ishii ' s self-directed Red Lightning
( 1 994) .
B e s i d e s the w e l l - w r i tten Ishii
scripts , the series benefits immeasur
ably from the vision of its strong di
rectors , Chusei Sone (Erotic Sisters
[ 1 972] ) , Noboru Tanalro (Walker In
The Attic [ 1 976]) and , of course ,
Toshiharu Ikeda (Evil Dead Trap
[ 1 98 8] ) . Conservative critics have
d i s m i s s e d t h e s e fi l m s as " rape
thrillers appeal ing to the most un
pleasant of instincts " but the movies
are , more accurately , darkly sinister
works of exploitive art.
The Angel Guts series is listed in
chronological order:


mGH SCHOOL COED ( 1 978)
[Jokousei Tenshi No Harawata]
director: Chusei Sone
Machiko Ohtani Sansho Fukami
Megu Kawashima Kenji Kasai
* * 1/2

Tensions flare and violence erupts

in a suburban high school after a
pretty cheerleader, Nami (Machiko
Ohtani) is raped by a d e l i nquent
gang . Tetsuro (Sansho Fukami) is
the gang leader who, infatuated with
Nami, rescues her and becomes the
outc a s t . The fi l m h i g h l i g h t s h i s
dilemma i n choosing between loyalty
to Nami or his gang .
This story , like all the other in the
serie s , is based on the manga by
Takashi Ishii; however the script is
written by Toshiharu Ikeda, future
director of many popular thrillers in
cluding Evil Dead Trap ( 1 988) .

[Tenshi No Harawata Akai Kyoshitsu]
director: Chusei Sone
Yuuki Mizuhara Keizo Kanie
Jun Aki Minako Mizushima
* * * 1f2

Muraki (Keizo Kanie) , a writer for

a men' s magazine, is doing a feature
on starlet Nami (Yuuki Mizuhara) in
a cult porno fil m . He becomes ob
sessed with finding her, but then dis
covers that she was really an unwill
ing victim in the too real classroom
rape flick . After a short romance ,
they become separated . He locates
her three years later, only to find that
she has slipped into prostitution and
live sex-shows .
This is among director Sone' s best
films , punctuated by an amazingly in
tricate single camera shot that twists-


Japanese Cinema Encyclopedia: The Sex Films

n-turns through endless corridors and

neon back-alleys .


[Tenshi No Harawata: Nami]
director: Nobom Tanaka
Eri Kanuma Takeo Chii
Minako Mizushima Kyoko Aoyama

Nami (Eri Kanuma) is a repowriter

(Japanization for field reporter) doing
an article on rape for a women ' s
magazine . I n her investigation she
meets a man writing a similar ex
pose' for a man's magazine . The two
decide to combine notes and they dis
cover a mysterious serial-like pattern .
Director Tanaka, who had been on
the s ki ds fo r the p a s t few years ,
found critical acceptance and strong
box-office numbers with this come
back fil m . However , some critics
reprimanded Tanaka for altering the
intrinsic qual ities of Ishii ' s central
character, Nami, from a forlorn girl
to a bubbly extrovert .

RED PORNO ( 1 98 1 )
[Tenshi N o Harawata: Akai Inga]
director: Toshiham Ikeda
Jun Izumi . Masahiko Abe
Kyoko Ito Miiko Sawaki

A department store employee, Nami

(Jun Izumi) , is fired because she ' s
been moonlighting a s a model for an
SM porno magazine . In reality , she
lost the job because her lecherous
boss wanted the girl to be his mis
tress and she didn't respond positive
ly to the suggestion . Apparently ,
Nami is a good girl. Then what's she
doing in an SM porno magazine?
That was an accident; a mistake . She
accepted a fashion model job and

ended up getting raped and abused

for the camera . But then her photo
layout becomes popular { "It 's so
real! The girl looks like she 's really
afraid! "} , attracting a collection of
undesirable fans . Depres sed , she
finds herself fl irting w ith Muraki
(Masahiko Abe) , a handsome young
guy who had searched her out . She
knows this man may not be good for
her, but she gives into the temptation.
This decision climaxes into a heart
pounding thriller nestled firmly inside
the ugly underbelly of urban horror.
Stylishly directed in stirring garish
colors and lurid close-ups by Toshi
ham Ikeda.
"This film was scheduled as Niklwt
su ' s b i g N e w Year : s h o l iday r e
lease, " Director Ikeda commented i n
Asian Cult Cinema #1 7. " They gave
me the project on December 3 . The
script, based on Takashi Ish ii ' s man
ga, was written in four days and then
we went directly into production. The
movie has a certain tension - proba
bly because of the rushed shooting
time . "
As it turned out, this would be Ike
da ' s last movie with Nikkatsu . " I
had a big fight with the studio bosses
over this film. They forced me to edit
out an ' obj ectionab l e ' scene , " he
said, " I really believed it was crucial
to the movie . But they told me ' it ' s
gone' and i t was gone . I quit because
of that . " The p o p u l a r fi lmmaker
j o i ned the Directo r ' s C om p a n y
where h e made a number of thrillers .
He moved to Toei in the late ' 80s .
Mr Ikeda will always be remember
for Evil Dead Trap ( 1 988) , general
ly considered the best of the contem
porary Japanese horror films .
[Tenshi No Harawata : Rouge]
director: Hiroyuki Nasu

Thomas Weisser And Yuko Mihara Weisser

Emi Shindo Kazuyo Matsui

Shohei Hino Yuuki Kitazume

Shohei H i n o p l a y s T s utomu , a
magazine editor, who become infatu
ated with a porno actre s s named
Yoko (Emi Shindo) . He begins a pri
vate investigation and discovers she
had changed her name from Nami
{but of course, all Ishii heroines are
"Nami "} . Today , the woman is di
vorced, but she formerly married to
an el ite businessma n . Her descent
from riches was caused by Muraki
(Shohei Hino) , a man who convinced
her to get involved in sex movie s .
He, then, later seduced the woman,
forcing the breakup of the marriage .
S i mply , Muraki destroyed Nami ' s
life . She hates him for it and wants to
kill him. Nami acts on this impulse
(or does she?) . The " killing " is con
structed in such a way that the viewer
isn't sure if she has (or hasn't) com
mitted the murder. Some critics have
even suggested editor Tsutomu as the
real killer . This enigmatic conclusion
caused mixed reviews for the film,
with some people expressing frustra
tion over the denouement while oth
ers praised the artistic ambiguity .
However , most everybody agrees
that director Nasu has delivered his
best film, peppered with stylish cine
matography and an exquisite use of
color {certainly a departure from his
Beautiful Wrestlers [ 1 984] or Les
bians In Uniforms series [ 1 9 8 3 1 984] } . Plus h e elicits some convinc
ing performances , especially from
Emi Shindo as the woman who hits
rock bottom.


director: Junichi Suzuki

Kanako Kishi Masahiko Abe
Mizuho Nakagawa Rina Hayashi

As with all the other entries in this

series, it's based on a manga written
by Takashi Ishii, with script by Ishii
himself. Director Junichi Suzuki (no
relation to Seijun) won Nikkats u ' s
Best F i l m award i n 1 9 8 7 for thi s
movie. The notoriety caught the at
tention o f S h o c h ik u Studio b o s s
Kazuyoshi Okuyama who offered
him a contract. To distance himself
from his pink roots, Suzuki changed
his name from kanji symbols to hira
gana { p h o n e t i c s p e l l i ng } . A t
Shochiku h e directed a steady diet of
family comedies . In 1 992 , he pro
duced the A m e r i c a n fi l m In t h e
Muraki (Masahiko Abe) is kicked
out of the house after a vicious argu
ment with his wife . The man finds
himself on a midnight train, ambling
a i m l e s s l y , w h e n he m e e t s N a m i
(Kanako Kishi) . She ' s a forlorn girl
with noticeable bondage scars on her
wrists . M uraki envisions red rope
linking them together . I These two
strangers are drawn to each other and
tumble into a sadistic relationship .
' I n Japan, the traditional notion of ageless love
is portrayed by red thread l i nk i ng two people to
gether from thei r previous lives . Here,



parodying that concept by using rope .

[Tenshi No Harawata: Akai Memai]
director: Takashi Ishii
Mayako Katsuragi Naoto Takenaka


[Tenshi No Harawata:
Akai Nawa Hateru Made]

Scripter Takashi Ishii is fmally given the opportunity to direct.

A night-shift nurse , Nami (Mayako
Katsuragi ,) is brutally raped during


Japanese Cinema Encyclopedia: The Sex Films

her hospital duty . The girl goes home

early but only stumbles into another
shocking situation when she finds her
photographer boyfriend in bed with
one o f h i s mod e l s . U p s e t , Nami
storms out of the house into the path
of an oncoming car. Muraki , (Naoto
Takenaka) , an on-the-lam embez
zler, swerves his vehicle in the nick
of time . He grazes the girl , knocking
her unconscious but not seriously
hurt . Muraki packs Nami into his
car, later raping her . They begin a
tenuous relationship, but it's plagued
with Nami' s distrust for men (rightly
so) . The film crescendos into a sur
prisingly grim finale with hero Mura
ki getting accidentally killed at a gas
station. This was an early role by ac
tor Naoto Takenaka who found in
ternational popularity as Edogawa
Rampo in Rampo [Mystery of
Rampo] ( 1 995) and later won awards
for his supporting role in Shall We
Dance ( \ 996) .

[Tenshi No Harawata:
Yorn Ga Mata Kuru]
director: Takashi Ishii
Yui Natsukawa Jinpachi Nezu

Nami ' s husband i s a N a r c o t i c s

Agent on a dangerous undercover
mission . One day he turns up dead .
But instead of being honored as a cop
who died in the line of duty , he' s de
nounced as a member of the drug
syndicate . Nami (Yui Natsukawa)
wants to clear her husband 's name ,
so she goes into the underground . But
her enthusiasm is quickly offset by a
vicious gang-rape after which she
tries to commit suicide . Undercover
cop , Muraki (played by Jinpachi
Nezu once again) saves her and they
continue the investigation together . In
a surprise ending , Nami discovers
that her husband was killed by Mura
ki to protect his cover .
[Ikenie Tenshi]
director: Katsuhiko Fujii
starring Mayako Katsuragi

[Tenshi No Harawata: Akai Senko]
director: Takashi Ishii
Maiko Kawakami Jinpachi Nezu
Noriko Hayami Shingo Tsurumi

* * 1f2

Let' s see, how many ways to milk

this Ikenie moniker-? The year be
fore Nikkatsu tried Sisters To Be
Sacrificed and W i fe To B e
A fem a l e m a g a z i n e d e s i g n e r
Molested, neither o f which amounted
(Maiko Kawakami) agrees to substi
to more than inept facsimiles of the
tute as cameraman during the shoot
Wife To Be Sacrificed ( 1 974) mas
ing of a pinku eiga . The brutal rape
terpiece .
scene unleashes distant, better forgot
And now comes Angel To Be Sacri
ten, memories and she quits the pro
ject. Strange things start happening to : ficed which strongly benefits from
Mayako Katsuragi ' s debut perfor
her . And before long she wakes up in
mance (she would quickly find suc
bed with a complete stranger who has
c e s s w i th Taka s h i Ish ii ' s A n g e l
left blood all over the place . He ' s
Guts : R e d Dizziness [also 1 98 8 ] )
also quite dead .
and the competent direction o f Kat
suhiko Fujii, certainly one of the
sado genre' s best filmmakers . But, as

Thomas Weisser And Yuko Mihara Weisser

with most Nikkatsu titles produced in

the mid-80s, the story is weak, lack
ing any significance beyond the obvi
ous mean-spirited dimension.
Ms Katsuragi is an innocent but al
luring office lady who gets kidnapped
by a co-worker. He tortures her and
rapes her until she learns to love him .
In the real world , this feat could take
a lifetime . But in Fujii' s reel world ,
it takes about 20 minutes .
[Anne No Komori Uta]
director: Shogoro Nishimura
Michiko Komori Tokuko Watanabe
Yuki Yoshizawa Go Choho
and Hiroshi Unayama
* * 1/2

Just after the tombstone and casket

has b e e n ordered fo r d i re c t o r
Shogoro Nishimura, he surprises
even his toughest critics with a film
that sparks and catches fire, remind
ing everyone once again of his formi
dable exotic pink roots . This madcap
sex-farce is such a movie .
Michiko Komori, t lead singer from
the pop group Triangle , plays a 2 1
year old mistress , Anne , who lives
alone but dreams of sharing a place
with her apprehensive lover. Anne
also babysits for wives in the neigh
borhood w hi le they ' re out on the
streets conducting their afternoon
prostitution b u s i ne s s . Eventually ,
everyone finds out what everybody
else is doing , escalating the film into
a fun, breakneck comedy .
' S inger M ichiko Komor i ' s last name means
lullaby i n Japanese.


[Danchizuma Hirusagari No JojiJ
21 Episodes ( 1 97 1 - 1 979) Nikkatsu


In Apartment Wife # 1 : Affair In

The Afternoon, a sexually frustrated
wife looks elsewhere for an orgasm
when her husband can ' t satisfy her .
She takes on an outside love r . But
her secret is discovered by a madam
who blackmails her into becoming a
prostitute .
This film is significant, not neces
sarily for it's plot, but rather because
it was the commencement of Nikkat
su Studio ' s new direction in film
making . The sluggish studio, reeling
from a series of disastrous proj ects ,
took a chance w ith a new type of
film, promoted to the public as Ro
man-Porno (a Japanized/English term
derived from the words Romantic
Pornography) .
The studio' s idea was to make seri
ous , artistic movies with controver
sial sexual themes . This concept devi
ated c o n s i d e r a b l y fro m p r e v i o u s
Japanese productions which often had
strong sexual content but actually
dealt with more socially acceptable
topics . With the release of this film in
1 97 1 , Nikkatsu introduced " main
stream" adult exploitation to Japan.
This huge hit also paved the way for
the highly successfu l , long running
Apartment Wife serie s . Shogoro
Nishimura directed seven of the 2 1
entries , between 1 97 1 and 1 979. His
films are generally cons idered the
best o f the c o l l e c t i o n , a l t h o u g h
Sabu ro Endo ' s Apartment Wife :
Unforgettable Night ( 1 972) and Aki
ra Kato ' s Apartment Wife: After
noon Beast ( 1 974) also received sur
prisingly enthusiastic notices from the
critics .
Significantly , unl ike many other
Nikkatsu collections produced in the
late '70s (Female Teacher series , for
examp l e ) , t h i s c o l l ec t i o n s e l d o m
slipped into the more lucrative misog
ynist S&M melange (only Apart-


Japanese Cinema Encyclopedia: The Sex Films

ment Wife: Afternoon Beast [ 1 974]

gets involved in sado exploitation) .
No matter how sleazy , the films al
ways stayed true to their roots , focus
ing on the prototypical concept of
" or d i nary p e o p l e i n erotic s itua
tions . " Director Nishimura ' s goal
was to appeal directly to the Japanese
W o r k i n g C l a s s by accentuating
scenes of everyday life (e. g . , close up
shots of cascading beer-bubbles , for
bidden glimpses of under-arm stub
ble, rows of lower-income housing
[more closely resembling American
projects than the typical apartments
seen in most Nippon movies] ) . His
films manage to capture the essence
of the typical Japanese people . With
out ever being condescending , these
movies speak to a person existing in a
tiny space, living a hopelessly monot
onous life sprinkled occasionally with
welcomed bursts of sexuality .
The director pays particularly close
attention to his characters , often al
lowing their lusty personalities to car
ry the tale without cliched action sub
plots . This results in a highly unique
v o y e u r i s t i c v i e w of l i fe , s e l d o m
achieved i n the cinema, conceptually
sirnilar to the early American screen
adaptations of Erskine Caldwell nov
els like God's Little Acre ( 1 958) .
Perhaps credit must also be given to
actress Kazuko Shirakawa who de
livers her role with a wide-eyed inno
cence that is both fresh and convinc
ing . She is often regarded as the fust
Nikkatsu quee n . However, today ,
her " sex-star" status is highly ironic
since she has openly admitted to be
ing a virgin when she made these
films . "1 was scared to death , " she
said in an interview for Book Cine
matheque, "I didn't know how to ex
press the ecstasy expected from these
parts . " Perhaps her natural chastity is
ultimately responsible for the initial

success of the series . However, Ms

Shirakawa was replaced after the sec
ond episode when the studio decided
to develop similar ventures for the
immensely popular actress { see the
knockoffs Affair In The Afternoon
and Affair At Twilight [both 1 972] ) .
Junko Miyashita took over the role
for the third episode , Apartment
Wife: Unforgettable Night (in late
' 72) . Despite favorable reviews for
Ms Miyashita' s performance, Nikkat
su executives made the decision to
use the series as a springboard for
their upcoming starlets , as a result
she was replaced by Akemi Nijo for
the next instal l m e n t , Apartment
Wife : Afternoon B l i s s . D e s p i te
Shogoro Nishimura ' s competent di
rection , the film failed . Ms Nij o ' s
lackluster performance was blamed
for the regression. The studio quickly
reinstated Junko Miyashita to the se
ries and rush-released Apartment
Wife: Prime Woman before the end
of the year . Ms M iyashita stayed
with the series for many episodes to
follow , as well as starring in numer
ous other studio movies { i . e , she
made thirteen feature films in 1 973
alone} . Miyashita is generally consid
ered the s e c o n d m aj o r N i k k a t s u
queen ( h e i r e s s to the throne o f
Kazuko Shirakawa upon her retire
ment) .
After Miyashita slinked through
eight e p i s o d e s ( 1 9 7 2 - 1 9 7 4 ) , t h e
Nikkatsu executives decided it was
time for a new and younger leading
lady . Rumi Tama was their cho ice ,
becoming the 4th apartment wife . She
premiered in the New Apartment
Wife series which the studio mounted
in mid- 1 974 . The original Apart
ment W i fe c r e a to r , S h og o ro
Nishimura , helmed the project, Pros
titution In Building #13, produced
from his own script. But this fil m ,

Thomas Weisser And Yuko Mihara Weisser

like most everything else released by

Nikkatsu in 1 974, failed to attract
much of an audience .
Tama ' s husband , the legendary
pink director Akitaka Kimata, came
out of an early retirement and wrote
the script for her second venture .
Blue Film Woman is the story of a
man who recognizes his wife in a
porno film (many fum buffs still in
sist this is the prototype for Takashi
Ishii' s Angel Guts films [especially
Red C lassroom] which N i kkatsu
produced in 1 978) . Fortunately for
everyone involved , the chemi stry
worked ; the venerable Apartment
Wife series was back on track. Rumi
Tama turned down the next entry ,
complaining about the weak script as
penned by director Shinichi Shira
tori. She would not return to the se
ries until 1 97 8 .
Meanwhile Junko Miyashita con
tinued her career as an older, more
experienced " apartment wife" in the
new Nikkatsu series Housewife ' s
Experience: Tenement Apartment
{ see separate listing } . In 1 977, she
came back to the original Apartment
Wife series for a highly publicized
e p i s od e d i re c t e d by Sh ogoro
Nishimura called Rainy Day Affair.
During the concluding years ( 1 9761 979) , the series averaged two in
stallments per year (rather than the
customary 3 to 5). This period intro
duced three new apartment wives
Aoi Nakaj ima, Yu Mizuki and Eri
na Miyai
who alternated between
the fi l m s , u s u a l l y d e p e n d i n g o n
which director was tapped for the
project. Of these, Shogoro Nishimu
ra ' s Flesh Financing is generally
cons idered the b e st, critically ac
claimed for it' s darkly humorous sto
ryline . Yu Mizuki plays a woman
who turns to gambling to compensate
for her lousy marriage . Then, hope-


lessly in debt, Yu turns to a yakuza

loan shark ; she ends up paying the
interest with her body . However, Yu
organizes other put-upon women into
a feminist army who rally against the
bad gangsters . The whole thing ends
in a happy note when all the women
become prostitutes, enabling them to
pay their bills legitimately .
Koyu Ohara i s the assistant direc
tor for the early episodes. Within the
year he became a trusted studio film
maker { see Passionat e : Ohichi ' s
Love Song} delivering films exclu
sively for Nikkatsu until the mid80s, including the blockbusters Fairy
In A Cage ( 1 977) and the Pink Tush
Girl series ( 1 978- 1 980) .
O t h e r fi l m s in the s e r i e s ; the t i t l e s
marked with [-j are generally considered
the best ones:

Apartment Wife: Affair

In The Afternoon ( 1 97 1 )
[Danchizuma Hirusagari N o Joji]
Kazuko Shirakawa Maki Nanjo
Tatsuya Hamaguchi Yoko M ita
director: Shogoro Nishimura
Apartment Wife:
Secret Rendezvous ( 1 972)
[Danchizuma Shinobiai]
Kazuko Shirakawa Keiko Aikawa
director: Shogoro Nishimura
Apartment Wife:
Unforgettable Night ( 1 972)
[Danchizuma Wasureenu Yorn]
Junko Miyashita Tatsuya Hamaguchi
director: Saburo Endo
Apartment Wife:
Afternoon Bliss ( 1 972)
[Danchizuma Hirnsagari No Modae]
Akemi Nijo Hironobu Takahashi
director: Shogoro Nishimura
Apartment Wife:
Prime Woman ( 1 972)
[Danchizuma Onna-zakari]
Junko Miyashita Tatsuya Hamaguchi
director: Saburo Endo
Apartment Wife:


Japanese Cinema Encyclopedia: The Sex Films

Night of The Rape ( 1 973)

[Danchizuma Ubawareta Yuru]
Junko Miyashita Kazuko Shirakawa
director: Saburo Endo
Apartment Wife:
Night of Pleasure ( 1 973)
[Danchizuma Kanki No Yuru]
Junko Miyashita Masumi Jun
director: Saburo Endo
Apartment Wife:
Scent of a Woman ( 1 973)
[Danchizuma Onna No Nioi]
Junko Miyashita Keiko Aikawa
director: Shinichi Shiratori
Apartment Wife:
Playing with Fire ( 1 973)
[Danchizuma Hiasobi]
Junko Miyashita Katsuo Yamada
director: Shogoro Nishimura
Apartment Wife:
Afternoon Seduction ( 1 974)
[Danchizuma Hirusagari No Yuuwaku]

Junko M iyashita Moeko Ezawa

director: Shogoro Nishimura
Apartment Wife:
Afternoon Beast ( 1 974)
[Danchizurna Kemono No Hirusagari]
Junko M iyashita Akira Hanagami
director: Akira Kato
New Apartment Wife:
Prostitution In Building #13 ( 1 975)
[Shin Danchizuma Baishun
Gurupu 1 3-Gokan]
Rumi Tama Hidetoshi Kageyama
director: Shogoro Nishimura
New Apartment Wife:
Blue Film Woman ( 1 975)
[Shin Danchizuma
Blue Film No Onna]
Rumi Tama Hirokazu Inoue
director: [sao Hayashi
New Apartment Wife:
Swapping ( 1 975)
[Shin Danchizuma Swapping]
Aoi Nakaj ima Hirokazu Inoue
director: Shinichi Shiratori
Apartment Wife:
Flesh Financing ( 1 976)

[Danchizuma Nikutai Kinyu]

Yu Mizuki Jun Kosugi
director: Shogoro Nishimura
Apartment Wife:
Secret Call Girl ( 1 976)
[Danchizurna Maruhi Shuccho Baishun]

Erina Miyai Remika Hokuto

director: Nobuaki Shirai
Apartment Wife:
Rainy Day Affair ( 1 977)
[Danchizuma Amayadori No Joj i]
Junko Miyashita Yu M izuki
director: Shogoro Nishimura
Apartment Wife:
Violated Skin ( 1 977)
[Danchizuma Okasareta Hada]
Erina Miyai Hideaki Ezumi
director: Nobuaki Shirai
Apartment Wife:
Night By Ourselves ( 1 978)
[Danchizuma Futari Dake No Yuru]
Rumi Tama Izumi Shima
director: [sao Hayashi
Apartment Wife:
Target Bedroom ( 1 979)
[Danchizuma Nerawareta Shinshitsu]
Erina Miyai Megu Kawashima
director: [sao Hayashi
Apartment Wife:
Lust for an Orgasm ( 1 979)
[Danchizuma Nikuyoku No Tousui]
Eri Kanuma Masato Furoya
director: Hidehiro [to
All films in series are Nikkatsu
LOVE AFFAIR ( 1 972)
[Danchizuma: Mahiru No Joj i]
director: Katsuhiko Fujii
Kazuko Shirakawa Shinko Jo
Tadashi Makirnura Tatsuya Hamaguchi

* '12

When Nikkatsu introduced its new

line of pink cinema with the the film
Apartment Wife: Affair In The Af
ternoon (early 1 972) , the reaction


Thomas Weisser And Yuko Mihara Weisser

was immediate . The movie was an

instant hit, both critically and com
mercially . Its success inspired four
sequel s in ' 7 2 alone , 21 episodes
over a seven year period . The star,
Kazuko Shirakawa , b e ca m e an
" overnight" smash.' Seemingly the
public couldn't get enough of her .
The studio executives knew they
had already risked the number of " se
quels" which would be tolerated, but
they wanted to capitalize on their
goldmine . As a result, Nikkatsu fi
nanced and released this film, Apart
ment Wife : Mid-Afternoon Love
Affair and yet another spin-off, Af
fair At Twilight { see separate l ist
i ng } , both a l s o starring M s S h i
rakaw a . O r i g i n al l y , t h e company
wanted to develop a series which
would run in tandem with the Apart
ment Wife hit. However , the execs
wen: quick to realized they had , in
stead , merely confused an already lu
crative marketplace . Mid-Afternoon
and Twilight became a one-shot odd
ities . They are merely footnotes in
Nikkatsu ' s gameplan.
In th i s on e , Kazuko ' s husband
(Tadashi Makimura) is a pervert
who doe s n ' t know the meaning of
normal s e x . Through his t w i s ted
games, he' s also corrupted his wife .
Meanwhile , the husband ' s younger
brother (Tatsuya Hamaguchi) has an
eye for Kazuko but doesn ' t want to
do the nasty with her because he
wants " a pure girl , not a pervert for a
partner . " The conclusion of the film
finds him resentful and broken heart
ed .
'Despite the studio s ' s promotion to the con
trary, Kazuko Shirakawa could not be consid
ered an "overnight success . " She had starred in
numerous low-budget pink films



Haired Girl [1968], Sex Before Ma r riage

[1968]. Hunting Breasts [1969].
being "discovered" by

et a{J


Nikka/su. A big differ

ence between Ms Shirakawa ' s career to that of

many peers is


usually demanded name



Kyoko Ai b e c a m e Yukiko

Tachiha n a, Yuko Oribe b e c a m e Natsuko



to distance the starlets from their

"tainted" p a s t . But surprisingly not so with

Kazuko Shirakawa.

ASSAULT! (1976)
[Boko ! ]
director: Yukihiro Sawada
Hitomi Kozue Erina Miyai
Nobutaka Masutomi Reika Maki
and Akira Takahashi

Kuroki (Nobutaka Masutomi)

owns a small b a r in a remote area
near a lake . He ' s nursing a broken
heart - and deflated ego - as he
waits patiently for the return of his
w i fe (Hitomi Kozue , the star of
many Nikkatsu sukeban roles and the
True Story Of A Woman In Jail se
ries [1974- 1 975 ] ) . Apparently Hitomi
had run away with her lover (Akira
Takahashi ) . S h e does eventually
come back, but then, the next day
some unsavory characters straggle
into the bar looking for her . Husband
Kuroki presumes his wife had been
involved with some yakuza-types
during her adulterous liaison; his in
tuition is correct. The seedy visitors
capture Kuroki , tie him up and ran
sack his bar. The assault turns into an
orgy of sex and violence as the gang
sters rape and torture Kuroki' s wife
as well as other bar patrons . A bit
later, Kuroki has the opportunity to
free h i m s e l f and h e retaliates by
k i l l ing a l l the toughgu y s plus h i s
cheating wife .
Written for the screen b y major in
dustry scripter, Kan Saj i , the film
received high praise from many crit
ics despite the rather unconventional
horrific slant . Following the unmiti
gated success of the SM productions
(initiated by Flower And Snake and
Wife To Be Sacrificed in 1 974) ,


Japanese Cinema Encyclopedia: The Sex Films

Nikkatsu allowed its roman porn to

develop along rougher lines (perhaps,
culminating with Yauharu Hasebe's
incredibly savage Rape! 13th Hour
(also 1 977) .
However, this film has a firm foun
dation in character-driven melodra
m a . I t ' s a p s y c h o l ogical thri l l e r
which builds o n the consequences of
domination and control, like Darwin
ism to the nth degree . Conceptually
similar to many samurai films , this
film by director Sawada is concerned
with a m i l d - mannered character
{Kuroki} fighting against violence by
becoming more violent than his advi

which represents both bloodlust and

physical hunger) . Throughout the
film, Yuri and Ken slaughter lots of
people and engage in an abundance
of intense screwing .
Actress Katsura is extraordinary .
Usually relegated to secondary bad
girl parts (e. g . , 100 High School
Girls: Motel Report [ 1 975] ) , it's the
first starring role for the "girl with
the devil's face." Nominated as Best
Actress by the Japanese Academy for
this performance, she was the critical
favorite but , apparently , her fero
cious intensity alienated many of the
more conservative voters .
Director Hasebe c o ntinu e s his
adroit soj ourn, pushing the bound
aries of pinku eiga even further that
he did in Rape! ( 1 976) . Most critics
recognize this period as his most am
bitious, sparked by Nikkatsu 's jaunt
into pink ultra-violence . His subse
quent ftlm, Rape! 13th Hour ( 1 977) ,
is the pinnacle of this genre, a movie
long-considered the most offensive,
the most grotesque movie of all time
{ see separate listing} .

[Boko ! Kirisaki Jack]
director: Yasuharu Hasebe
Tamaki Katsura Yutaka Hayashi
Yuri Yamashina Natsuko Yashiro
A beautiful fashion model is killed ,
then the wife of a famous writer, fol
lowed by a Shinto temple-girl . By the
time the police discover the butchered
bodies of some night nurses, the me
dia is screaming about "Japanese
Jack The Ripper Stalking the Streets
ATTACK! ( 1 978)
of Tokyo. " In reality , "Jack" is actu
[Osoe ! ]
ally a young couple who use murder
director: Yukihiro Sawada
as an aphrodisiac for their escalating
Erina Miyai Makoto Fuji
sex games . The mayhem first started
Norifumi Hori Toru Ohe
after Yuri (Tamaki Katsura) and
and Kazuhito Takei
Ken (Yutaka Hayashi) accidentally : Nikkatsu
kill a girl (Natsuko Yashiro) when : ***
Yukihiro Sawda remains , perhaps,
she gets thrown from their car . The
Nikkatsu 's most under-appreciated
death so inflames Yuri that she im
fi lmmake r . T h i s fo rmer s t u d i o
mediately ravishes her boyfriend and
scripter { from the action-cinema days
they stop for some horizontal gym
of the '60s} turned pink in 1 972 with
nastic s . Their appetite for sex is
Sex Hunter, essentially a titillating
heightened by more elaborate mur
remake of his Alleycat Rock: Sex
ders , each one ultimately committed
Hunter screenplay (see separate listwith a cake knife (a symbolic weapon

Thomas Weisser And Yuko Mihara Weisser

ing) . But Sawada was never satisfied

with the traditional limitations of the
sex film. Instead , his movies are plot
driven thrillers with prerequisite sex
scenes. While not prolific in the early
'70s, director Sawada helmed a num
ber of Nikkatsu proj ects when the
studio drifted towards violent-pink
{roughies} . I This film follows his
two nefarious hits , Rape Frenzy:
Five Minutes Before Graduation
(1977) and Assault ! (1976) , which
also starred Erina Miyai.
Reiko (Erina Miyai) is an angry
young woman. She lost her parents in
a toxic chemical accident; they were
forgotten victims of experimentation
by an indifferent mega-corporation .
Now s h e wants revenge . T h e g i r l
masterminds a n elaborate kidnapping
scheme . She and three boys eventual
ly snatch the C EO ' s daughter. The
r a n s o m m o n e y is earmarked fo r
struggl ing victims of the lethal re
search . But the caper goes array , and
Reiko ' s partners are killed . The film
closes in typical crime noir fashion,
as the girl slips away , swallowed by
the fog of the night.
The plot is surprisingly " hip " for
197 8 , produced before s i m i l arly
themed International message movies
(i. e. , China Syndrome [1979] , Silk
wood [1983] et al) and certainly pre
d a t i n g Ron Ho ward ' s Ransom
(1996) and it' s clone , the Japanese
produced Kidnapp e d ! (19 9 7 ) by
many years . Critics commented on
the " freshness" of the story , especial
ly when compared to routine pink
eiga . But it should also be noted , de
spite the elaborate socially conscious
plotline, this is still a sex movie by
de s i g n . For examp l e , Reiko con
vinces the three boys to help her in
the kidnapping escapade by allowing
herself to be their rape victim and
then blackmailing them. And , after


they fmally kidnap the CEO ' s daugh

ter, lots of screentime is dedicated to
a very rough gang-rape sequence .

After the urunitigated success of the

Best SM

line in 1974,

Nikkatsu introduced a new sub

genre called

violent pink

{or, to borrow the

more familiar America term,



films are vicious and mean-spirited productions,

without delving into the more traditional



aspects of the S&M genre. The pinna

cle remains

Yasuharu Hasebe ' s Rape! 13th

Nikkatsu realized it had

Hour (1977). Even

"gone too far" with that one. And, although the

sub-genre continued, the films became notice
ably less offensive. At least, for a while, until
Zoom Up: Rape Site in late 1979.

[Osou ! ]
director: Yasuharu Hasebe
Asami Ogawa Yoko Azusa
Hide Shirai Kai Abe
A fter h i s o ffe n s i v e l y app a l l ing
Rape! 13th Hour (1977) , director
Hasebe toned things down for this
" ravaged woman " tal e . The film is
still deplorable, but not nearly as re
pulsive as the former notorious entry .
Asami Ogawa, after a pair of high
school rape movies { e . g . , E rotic
Campus and Rape Frenzy} , returns
to the familiar genre , this time as a
female cop who is also a victim of a
sexual attack. She is handcuffed and
raped by an unknown assailant during
her nightly patrol . Policewoman Ku
miko doesn't report the incident, but
rather conducts an investigation of
her own . Days pass and she learns
nothing . Then, one evening , she is
attacked and raped in the police sta
tion restroom by , presumably , the
same man . Kumiko begins to think
and act l ike a v ictim , expecting the
rapist to show up yet again.
In t e re s t i ng l y , d i r e c t o r H a s eb e
chooses t o unspool h is story against
protocol . The movie never reveals
the identity of the rapist. The film


Japanese Cinema Encyclopedia: The Sex Films

ends w ith speculation as to who it

might be (i. e. , perhaps a resentful
victim of a pass arrest, maybe a for
mer boyfriend, possibly a fellow po
liceman); Kumiko is forced to live in
constant fear of being attacked at any
moment . Obviously , the unsettling
nature of this denouement generates
considerably more tension than the
standard thriller, as the viewer can't
shake the feeling that the story hasn't
ended at all . The fear continues long
after the credits insist it' s The End .
The movie i s cons idered a maj o r
"tease, " praised b y many critics but
damned by others , for the very same
[Osowareta Danchi-zumaJ
director: Kobuku Kitazawa
Izumi Aki Kayoko Sugi
and Aya Sadagawa
After her husband is transferred
abroad , Izumi (Izumi Aki) tries to
relieve her boredom with a few after
noons of sexual adventure . She picks
up a man who turns out to be an
S&M freak and she soon realizes
how much she loves her husband .
Or, at least, how much she appreci
ates his more conservative approach
to sex .
Starlet Izumi Aki, from such dis
tressing fare as Sex Documentary:
Rape And Abuse and Violated Uni
form (both 1 983), continues her vic
tim roles with this story of a newly
wed who chooses the wrong lover for
her extramarital affair. Unfortunate
ly , she also picked the wrong direc
Studio hack Kitazawa doesn't have
any concept of characterization nor
cinematic understatement. Instead, he

shoots his film with all the finesse of

a Highway Patrol accident documen
tary . The first rule of establishing
suspense lies in the director' s ability
to create empathy for his victimized
character. Kitazawa - in his mania
fo r the gratuitous rape scenes ignores this basic premise, delivering
instead an empty geek-show-of-a
Mercifully , Kitazawa ' s cinematic
expertise improved dramatically with
age . He eventually developed his own
style - a fastpaced , hard-boiled ap
proach to pink, punctuated by a
unique machine-gun editing tech
nique . Some of his later films { e. g . ,
Woman I n The Black Lingerie} are
textbook examples of the genre .
[Yarareta Onna]
director: Tomoaki Takahashi
Yoshiko Shinomi Kazuhiro YarruUi
and Shiro Shimomoto
Takahashi Productions
Million Films
(rating withheld)
Director Takahashi had already
confirmed his position as one of the
most important filmmakers in the
pinku eiga arena { see Girl Mistress
listing for background information} .
He made this movie at the height of
his most creative period , just prior to
the release of his first mainstream
feature, Tattoo ( 1 982) , a co-produc
tion with A TG {Art Theater Guild} .
Many critics have called Attacked
Woman the best of Takahashi' s pink
movies; and it won many prestigious
awards and nominations , honored as
one of the best fi l m s of 1 9 8 1 by
Kinema Jumpo . However , the lam
entable news is - as of this writing
- the motion p icture is officially
considered a lost film. The distribu
tor , Million Films , confirms " al l

Thomas Weisser And Yuko Mihara Weisser

prints including the master negative

were destroyed . " Neither the director
nor his production company has a
copy . In the late ' 80s a seven minute
excerpt was discovered and released
on video . But, ultimately, the snippet
only succeeded in whetting an ap
petite for the full film.
Little is known about the plot of the
movie . Reference books have called
it an "erotic three character love sto
ry . " Apparently it centers on the rela
tionship between two young gang
sters who share the same girlfriend .
A famous scene depicts Shiro getting
stabbed by an unknown assailant on a
street c o r ne r , but h i s fr iend Kaz
doesn ' t know i t . Instead , thinking
Shiro is dancing , he mimics the in
jured man ' s throes of pain.
AUGUST: WET SAND ( 1 97 1 )
[Hachigatsu N o Nureta Suna]
director: Toshiya Fujita
Takenori Murano Midori Fujita
S tu d e n t s graduating fro m h i g h
school share their l a s t summer to
gether in this somber story of the de
tached generation . A boy meets a
younger girl who is the victim of a
gang rape on the beach . The two be
come instant friends and reluctant
lovers. There ' s also a subplot about
another graduate who's having prob
lems at home with his abusive father .
Cynical critics claim the whole thing
is merely a smoke screen for more
Nikkatsu soft-core sexploitation.
The film 's success inspired a sequel
of sorts (August: Scent of Eros)
from the same director, Toshiya Fu
jita. He initially had joined Nikkatsu
Studios in 1 955 , climbing up the cor-


porate ladder until he fmally got the

chance to direct his first film, Juve
nile Delinquent: Howling At Sun
rise ( 1 967) and it's sequel Juvenile
Delinquent: Youth Fortress ( 1 969) .
In 1 97 1 , after directing an exception
al installment of AUeycat Rock (see
separate review) , Fuj ita was given
the opportunity of joining the newly
developed Pinku Eiga d i v i s i o n of
Nikkatsu a s a studio director. He ac
cepted .
Unfortunate l y , h i s fir s t p r oj ec t
lacked charisma; he fared much bet
ter with the sequel { see next review} .
Fujita' s 1 979 So Soft So Cunning is
generally considered his best effort
for the studio .
SCENT OF EROS ( 1 972)
[Hachigatsu Wa Eros No Nioi]
director: Toshiya Fujita
Maki Kawamura . Yuko Katagiri
Based on a script written jointly by
Atsushi Yamatoya and director Fuji
ta, a girl is working as a cashier in a
department store wh e n a teenage
hoodlum robs the place . She is mes
merized by his assured confidence
and becomes obsessed w ith finding
him. The girl ' s journey takes her to a
beach boardwalk populated by delin
quents . She is attacked and sexually
molested by a gang of ruffians , but
rescued by her dream rogue. The two
become involved , as she wrestles
with the problems of being in love
with a society outcast.
Director Fujita is much more confi
dent with this production, essentially
another variation of his previous film
for Nikkatsu called August : Wet
Sand ( 1 97 1 ) { see previous listing } .
His hand-held camerawork and styl
ish framing techniques are especially


Japanese Cinema Encyclopedia: The Sex Films

effective in the scenes at the garish

boardwalk. The sexual assault is rem
iniscent of American-International at
its lurid best (or worst, depending on
your criteria) .
[Hakkin: Higa No Onna]
director: Naosuke Kurosawa
Mariko Nishina Nami Misaki
This director Kurosawa is no relat i o n to the m as te r . H o w e v e r , he
makes a good looking movie featur
ing some of the best cinematography
in an ' 80s Nikkatsu pink film. The
problem lies in the questionable sub
ject matter, accentuated by a very
weak script. In this story , set in the
depre s s i ng atmosphere of Japan
WW2 , a woman can ' t control her
lusty cravings. Apparently the rand i
ness is something she inherited from
her mom . So, this vixen decides to
make the most of it, using her beauty
to manipulate men . Often, however,
she ' s the one who gets the worse of
the deal .
After all the dust has settled, after
the audience has been mesmerized by
the exquisite framing and the symbol
ism, all that remains is a tired misog
ynist tale of a man's dominance over
a woman. Kurosawa fared much bet
ter w i th s om e of h i s subsequent
films .
FLESH FUTON ( 1 975)
[Hakkin Nikubuton]
director: Nobuaki Shirai
Maya Hiromi Nobutaka Masutomi
Rei Okamoto Hajime Tanimoto
Mio (Hajime Tanimoto) is a starv-

ing writer, that is, until the day he

writes a porno book called Flesh Fu
ton . When it becomes a huge suc
cess , Mio ' s life changes drastically .
He starts sl ipping out every night
{ "for research, " the author tells his
wife} , frequenting the red-light dis
trict , living on sex and booze . But
then a fe w weeks l a t e r , his luck
changes once again . The negative
vibes start when a prost itute an
nounces to everybody that he has a
penis that looks l ike a " guppy . " A
chain reaction of bad luck ensues .
His book gets banned , his publisher
won ' t pay royalties until the court
case is settled , and his wife puts him
on restriction at home { "No more
catting around all night long ! "} .
Then, with everything looking grim,
a thief named Nezumi KOZOI (Nobu
tataka Masutomi) breaks into the
house and befriends Mio . Sympathet
ic criminal Kozo escorts the writer to
a doctor who specializes in penis en
largements . After the operation, the
two men b e c o m e g o o d fr i e nd s ,
sneaking out every night to the whore
market . But the n , the real Neumi
Kozo shows up and it' s bad luck time
all over again.
This was Nikkatsu 's attempt at a
pink screwball comedy , vacillating
uncomfortably between sexual humor
and broad slapstick. The script , by
Atsushi Yamatoya, is wildly out-of
control by the time the first Nezumi
Kozo shows up; but when the second
Kozo starts causing trouble the story
is over-the-edge.
'Nezumi Kozo (The Rat Man) is a legendary
character in Japanese history, similar to Robin
Hood. Rat Man also steals from the rich and
gives to the poor.

Nikkatsu made a pink film

called Love

with this superhero thief in


Bandit Rat Man, directed by

Chusei Sone {see

separate listing}.



Thomas Weisser And Yuko Mihara Weisser

GOLDEN LIPS ( 1 983)
[Tomko Document:
Ogon No Kuchibiru]
director: Genji Nakamura
Yuko Taki Futaba Ishihara
and Maria
Watanabe Productions
A fter a hu n d re d p i nk fi l m s , a
Nikkatsu S&M feature , Beauty In
Rope Hell, and a gay film, Legend
Of The Big Penis {both 1 983 } , di
rector Nakamura tried his hand at a
sex documentary exposing the secrets
of the bathhouse prostitution racket.
Whether this is or isn't a true docu
mentary remains anybody ' s gue ss,
but in typical "mondo " fashion the
concentration is on the exploitive un
derbelly . The movie features numer
ous girls talking about their special
hand techniques {all of which appear
to be basically the same} and Yuko
Taki gives a fascinating explanation
of how to effectively switch between
a hand job and a blow job without
getting a mouthful of soap suds . The
girls also discuss their most memo
rable clients as the film cuts to "hid
den cameras " which magically have
captured the specific moments for
posterity .
' Accurate or not , ' isn 't the ques
t i o n . T h e m o v i e d e l i v e r s o n the
promise of being a bathhouse docu
mentary . It' s success sparked a rash
of similar - but less effective fare, from Orgasm Documentary to
Sex Documentary : Rape And
Abuse (both 1 983) . Director Naka
mura left the pink arena briefly after
this fil m , helming the cult hit V
Madonna: The Great War ( 1 984) .
Along with his partners Ryuichi Hi
roki and Hitoshi Ishikawa , he re
turned to Nikkatsu under the pseudo
nym Go Ijuin in '85 .

[Tomko 1 1 0-ban: Monzetsu Kurage]
director: Yukihiko Kondo
Etsuko Hara Koichi Hoshino
Nobutaka Masutomi Yuko Katagiri
and Yuki Yoshizawa
Miura (Koichi Hoshino) is a flesh
broker {prostitution talent scout?}
who d i s c o v e r s a r u n a w a y g i r l ,
Choma (Etsuko Hara) , roaming the
streets of Yoshiwara , Tokyo ' s red
light district. He introduces her to the
owner of a bath whorehouse where
she immediately starts turrung tricks .
Choma dreams of making lot s of
money , finding a b o y fr i e nd , and
eventually getting married . However,
she falls in love w ith a flamboyant
yakuza gangster (Nobutaka Masuto
mi) , dramatically reducing the possi
b i l ity of her fantasy coming true .
Broker Miura is also in love with the
perky girl , which puts his own life in
jeopardy .
Former Nikkatsu idol Yuko Kata
giri continues to endure her negligi
ble function, this time as a faceless
whore in the bathhouse brothel .
[Edo Ensho Yawa: Tako To Akagai]
director: Atsushi Fujiura
Setsuko Ogawa

KC (Casey) Takamine

The first attempt at roman porno by
director Fujiura (he was a Nikkatsu
filmmaker in the ' 60s, responsible for
many comedies including his debut
feature Deadly Obstacles [Kigeki :


Japanese Cinema Encyclopedia: The Sex Films

Ijiwaru Daishogaij) . Fuj iuni later

found his pink niche with the female
diver films , making a series of them
for Nikkatsu {see separate listing for
Nasty Diver } .
KC Takamine is a popular stand-up
comedian who got into show business
after completing medical school . He
actually practiced, working as a hos
pital doctor in Tokyo for a couple
years , before changing his name to
" KC " . The "KC" (or " Casey ") was
h i s personal in-j oke , chosen as a
satirical homage to American TV
doctor Ben Casey . 1
Setsuko Ogawa, the Nikkatsu idol
who survived on a steady diet of tra
ditional roles in pink historic erotica
{ the inveterate star of the Eros
Schedule Book series [ 1 97 1 - 1 974] } ,
plays a familiar character here . She's
the naive v irgin (the " sea shell " of
the title) , impressed by the charm and
wit of her suitor, but not willing to be
seduced by him . I t ' s j u s t another
variation of the sexually frustrating
Doris Day / Rock Hudson Pillow
Talk movies popular worldwide in
the early '60s .

Ben Casey, starring

V ince Edwards

as the

handsome but surly neurosurgeon, was a televi

sion hit in the States from

196 1



dubbed version was equally popular in Japan


1965- 197 1.


[Kaben No Shizuku]
director: Noboru Tanaka
Rie Nakagawa Keiko Maki
** 1/2
Yuki (Rie Nakagawa) is the daughter of a respected floral designer. She
works in h i s flower shop and has
managed to hide from her problems ,
there , among the plants . However ,
when her husband begins an affair
with a best friend, Yuki approaches
dad for advice about how to deal with

her failing marriage and her own sex

ual frigidity .
Some of the symbolism is, indeed ,
heavy handed . But the film looks so
damn good, and Rie Nakagawa' is so
charrning in her Nikkatsu debut , that
the movie has to be recommended .
Marginally .

rue Nakagawa was featured in a number of

previous grade-B sex films under the name

Sakayu Nakagawa.

SEDUCED ( 1 982)
[Bishimai : Okasu]
director: Shogoro Nishimura
Yuki Kazamatsuri Chie Yamaguchi
Tsuyoshi Nillto Tomoyuki Taura
Tsuyoshi Naito from Love Beast;
Flower Of Vice ( 1 98 1 ) plays Kiyoshi ,
a struggling college student working
in a bookstore near the university
campus. He secretly harbors sexual
yearnings for the owner' s two daugh
ters , Mioko (Yuki Kazamatsuri) and
Masako (Chie Yamaguchi) who also
work in the shop . One day , Kiyoshi
fi nds himself alone - among the
stacks of books - with older sister
Mioko, a quiet and reserved beauty .
He quickly takes advantage of h i s
good fortune by raping h e r . M ioko
doesn't resist the sexual attack be
cause she'd been sweet on Kiyoshi all
along . A little later, the younger sis
ter asks Kiyoshi to help her with a
" personal p r o b l e m . " S e e m i ng l y ,
she's pregnant and wants Kiyoshi to
make arrangements for her to get an
abortion . Afterward s , she rewards
him with stretch in the sack. Eventu
al l y , the three get together for a
menage a trois.
Just when it seemed Shogoro

Thomas Weisser And Yuko Mihara Weisser


Nishimura had exhausted the last
creative breathe from his pink-weary
[Bishimai Nikudorei]
body , he returns with this movie . Of
director: Katsuhiko Fujii
course it is difficult to justify the
Rei Akasaka Megumi Kiyosato
hackneyed story, but glimpses of the
and Kiriko Shimizu
old Nishimura are ev ident every
where in the production itself. Most
importantly is his ardent characteriza
** (or ***)
Certainly this is one of director Fution, always a strong point in his ear
jii ' s best efforts , but that's not saying
ly productions { e . g . , Apartment
Wife series ( 1 97 1 + ) , Confessions : very much . He made so many mind
Of An Adolescent Wife ( 1 973), Se : l e s s S & M p i n k fi l m s ( i . e . , Rope
Slave [ 1 98 1 ] ) it's rare to see one of
cret Book ( 1 974) et al} , but woefully
his projects with an actual plot. And
lacking in his post '77 features . How
as thin as this one may be, it's still a
ever , this film manages to halt his
downward spiral - ever so temporar
O b v i o u s l y i n s p i r e d by s i m i l a r
ily - by concentrating on some fasci
home-invasion fare , popularized by
nating psychological portraits , espe
Wes Craven 's Last House On The
cially those exhibited by Tsuyoshi
Left ( 1 972) , this one tells the story of
Naito in his complex portrayal . None
a psycho who breaks into an apart
of his previous roles come close to
ment and terrorizes the two sisters
this performanc e , certainly not his
l i v i ng there . Rei A k a s a k a and
d i s i n c l i ne d fa m i l y m a n i n Rape
Megumi Kiyosato are quite good as
woman : Dirty Sunday ( 1 98 1 ) . So,
the victims who finally turn the tables
Nishimura must be c redited . H e
after being brutalized savagely for
manages t o elucidate the boy ' s inner
hours . But proceed with caution, it's
conflict, making it more important
only recommended fo r a c q u i r e d
than the predictable sexual release .
tastes .
Tension gusts from the screen.
Yuki Kazamatsuri was initially
hired by Nikkatsu because of her
physical resemblance to mainstream
[Oniroku Dan: Bikyoshi Jigokuzeme]
actress Keiko Matsuzaka . Movies
director: Masahito Segawa
like this one helped her to cement an
Ran Masaki Nobutaka Masutomi
acting reputation on her own merits .
Saori Mizuno Izumi Shima
the film inspired two sequels:
Beautiful Sisters: Skin! ( 1 985)
** (or **1/2 )
[Bishimai : Hagu ! ]
Another Nikkatsu S&M pink film
director: Yasuaki (Yasuro) Uegaki
written by gritty novelist Oniroku
Rei Akasaka Kaoru Oda
Dan (see Rope Slave [ 1 98 1 ] , Fairy
and Takeshi Ohbayashi
In A Cage [ 1 982] ) et a l . Like his
other film scripts , characterization
Beautiful Sisters: Panting! ( 1 987)
becomes secondary . The main thing
[Bishimai : Aegu]
is, as the title suggests, torture . This
director: Yasuaki (Yasuro) Uegaki
film is a mean-spirited sado-sex feast
Kaori Aso Megumi Kiyosato
with big titted Ran Masaki (in a fol
above titles Nikkatsu
lowup to her debut Snake And Whip)


Japanese Cinema Encyclopedia: The Sex Films

playing a teacher who is transferred

to a school in the mountains where all
the male teachers gang up and torture
her .
Masahito Segawa began directing
w ith this one . After making Zoom
U p : Special Masturbation ( a l s o
1 986) and Nao Saeshima's Orgasm
Memorial ( 1 988) , he got out of the
[Bishoujo Puroresu :
Shisshin 1 0-Byo Mae]
director: Hiroyuki Nasu
Natsuko Yamamoto Kaoru ada
and Mai Inoue
J u s t p r i o r to h i s Be-Bop High
School hit series ( 1 985- 1 98 8 ) for
Toei, director Nasu zipped out this
amusing pink comedy , thus fulftlling
h i s c o ntractual o b l i g at i o n s with
Nikkatsu .
College girl Megu (Natsuko Ya
mamoto) enrolls in an extracurricular
girl ' s wrestling club but she soon
learns part of their duty is having sex
with the varsity male wrestling team.
This , of course , allows for Nikkat
su ' s prerequisite "4 sex scenes per
hou r " rule and gives the audience
ample opportunity to admire Ms Ya
mamoto ' s physic. Besides the erotic
couplings, she is subjected to rigor
ous training - bordering on abuse before she's ready to enter the ring in
a no-rules bout against opponent Shi
nobu (Kaoru ada) . Shinobu is also a
personal rival because she has the
hots for Megu's boyfriend .
Natsuko Yamamoto and Kaoru
ada, adversaries in this fllm, starred
together as lovers in the previous two
Nasu fllms Lesbians In Uniforms #1
and #2.

[Dan Oniroku Bijo Nawajigoku]
director: Genji Nakamura
Miki Takakura Maya Ito
In the '60s, Genji Nakamura at
tended the prestigious private college
Keio Gijuku in Tokyo , majoring in
literature . He then continued his edu
cation at Sogo Film Institute and be
gan working as an assistant director
for Koji Wakamatsu in 1 970 . At age
25 , Genj i Nakamura became Japan' s
youngest pinku eiga director; his fea
ture fi l m debut w a s Sad Nymph
{Kanashiki Yosei} in 1 972.
Nakamura directed over a hundred
movies before j oining Nikkatsu in
1 983 . He was hailed as one of the
"Three Pillars Of Pink" (along with
Tomoaki Takahashi and Mamoru
Watanabe) , having won numerous
awards for his films (especially Wet
Lips: Sleek And Hot [ 1 980] ) .
B u t regard ing Beauty In Rope
Hell, there' s very little to distinguish
it from the gut of other S&M fodder
produced by Nikkatsu in the ' 80s. It
looks good , but based on Nakamura' s
impre s s i v e t r a c k r e c o r d and h i s
propensity for intricate characteriza
tion, so much more had been expect
ed . Oniroku Dan wrote the script .
It' s the implausible story of a mail
man who becomes obsessed with a
pretty , young wife . He captures the
woman, tortures her and keeps her in
his basement dungeon where she be
comes his private sex toy .
In the same year, fllmmaker Naka
mura directed the first widely-dis
tributed gay movie, Legend Of The
Big Penis: Beautiful Mystery , for

Thomas Weisser And Yuko Mihara Weisser

Nikkatsu ' s ENK Produ ctions . He

also made Bathhouse Documentary:
Golden Lips for Mamoru Watan
abe's production company { see sepa
rate listing for both} . In 1 984 Naka
mura helmed V-Madonna: Great
War, a hip cult movie about a group
of female bikers who protect a high
school under siege from a vicious
motorcycle gang {see Japanese Cine
ma Encyclopedia: The Action Films } .
He would return to Nikkatsu in 1 985
under the name Go /juin , a pseudo
nym he shared with Ryuichi Hiroki
and Hitoshi Ishikawa . Together they
made Sacrifice ( 1 9 8 5 ) , Sexual
Abuse ( 1 985) and Captured For Sex
2 ( 1 986) before going their separate
ways in the ' 90s.
- TORTURE! ( 1 977)
[Hakkinbon Bij in
Ranbu Yori : Semeru! ]
director: Noboru Tanaka
Junko Miyashita . Hatsuo Yamaya
Maya Kudo Aoi Nakajima
This is the final episode in director
Noboru Tanaka' s ambitious Showa
Era trilogy , preceded by Sada Abe:
A Docu-Drama ( 1 975) and Walker
In The Attic ( 1 976) , all starring
Junko Miyashita. Probably because
of the rougher sado-erotic plot, this
one is the least praised of the three
films . But, with its dark images , ob
s e s s i v e n i h i l i s t i c phil os ophy , and
gravely somber atmosphere, the pro
ject is similarly notable . Like all of
the movies from Tanaka's Mad Love
period , it's filmed in matter-of-fact,
non-flinching style, creating a dan
gerous ambivalence towards tradi
tional concepts of right and wrong ,
sanity and insanity .
The script, also penned by Tanaka,


is based on the autobiographical writ

ings of Shuu Ito, an eccentric painter
consumed with S&M relationships .
He even orchestrates his own torture
sessions to maintain artistic inspira
tion . For h i s d r a w i ng s , S huu Ito
(Hatsuo Yamaya) concentrates ex
clusively on scenes of female torture .
He also writes several journals filled
with descriptive passages of those
sessions coupled with philosophical
ramblings about the "meaning of love
and the expression of the spirit. " Ito
has two wives { at least according to
this movie} and he simultaneously
entertains a street whore named Tae
(Junko Miyashita) . Tae is Ito ' s fa
vorite and , as such , r e c e i v e s the
brunt of his sadistic love. She eventu
ally goes crazy from the pain and tor
ment .
see Spotlight Section: Hisayasu Sato
[Dan Oniruko Bijo Nawagesho]
director: Katsuhiko Fujii
Miki Takakura Kazuyo Ezaki
Miki Takakura was called the new
heiress of Nikkatsu S&M , replacing
Nami Matsukawa { see Flesh Slave
series [ 1 982- 1 983] } .
M s Takakura , o ften dubbed the
Japanese Olivia Hussey , is a frail
girl with a beautiful face . The S M
purists complained about her, insist
ing she didn't have enough "flesh on
her bones . " They were disappointed
that the ropes didn't make a clear im
pression on her skin . She may not
have been perfect for the bondage
scene s , but her range of emotions
made up for it. Miki Takakura is one


Japanese Cinema Encyclopedia: The Sex Films

of the best S&M actresses , compara

ble in many ways to Naomi Tani .
Her biggest problem was the con
temptible scripts, monomania from
Oniroku Dan { e . g . , Beauty In Rope
Hell [ 1 983] , Rope Torture [ 1 984] ,
Double Rope Torture [ 1 985] , and this
one , Beauty Rope Cosmetology} .
M i k i (Mi ki Takakura) i s the
daughter of an affluent family . She's
an elegant and sophisticated girl who
gets captured by a secret admire r .
The sadist tortures Moo , successfully
turning her into masochistic woman.
BED DANCE ( 1 967)
[Bed Dance]
director: Toshio Okuwaki
Setsu Shimizu Naomi Tani
and Michiko Sakyo
World Eiga
After her husband (Setsu Shimizu)
learns the lascivious secrets of his
wife ' s past - she seldom slept alone
during her days as a bar hostess - he
no longer wants to have sex with her.
The spurned w o m a n ( M ichiko
Sakyo) reverts to an old boyfriend
for moral { and ultimately immoral}
More thought went into this project
than many other Okuwaki fi l m s
(e. g . , Abnormal Rape [ 1 968]) and it
benefits from an impressive cast (Ms
Tani' s presence is always appreciat
ed , even when she has little to do) .
But, as typical of the director' s work,
the film suffers from a poorly con
ceived script with decidedly mixed
philosophies .
BED-IN ( 1 986)
director: Masaru Konuma
Miki Yanagi Rie Kitahara
* 1/2

The "Bed-In " title doesn't have any

thing to do with the John Lennon
slogan from the Hippie Era. Here , it
merely refers to the act of "taking a
lover to bed . " The story itself is a
lightweight variation of the many OL
{Office Lady} films which Nikkatsu
produced throughout the pink era .
Newcomer Miki Yanagi plays the of
fice lady this time in a movie that
" e x p o s e s the r e a l i t y of a c a r e e r
woman who enjoys her single l ife "
(as the promotion promises) . But it's
a well-worn path , with virtually no
surprises .
[Boyoku No Shikibuton]
director: Mamoru Watanabe
Naomi Tani Kiyoshi Kinami
Yasuko Matsui Joji Nagaoka
Hanako (Yasuko Matsui) and lover
Yamaguchi (Joji Nagaoka) decide to
kill her wealthy husband . But after
they commit the crime and manage
convince the police that it was just an
accident , daughter Shinko (Naomi
Tani) p l o t s a g r u e s o m e r e v e n g e
against the two .
Another early sex thriller from
Koei, a studio that specialized in
sleazy fare before Nikkatsu made it
fashionable in the '70s . Speaking of
Nikkatsu , actress Naomi Tani went
on to become their biggest starlet in
truckloads of S&M productions over
a five year period (i. e. , Fairy In A
Cage [ 1 982] , Wife To Be Sacrificed
[ 1 974] , Painful Bliss! Final Twist
[ 1 978] , et at) .
D irector Watanabe later moved
from Koei to Shintoho during the
'70s . In 1 982, he and Nikkatsu direc
tor Chusei Sone formed Film Work
ers Production Company . W atan-

Thomas Weisser And Yuko Mihara Weisser

abe' s first mainstream feature would

be Cold Blood in 1 984 . At the same
time he did some freelance work with
Nikkatsu , most notably Dark Hair
Velvet Soul ( 1 9 8 2 ) and Uniform
Virgin Plan ( 1 983) . He was general
ly considered among the most impor
tant filmmakers of the 80' s, often
called one of the Three Pillars Of
Pink (the other two are Genji Naka
mura and Tomoaki Takahashi) .
BED PARTNER ( 1 988)
[Bed Partner]
director: Daisuke Goto
Kyoko Hirota Shuichi Nagano
and Yoko Takaki
The final roman-porno release from
Nikkatsu is deliberately produced
with a novice cast and first-time di
rector riding hel m . This fact was
heavily promoted by the studio to il
lustrate how many opportunities it
had given to young filmmakers and
performers over the past pink years .
Despite the green cast and crew, spe
cial care was accorded the production
by uncredited studio pros who made
the film look terrific . The story, un
fortunately, is just another variation
of the standard roman-porno fantasy .
In the plot, a conservative office
lady (Kyoko Hirota) is mistakenly
recognized as one of her sexually
promiscuous co-workers by a male
businessman. She decides to become
that other girl - a tramp - if only for
a night. Kyoko so enjoys her out-of
character experience that she man
ages to break from of her self-im
posed shell and enjoy an all new life .
Just a s Apartment Wife and Eros
Schedule Book (both 1971) will have
significance as the two films which
launched Nikkatsu 's revolutionary
excursion into (and dominance of) the


pinku eiga arena, this movie - 1 7

years later - has the distinction of
ending its impressive reign. The stu
dio ' s fruitless attempts to compete
w i t h the b u r g e o n i n g AV { Ad u l t
Video} market finally took its toll .
The theatrical audience for sex films
had simply dropped below the margin
of profitability .
Nikkatsu made plans to restructure
the p r o d u c t i o n c o m p a n y . A n e w
"adult art film" line called Ropponi
ca was developed . But when audi
ences were underwhelmed, the studio
dumped money into a new " B " varia
tion of the pinku eiga called Excess
Films . With some exceptions, Excess
was never taken seriously by the crit
ics, although it managed to survive as
a intermittent porn production studio
- proudly lensing 35 mm pink films for at least another decade .
[Bedtime Eyes]
director: Tatsumi Kumashiro
Kanako Higuchi Michael Wright
and Michiyo Ohkusu
Here ' s a simple love story w ith
some very complicated social entan
glements, an interracial romance be
tween a J a p a n e s e c l u b s i ng e r i n
Y o k o s u k a a n d h e r b l a c k Un i t e d
States serviceman boyfriend who ' s on
the lam from the military base . Kim
(Kanako H i g u c h i ) and S p o o n
(Michael Wright, future star o f Five
Heartbeats [1991] and Sugar Hill
[ 1 993]) meet in the afterhours night
club, fall in love, and start living to
gether . However, the more they learn
about each other - about their un
usual customs - the more they real
ize the relationship will never work .
In the midst of the turmoil, Kim dis
covers that Spoon doesn ' t do well
with monogamy . H e ' s also sexually


Japanese Cinema Encyclopedia: The Sex Films

involved with a close friend, Maria

(Michiyo Okusa) . This should be the
final straw in their combustible rela
tionship , but Kim cannot leave the
man. Fate intervenes on her behalf,
when the mil itary police cart him
away on desertion charges .
The movie i s based o n a bestselling
woman's romance novel by Aimi Ya
mada , which also inspired the hip
"black only " fad {dating exclusively
black men } during the mid '80s in
J apan . The original soundtrack is
p r o v ided by the Modern Jazz
director: Akira Kato
Erina Miyai Hiroshi Gojo
Seiji Endo Tokuko Watanabe
* 1/2
Tomomi (Erina Miyai) and Hiroshi
(Hiroshi Gojo) are on their honey
moon. During the seaside drive, she
happens to see a girl being sexually
assaulted . This sparks old memories
of a rape which had deflowered her
when she was much younger. Then ,
by coincidence (an irritating aspect of
most Kato films) , shortly after the
couple arrives in the resort town, To
momi spots the man (Seij i Endo)
who had raped her . He's now work
ing as a hotel bartender. Even though
she immediately remembered him,
the man obviously does not recognize
her . Tomomi takes advantage of his
ignorance to scheme a revenge plot
against him. While her husband is off
sightseeing , she convinces the bar
tender to accompany her into the
mountai n s " for some private sex
game s " where she leaves h i m to
freeze to death .
Akira Kato is an irritating director
w h o stead i l y cranked out 2 to 3

movies a year but never seemed to

benefit from the experience. With the
exception of Love Makes Me Wet
( 1 973), Slave Wife ( 1 976) and per
haps Tokyo Emanuelle ( 1 975) , there
is nothing remarkable about his pro
ductions . They simply exist . This
film is a typical example of his lack
luster style.
BEST OF S&M ( 1 984)
[SM Daizenshu]
aka Oniroku Dan Presents
The Best Of Nikkatsu SM
director: Fumihiko Kato
girl in projection booth:Akio Shinguji
**1/2 (or ***1/2)
This documentary offers consider
ably less titles than That's Roman
Porno, but the clips are longer (some
running in excess of 10 minutes) .
This collection was assembled by SM
guru Oniroku Dan, who exclusively
picked films based on his novel s .
But that' s not necessarily a negative;
the best ones {e. g . , Wife To Be Sac
rificed, Noble Lady: Bound Vase,
Lady Black Rose, Dark Hair Velvet
Soul, Flower And Snake, etc, are all
written by Dan anyway . However,
since the segments are long and ex
tensive , this is not a great package
for fans who have already seen the
movies . But it ' s a terrific sample
platter for people who are curious
about Nikkatsu SM and want to see
what it' s all about.
There ' s a wonderful opening se
quence - shot expressly for this pro
ject by director Fumihiko Kato . It

Thomas Weisser And Yuko Mihara Weisser

features a very cute female projec

tionist (on skates yet ! ) who gets at
tacked and violated by 35mm film as
it unspools from the reels . This in
spired introduction gives way to a
stirring collage of torturous images
edited against a bombastic classical
music score . The ensuing film clips
seem almost anticlimactic by compar
[Hinin Kakumei]
aka Cootraceptive Revolution

director: Masao Adachi

Hatsuo Yamaya . Mikio Terashima
** 1/2
Here's one of those excursions into
sado-erotic fare that makes Western
audiences cringe, very grim misogy
nist S&M entertainment from Koji
Wakamatsu' s production company .
A Japanese docto r , M arqui D e
Sadao (Hatsuo Yamaya from Waka
matsu's Sex Crimes [also 1 967]) de
velops a new, unconventional method
of birth control based on the premise
that a woman can't conceive if she's
c o n s t r i c t i n g i n p a i n . Mikio
Terashima plays an unfortunate vic
tim of the mad doctor's torturous ex
periments .
Filmmaker Adachi has a reputation
as scripter and assistant director for
Koji Wakamatsu (working on both
When E m b r y o Goes Poaching
( 1 966) and Violated Angels ( 1 967)
among others . This is the only film
bearing h i s name as director, a l
though it's generally perceived a s a
Wakamatsu venture .
Interestingl y , Wakamatsu made
Dark Story Of A Japanese Rapist
in 1 967 which also features a lead
character named Marqui De Sado ,
this time a sadistic rapist .


DREAMY ( 1 985)
[Ryoki Taiken: Musei]
director: Tsutomu Watanabe
Yasushi Sato Utako Sarai
and Hiroshi Imaizumi
M illion Films
Something of a rarity pinku eiga , a
sexy SciFi fantasy . 1 Director Watan
abe later drifted into the horror/fanta
sy genre w i th fi l m s l i k e C u rsed
Luger P08 ( 1 995) , but his initial for
ay with cinema lies in pink and Mil
lion Films . But despite the attempt at
l iteracy , the sex scenes are forced
and obvious . C learly , Watanabe is
not interested in steamy side of the
pink genre .
A struggling writer (Yasushi Sato)
pens a novel called Distorted Time , a
complex thriller about life in a paral
lel world. However, his manuscript
gets stolen, published and credited to
an established Science Fiction writer.
Yasushi is both angry and disappoint
ed . Then, late r , as he ' s dragging
himself along the street, the hapless
guy finds an old-fashioned fountain
pen in the gutter. From the moment
he picks it up , strange things start
happening to him. Yasushi is sudden
ly whisked into the alternate world as
described in h i s nove l . But, even
though he is God the Creator (a fasci
nating concept never adequately ex
plored) , this ideal world becomes Ya
s u s h i ' s n i g htmare b e c a u s e he i s
powerless and can d o nothing to stop
certain eventualities .
Interestingly , cult director Kazuya
Konaka made a similar film, Adven
tures In The Parallel World, the
fol lowing year { see Japanese Cine
ma Encyclopedia: The Horror, Fan
tasy And Science Fiction Films} .
' Due 10 the relatively high production costs,


fantasy and science fiction has been limited

to very few previous attempts. The most notable


Japanese Cinema Encyclopedia: The Sex Films

are Love Dream ( 1 967, an installment in the

Some Stories Of Adultery series), Tokyo Eros :


Nights (1979), Lady Momoko's Adven

ture (1979) and Sacred Koya (1984) . In 1986,

Yojiro Takia would make Time Escapade: 5

Seconds Til Climax.

ASCENSION ( 1 975)
[Kurobara Shoten]
director: Tatsumi Kumashiro
Naomi Tani Terumi Azuma
Meika Seri Shin Kishida
and Hajime Tanimoto
Tatsumi Kumashiro continues to
straddle the fence , midway between
roman porn and mainstream cinema,
with this production, featuring one of
the few Naomi Tani non-S&M fea
tures for Nikkatsu .
The story - autobiographical in
content, as some critics are fond of
saying - highlights the quirky life of
a pinku eiga director, Juzo (pIayed by
Shin Kishida , who l ater became
J a p a n ' s best known v a m p i re in
Toh o' s Bloodthirsty Trilogy [ 1 9701 975] ) . Juzo has just returned from a
disastrous first day of shooting . Or
rather, of non-shooting . The movie
had been unexpectedly cancelled and
he' s in a dark mood because leading
actress Meiko (Meika Seri) is "preg
nant and ridiculously obvious about
it. " While looking for a new starlet,
Juzo discovers his dentist is having
an affair with a big-time politician's
mistress (Naomi Tani) . Juzo is im
mediately infatuated with the woman
and wants her to be in his suspended
movie . At first she says no thank
y o u . Juzo t r i e s everyth i ng , even
blackmail , until Naomi finally agrees
to give acting a try . The shoot be
gins , but during an erotic scene with
her and Haj ime (seeming the daddy
of Meiko ' s love child) , the director

cancels the session. Juzo realizes he

has fallen in love with Naomi, so he
propo ses and they end up getting
married i n s tead of fi n i s h i n g the
movie project.
Like many other Kumashiro films ,
this one works despite the story .
Characterization is the key to his suc
cess , and watching this movie is akin
to spending a Saturday evening with
some very good friend s . The audi
ence easily identifies with this artistic
rogue (Burt Reynolds pulled off a
remarkably similar role twenty years
later in the American p roduction
Boogie Nights [ 1 997]) who believes
he ' s actually making important mo
tion pictures { "Sex is the ultimate
emotion, capturing it on camera is
the ultimate art! "} . Imitating Nagisa
Oshima (the obvious target of the
satirical barb s ) , Juzo often s ay s :
"fucku n o bi!" [ " the art o f fuck
ing ! " ] . But the irony in this story
fmds Juzo himself unable to complete
his dream project because he has fall
en in love .
The Black Rose title reflects a con
scious attempt by Nikkatsu to create a
"label " for Naomi Tani , a catch
phrase which would help make her
appear to be " something special . "
They used the moniker which had al
ready been tied to Ms Tani in Kat
suhiko Fujii ' s Cruelty: Black Rose
Torture (early 1 975) . Otherwise, the
title has no relationship to the plot of
this movie .
BLACK SNOW ( 1 965)
[Kuroi Yuki]
director: Tetsuji Takechi
Akira Ishihama Kotobuki H ananomoto

Invigorated by the success of his


The Pink Rebel:

Tetsuj i Takechi
One of Japan's most controversial directors


1 963

Women's Story
aka Night In Japan
released in USA as:
Women Oh Women!
(Nippon No Yoru :
anna anna anna

Tetsuji Takechi is generally considered the

father of Japanese Porn . H i s fi lm Daydream
( 1 964) was the first big-budget pinku eiga (see
listing in text for plot synopsis) and, more impor
tantly , it received a huge publicity campaign.
Shochiku had planned the premiere to coincide
w i t h the o p e n i n g of the e s teemed T o k y o
Olympics, and the Japanese government was not
amused by the decadent image this " nouvelle
vague" gave to its world visitors .
Next, director Takechi also made the politi
cally-charged sex-movie Black Snow ( 1 965) , re
sulting in one of Japan' s first motion picture ob
scenity trials. He won the case, which essentially
opened the floodgates for "total narrative free
dom , " but the government still maintained strict
laws against any dipiction of genetilia .
Takechi concentrated less on motion pictures
in the ' 70s , spending his time with television
production { The TetslIji Takechi Hour} and var
ious writing proj ects . After the release of his
epic production, Courtesan ( 1 983) , Takechi
complained b itterly over the censor ' s heavy
hand . He immediately started work on a new
hardcore (XXX) fantasy fi lm called Scared
Koya which he refused to edit, censor or fog .
The movie has never been shown commercially
in Japan . Upon completion, Takechi took advan
tage of America's more
l iberal porn laws and
premiered the fi lm in
Guam , a United States
providence . The movie
r a n fo r more than a
year, playing mostly to
Japanese tourists who
visited the island .
Tetsuj i Takechi died of
natural causes in 1 988.

1 964

Crimson Dream
1 965

Black Snow
(Kuroi Yuki)
1 966

Genji Story
(Genji Monogatari)
1 968

Postwar Cruel Story

(Sengo Zankoku
Ukiyo-e Cruel Story
(Ukiyo-e Zankoku
1 9 73

Madam Scandal
(Scandal Fujin)
1 981

(Hakuj itsumu)
1 983

Sacred Koya
(Koya H ijira)
1 987

Daydream 2
aka Captured For Sex
(Hakuj itsumu Zoku)


Japanese Cinema Encyclopedia: The Sex Films

Daydream ( 1 964) , director Takechi

decided to square off against the gov
ernment c e n s o r s w i t h t h i s adult
themed political hot potato . It's the
story of a maladjusted son of a prosti
tute . The boy is impotent unless he 's
stoking a loaded pistol while making
love . It ' s easy to see some quirky
psychological problems here . But in
reality , he ' s unconsciously reacting
against his hatred for Americans , a
deeply rooted hostility charged by the
v ictimization of his mother at the
hands of hungry soldiers on a mili
tary base in Yokota . Eventually the
young psycho shoots a black GI and
i s i m m e d i a t e l y gunned d o w n by
American MPs .
The Japanese government, still un
happy with Tetsuji Takechi over the
Daydream controversy {see separate
listing } , finally retaliated by arresting
hi m on public indecency charges .
The trial was a media circus , not un
l ike the famous U. S . trial (also in
1 966) against William Burroughs
and the Grove Press publication of
Naked Lunch . Renown authors and
notorious filmmakers (including Nag
isa Oshima and Seij un Suzuki) testi
fied in court. The trial became a war
zone pitting the avant garde intellec
tuals against the conservative ma
chine . Takechi won his day(s) i n
court { see Spotlight Section: Th e Pink
Rebel, page 67} .
[Dan Oniroku Joen Fuj in]
aka Madam Rope Flame
director: Katsuhiko Fujii
Junko Mabuki Izumi Shima
and Tomoka Asagiri
* * 1/2
Junko Mabuki was discovered and
groomed by director Fujii, initially

featured in his Showa Erotica (earli

er 1 980) . She received the " seal of
approval " from scripter Oniroku
Dan when he wrote White Uniform
In Rope Hell (also 1 980) for her .
She was promoted as the successor to
Naomi Tani , the Nikkatsu S M
queen who retired at the peak of her
popularity in 1 979 after the release of
Rope And Skin . But lunko Mabuki' s
career was short-lived . The extensive
cinematic torture sessions caused se
vere health problems for the girl ,
forcing her to retire after only a few
movies .
In this film Ms Mabuki plays new
lywed Junko who is left at home with
her sister while husband Koj i (Hi
roshi Ogasawara) has to take a busi
ness trip to a country side village .
That night, he stays at a quaint inn
where he passes the time by attending
an S&M stage show . The next day ,
while driving back home , Koj i gets
into an accident, hitting and killing a
woman . She ' s Aiko (Tomoka Asa
giri) the star of the SM show; her
husband , Genzo , sees the hit-n-run
from the side of the road . A few days
later , Koj i ' s wife and sister disap
pear, kidnapped by angry Genzo. He
viciously tortures them before hus
band Koji comes to the rescue .
The poppycock story is written by
S M maestro Oniroku Dan . Ju n k o
Mabuki 's next film would be Hell of
Roses , fo r d i re c t o r Shogoro
see Spotlight Section: Toshiki Sato
BLONDE HUNT ( 1 968)
[Kigeki Hachurui]
director: Yusuke Watanabe

Thomas Weisser And Yuko Mihara Weisser

Kiyoshi Atsumi Terry Angel

Akira Nishimura Yukie Kagawa
* 1/2
Terry Angel' s identity - and what
became of her her - is a mystery .
Some rumors persist that it was , in
fact, a pseudonym for a British pop
singer called Twinkle (a relatively
unknown songstress who had an in
ternational h i t , Terry , during the
British Music Invasion in 1 965) . But
nonetheless , Terry Angel starred in
this Japanese sex comedy , and she
seemingly has no other acting credits .
A couple Japanese friends (Kiyoshi
Atsumi and Akira Nishimura) are
obsessed w ith the idea of bedding
blonde girl s , especially a UK bird
named Mary Harlow (Terry Angel) .
The action is particularly dimwitted
and culturally embarrassing .
Yukie Kagawa, star of such ex
ploitative fare as Ghost Story Of
The Snake Woman and Invisible
Man: Dr Eros (both 1 968), plays the
thankless role of Pico , an sexy girl
who isn't good enough because of her
b l a c k h a i r . Akira Nishimura i s
slumming i n this Shochiku opus; he' s
best remembered for his horror films
Living Skeleton ( 1 968) and Ghost
Of The Hunchback ( 1 965) .
[Chi To Ekusutasi]
director: Hitoshi Ishikawa
Mamiko Aso Yuzo Takeda
Neo Nikkatsu
A yo ung investment banker h a s
been sliced-up an d fatally stabbed ,
his nude body "crucified" on the bed
room wall. He appears to be the vic
tim of a gyaku-rape (counter rape)
and everything points to h i s girl
friend . At least, that' s how the inves
tigating detectives see it. They visit


N i o m i (Mamiko A s o ) , a b r a z e n
woman who flatly denies any knowl
edge of the crime . Detective H ideo
(Yuzo Takeda) isn't convinced; he
stakes her out. Before long , his cover
is blown and H ideo finds himself
sharing the bed with Niomi . It' s a bit
uncomfortable because he ' s tied up
and she ' s a bit rough, but ultimately
the detective becomes obsessed with
her bizarre behavior.
She completely d o m i nate s h i m ,
bondage and strange sex games are
merely the appetizer in this sadistic
relationship . The bigger question re
mains , is this woman a murderer?
Hideo discovers the answer too late .
She ' s a genuine serial-killing freak
who l ives for the orgasm she has
while stabbing her partner to death .
Director Ishikawa started in the
business as a member of the trio who
made movies under the pseudonym
Go Jjuin { see Captured For Sex 2} .
BLOODY RAPE ( 1 968)
[Chi No Bohikoh]
director: Kaoru Higashimoto
Yuichi Minato Natsuko Hama
Uematsu Productions
Dr Keiko (Natsuko Hama) tries to
cure a girl ' s trauma after she gets in
volved in a particularly vicious sexual
as saul t . Preachy and o s tentatious
fro m d i r e c t o r Higashimoto w h o
fared much better with Hell Pit (also
in 1 968) .
director: Kensuke Sawa
Hiroshi Yajima Shinji Kubo
Noriko Chizuki Mari Iwai
Sawa Productions
A very minor fi l m for d i rector
Sawa, which he rushed out to fulfill


Japanese Cinema Encyclopedia: The Sex Films

booking commitments for his produc

tion company . The cast, like every
thing else about this project, is less
than impressive . Hiroshi Yajima had
a cult following in Osaka where he
made films for sleazemeister Giichi
Nishihara ( i . e . , R i p p e d Virgin
( 1 968) , I'll Rape You Whenever I
Want ( 1 974) , et al) . The female cast
consists of young "high school" ac
tresses . Director Sawa continued to
use Mari Iwai from time to time (in
Crazy For Lust [ 1 968] and Hunting
Breasts [ 1 969] , for example) but her
acting proficiency never matched her
bust size .
The film is essentially a series of vi
gnettes dealing with teen virgins who
loose their innocence to the same guy
over a summer vacation. There' s lit
tle to recommend, aside from the ob
vious . But hatchet editing and sloppy
camera work (a frenzy of pan and
zoom nonsense) takes the fun out.
WOMAN'S BODY ( 1 969)
[Jotai Kaika]
director: Tsohio Okuwaki
Miki Hayashi Kaori Aihara
World Eiga
More mindless junk from World
Eiga and director Okuwashi (a dead
ly combination which also produced a
string of equally unremarkable films ,
such as Abnormal Rape [ 1 968] ) .
This one features studio starlet Miki
Hayashi as a girl who experiences
the "joys of sex" and blossoms into a
woman. Standard chauvinistic clinch
es overshadow any semblance of a
[Aoi Film Shinasadame]
aka Woman In A Blue Movie

director: Hiroshi Mukai

Mitsugu Fujii . Noribiro Ohtani
Mari Nagisa . Risa Minakami
An office girl (Mitsugu Fujii) inadvertently gets sucked into the world
of porn films by her boss (Noribiro
Ohtani) . This was a hit movie, most
ly due to a strong publicity campaign
focusing on the " shock" of a famous
movie star like Ms Fujii playing the
lead role in a pinku eiga. Director
Mukai often employed "hype" to sell
a fil m . He understood controversy
well and used it to give his films a
commercial edge . For example, he
hired the wife of the Indonesian pres
ident to star in Japan Virgin Rape
( 1 970) and his Flesh 2 ( 1 969) be
came a whisper-hit due to the sex
scene between a Korean girl and a
black American GI on leave from
Viet Nam . His most notorious feature
is Deep Throat In Tokyo ( 1 97 5 )
{see separate entry} . Japanese critics
have often called Mukai "the only se
rious rival of Koji Wakamatsu . "
[Hitonatsu N o Taiken:
Aoi Sangosho]
aka Blue Lagoon Vacation
director: Toshiharu Ikeda
Mayumi Terashima Yuka Asagiri
Mitsuo Namibira Asako Kurayoshi
High school student Chiaki (Mayumi Terashima) has a major blow-up
with her boyfriend after she catches
him cheating on her. The girl decides
to spend the summer on the tropical
island, Okinawa, with her girlfriends .
Once there, Chiaki vies for the atten
tions of a handsome beachboy (Mit
suo Namihita) against some aggres-

Thomas Weisser And Yuko Mihara Weisser

sive competition. Of course, she gets

the guy.
"This was a penance project, " di
rector Ikeda said in an Asian Cult
Cinema (# 1 7) interview . " Nikkatsu
forced me to do it as a punishment
for the roughness of Sex Hunter .
The studio said 'You're going to Oki
nawa to make a movie - and this
time it better be romantic . " Regard
ing the plot, the director added : " I
thought i t was amazingly stupid . But
I wanted a vacation and jumped at the
chance to visit Okinawa for free . "
Ikeda ' s next film would be Angel
Guts: Red Porno ( 1 98 1 ) , his last for
Nikkatsu .
BLUE WOMAN ( 1 982)
[Dan Oniroku Aoi Onna]
director: Katsuhiko Fujii
Izumi Shima Kazuyo Ezaki
* * V2
After Izumi Shima' s striking performance in Dark Hair Velvet Soul,
she once again began securing lead
roles { i. e. , Ms Shima had been rele
gated to co-starring parts after the
failure of Lady Chatterley In Tokyo
[ 1 977 ] } .
This fil m , written for Shima by
Oniroku Dan , is directed by perenni
al bad-boy Katsuhiko Fujii, the man
responsible for most of Nikkatsu ' s
rougher S&M pics . I t tells the story
of a high society lady who falls into
SUbj ugation after an indiscretio n .
Pretty Izumi had married into a afflu
ent family who never approved of her
pedigreed . She gets tricked into par
ticipating in a contrived S&M show
during a big party . But then things
turn ugly when the master of the
house becomes excited by the perfor
mance and tortures her for real in his
It's not high art, but on the wicked-


Iy erotic level this SM film works .

Certainly better than the innumerable
variations of the captured-girl ilk,
this film benefits fro m an impas
sioned performance by Ms Shim and
a better than average Dan script. Di
rector Fujii does the same thing he' s
been doing for more than a decade ,
but here he ' s suitably aided by cast
and crew .
see ROPER FROM HELL series
[Kinbuku : Muchi To H ighbeal]
director: Torn Kitagawa
Yuka Takemura Koji Makimura
and Ayumi Taguchi
* * V2
Toru Kitagawa is a bogus nam e .
I t ' s really director Itsumichi Isomu
ra, from the Unit 5 production com
pany , hiding behind the alias . H e
u s e d the Kitagawa p seudonym for
most of his Shintoho proj ects be
tween 1 98 3 - 1 98 7 { i . e . , for all the
pink ones } . Prior to this fil m , his
most successful venture was Crazy
Affair: Pacifier ( 1 9 8 1 ) { see separate
listing} .
This one , scripted by the director
(under his assumed Kitagawa name) ,
tells the story of an average salary
man who doesn't know whether he ' s
become a pervert o r not. Hard work
ing Koj i (Koji Makimura) is a " leg
man . " He is obsessed with women's
legs , "long and lovely , " but especial
ly when accented with a pair of black
high heels . To satisfy his fetish, Koj i
becomes a shoe-shine man o n week
ends (specializing in lady customers ,


Japanese Cinema Encyclopedia: The Sex Films

of course) . One day, a female sadist

(Yuka Takemura) , sensing Koj i ' s
kinky perversion, seduces the unsus
pecting eccentric . He accompanies
the woman to her place where they
g et i n v o l v e d in some very k i nky
S&M . Soon Koj i starts doubting his
own virility . Although threatened by
Yuka, he is also hopelessly attracted
to her. The man must choose between
a " slave existence " with this mad
woman or his comfortable l ifestyle
w i th g i r l fr i e n d A y u m i (Ayumi
Taguchi), a wholesome, nonthreaten
ing office lady .
wmTE SKIN ( 1 978)
[Shiroi Hada No Karyudo :
eho No Hone]
director: Shogoro Nishimura
Yuki Nohira . Miyako Yamaguchi
Jun Nakahara Hiroshi Yamamura
Shogoro Nishimura springs back
from a series of less-than-impressive
features with this indulgent, but cap
tivating film . Like his hits from the
early '70s , this movie benefits from
dynamic characterizations and memo
rable performances . Both Yuki Nohi
ra and Miyako Yamaguchi are top
Nishimura ' s strong point has al
ways been his ability to garner top
thespian skills from his actresses ,
even when other directors have failed
(see any of his Yuko Katagiri pro
jects for proof) . He had been groom
i n g M s Yamaguchi fo r many
months, through numerous projects
(e. g. , Gate Of Flesh [ 1 977] , Show
time [ 1 977] , et at) . His efforts paid
off. She is remarkably good as the
slighted rape v ictim who didn't get
her proper recognition. I

Five years earl ier, Ryuko (Yuki

Nohira) , an unsophisticated college
girl { think non-rape material} , sees
three male students sexually attack a
w i nsome c o e d ( M iyako Y a m
aguchi) . Ryuko fantasizes that she
was the victim and files a report ac
cordingly . The three males get ex
pelled from the university .
Advance to present day . Ryuko has
matured; she ' s more cosmopolitan. In
fact, the girl is downright good look
ing and has learned the art of being
seductive { i . e. , rape-bait} . She de
cides to test her sex-appeal on the
same three guys who had allegedly
raped her before . But Ryuko is chal
lenged and patently humiliated by
Miyako, the original victim.

In order to better understand this film, one

must first acknowledge a basic pink

{i.e. ,

principle of

"A rape victim must an attractive female

deserving of rape} or she wouldn't be sex

ually assaulted in the first place." Therefore, in

a twisted sense, "getting raped validates one ' s
beauty. "

[Boso Pekopeko-bushi :
anna Maiwai]
director: Nobuaki Shirai
Mariko Hoshi Kenzo Shibuya
and Yuri Yamashina
This one is more fun than most of
the Nikkatsu p i nk fi l m s (they
weren't known for having a sense of
humor) . It tells the story of a tradi
tional mountain village and it's annu
al sex festival , a spring celebration
for all the unmarried townfolks . This
is the one day out of the year a girl
can ask a man to get married .
The female chases her prospective
beau through the streets of the town .
She charges forward carrying a large
loaf of bread shaped like a peni s .

Thomas Weisser And Yuko Mihara Weisser

And when she catches the man of her

dreams , the virgin symbolically stabs
him playfully with the phallus . It's a
match made in heaven.
[Dan Oniroku Hanayome Ningyo]
aka Oniroku Dan's Bridal Doll
director: Katsuhiko Fujii
Asako Kurayoshi Izumi Shima
Hiroshi Unayama Jun Nakahara
** (or * * 1f2 )
In the days before her retirement, it
woul d ' v e been the pe rfect Naomi
Tani vehicle . In fact, this is the first
Nikklltsu project written by Oniroku
Dan that didn't star Miss Tani . But
the director is S&M guru Katsuhiko
Fuj ii, and aside from Tani' s absence,
it' s business as usual .
Rie (newcomer Asako Kurayoshi)
is sold to a man (Hiroshi Unayama)
who enjoys a good S&M session in
the evening , just before bedtime . The
woman, dressed in traditional wed
ding attire , is abused by her master
everyday . One day, from a window,
a young man named Eguchi (Jun
Nakahara) sees the assault and de
cides to save the poor girl . He cap
tures the sadist' s wife (Izumi Shima)
and puts her through the same tor
ture s . A ft e r a l o t of gratuitous
bondage-n-whipping scenes, the hus
band finally agrees to exchange the
slave for his wife . However, in an
ironic twist, it seems the captured girl
has learned to enjoy the role of a
masochist and isn't happy as a free


woman. Rather, she becomes the vic

tim of Eguchi ' s lash.
[Jochi No Shigemi]
aka Lust Bush
director: Kinya Ogawa
Shige Nagata Mari Iwai
Jun Kitamura . Miki Hayashi
Setsu Shimizu Joji Nagaoka
Okura Eiga
A tantalizing cast of starlets add a
high level of voyeuristic idiocrasy to
this otherw i se drab sexy comedy .
The jokes rely on sophomoric double
meanings (on par with the title itself)
but the humor is decidedly Japanese
and does not translate well.
Much of the film deals with the an
tics of Shige Nagata and Jun Kita
mura as they pursue the affections of
two y o un g cut i e s , Y o h k o ( M a r i
Iwai) and Akemi ( Miki Hayashi) .
Director Ogawa was Okura ' s most
important filmmakers , one of the few
with experience and talent. He came
from trad i t i o n a l p e rfo rming a rts
roots , part of an acclaimed Kabuki
Family . After six years with the ex
ploitation studio - during which time
he made an impressive collection of
p i n k fi l m s and h o r r o r m o v i e s Ogawa joined Shintoho for a brief
time and then moved on to Nikklltsu .
[Kyabare Nikki]
director: Kichitaro Negishi
Midori Takei Katsunobu Ito
Koichi Ueda Toshiyuki Kitami
* * 1f2
A fter two mainstream legitimate
films for ATG (An Theater Guild) ,
director Negishi returned to Nikkat
su ' s pinku eiga for this sexy story
about a young man who takes a job


Japanese Cinema Encyclopedia: The Sex Films

a s an a s s i s tant i n a nigh t c l u b .
There ' s lots naked bodies and double
entendres , but the film is intended as
a lampoon against the silliness of cor
porate Japan.
A s s i stant M anager Wada (Kat
sunobu Ito) falls in love with one of
the pe rformers H i rom i (Midori
Takei) even though fraternization is
strictly forbidden . By applying the
same strict " rules of business " to the
world of the nightclub , Negishi has
created an effective satire, ripe with a
knowing sagacity found in most of
his films .
Director Negishi decided to leave
Nikkatsu after this film. The compa
ny which had initially represented
artistic freedom for him (see From
Orion's Testimony: Formula For
Murder [ 1 978]) now was stifling his
creative juices . His next project for
Central Al1s called Wedding In The
Family ( 1 983) would be one of his
best received , a light character dra
[Tsumatachi No Gogo Wa
Yori : Kano No Ori]
director: Shogoro Nishimura
Junko Miyashita Katsuro Yamada
Remika Hokuto Tokuko Watanabe
** '12
Here ' s another motion picture , one
of many from the same period { e . g. ,
Housewife ' s E x perience [ 1 97 5 ] ,
Sada A b e : Docu-Drama [ 1 97 5 ] ,
Walker In The Attic [ 1 976] , et all
that helped Apartment Wife Junko
Miyashita maintain her reputation as
the 2nd Nikkatsu queen. And once
again s he ' s teamed w ith d i rector
Nishimura who seemed to under
stand and punctuate her raw sexual

Miyashita plays an ordinary house

wife who spends her days waiting for
husband Remika (Remika Hokuto)
to wander home from work. She pic
tures herself as a mouse in a cage
{thus, the title } , and starts passing
the afternoons with her girlfriend ' s
lover (Katsuro Yamada) . A s these
pink eiga stories go, the housewife
soon has more affairs than she can
handle , which transforms her into a
lustful woman, to the approval of her
cuckolded husband .
As an interesting sidenote, despite
the fact that this is a story about one
( 1 ) wife, the title distinctly translates
to Wives ' Afternoon . This is an inten
tional " error" from Nikkatsu who
wanted to give the impression that all
wives behave i n this fashion. Un
questionably , it' s an odd editorial
message for the predominately male
audience .
LUST CAGE ( 1 978)
[The Call Girl : Jochi No Ori]
director: Isao Hayashi
Teruho Matsunaga Yoko Azusa
Asami Morikawa Mamoru Hirata
and Hiroshi Gogo
Former prostitute Sachiko (Teruho
Matsunaga) is now married to an
impotent divorcee (Hiroshi Gojo) .
Sachiko lives in a sleepy resort town,
where she endures sexual frustration
daily . One day , while shopping , she
stumbles into an old customer from
her whoring d ay s , a m a n named
Toshiya (Mamoru Hirata) . They fall
into bed together and she real izes
how much she missed sex . Sachiko
and Toshiya begin a relationship .
But, then, her husband discovers the
adulterous affair and attacks Toshiya
who ends up getting killed in the fra-

Thomas Weisser And Yuko Mihara Weisser


cas . Meanwhile, two delinquent girls

(Yoko Azusa and Asami Morikawa)
are eyewitness to the murder and they
blackmail the lovers .
The plot is reminiscent of Teruho
Matsunaga ' s debu t , Lusty Wife :
Temptation Of The Flesh ( 1 976) .
The young actress seems adapt at
playing sexually frustrated roles (as
demonstrated again in Red Petal Is
Wet [ 1 977] ) , but she isn ' t as con
vincing in the romantic scenes . Even
though Nikkatsu has featured her in
numerous dramatic roles, there are
severe limitations to her acting abili
ty .

working as an assistant director to

c u l t fi l m m a k e r Ka zuo " G a i r a "
He made this hard-boiled melodra
ma about the prostitution racket in
1 988 . Two years later he would helm
Hole In The Panti e s : Find The
Twinkle Star ( 1 990) one of the first
full-blown pink Musicals { see sepa
rate listing} . By '94 , Chinze was out
of motion pictures and theater pro
duction, concentrating ins tead on
OVs (original videos productions) .


[Hotetoru Tenshi :
Chijoku No Wana]
director: Naokazu Chinzei
Yui Saito Saeko Kizuki
and Shiro Shimomoto


[Kashin N o Sasoi]
director: Masaru Konuma
Keiko Maki Hajime Mitamura

* * Ih

A fter Nikkatsu closed it ' s pink

doors earlier in 1 988, the studio be
gan producing a series of adult ori
ented " art films " called Ropponica
Movies . When public and critical re
action was less than enthus iastic ,
Nikkatsu quickly financed Excess
Films a low-risk money-cow which
c o ncentrated on s h o e s t r i ng sex
movies . Officially, there was no rela
tion between Nikkatsu and Excess ;
the studio attempted to distance itself,
at least publicly , from the pinku eiga
Although d i rector C hinze only
made a few films , he was critically
recognized for h i s " Chinze-isms "
(i. e. , unique camera angles and jar
ring edits) . He originally came from
l ive theater and tends to helm his
films accordingly . Chinze ' s motion
picture experience developed from




M a s a k o ( Keiko Maki) i s a repowriter for a woman ' s magazine .

One day , while out on assignment,
she is raped . And what 's worse , the
trauma has caused a memory loss .
But her brother has an idea on how to
deal with the amnesia problem . He
recruits her boyfriend to recreate the
grisly assault, hoping it will shock
her back to reality . Alas , it' s not suc
cessful .
The two guys continue to investi
gate and they learn the rape was com
mitted by a negro , an AOL American
soldier . So, in hopes of curing her ,
they hire a black soldier to rape her
again. What ' s wrong w ith this pic
This is director Masaru Konuma' s
debut . S e e m i ng l y , he h a s a l w a y s
been attracted t o the more exploitive
aspects of sexuality ; best known for
his S&M fare (i. e. , Wife To Be Sac
rificed [ 1 974] , Flower And Snake
[ 1 974] , Rope And Breasts [ 1 983] , et


Japanese Cinema Encyclopedia: The Sex Films

al) , this one is filled with a parade of

vivid rape scenes. It' s a virtual smor
gasbord of sexual assaults , especially
the scenes with Maki being ravished
by the black soldiers . Upon its re
lease, many influential critics praised
t h i s fi l m fo r i t s " sy m m e t r i c a l l y
breathtaking imagery . " Rev iewer
Sadao Yamane wrote in Kanno No
Program Picture : " Especially memo
rable is the stark contrast of pure
white skin against the shiny black
bodies of the American GIs . " Konu
rna' s next film would be Headlights
In The Rain ( 1 972) .

literature and c i nema studies . H e

could have snagged a job at any stu
dio in Japan, but he was attracted to
the a r t i s t i c fre e d o m o ffe r e d b y
Nikkatsu { "you can make any movie
you want, as long as it has four sex
scenes " } . Nakahara stayed with the
studio until 1 985 (through a swamp
of junk like Rope Sisters [ 1 984] ) af
ter which he j o i ned New Century
Producers. He' s best known for his
mainstream American Graffiti fac
simile Shako-tan Boogie ( 1 987) and
other similar youth oriented films .


SEDUCTION ( 1 982)
[Okasare Shigan]
[Kankin Sei No Dorei: Ikenie 2]
director: Shun Nakahara
aka Sacrifice: Captured For Sex 2
Yoshiko Ariake Yuki Kazamatsuri
director: Go Ijuin
Hiroshi Unayama Reiko Natsu
Shiko Shima Souji Kanehako
and Yoshimitsu Onimaru
Kei Sano Aiko Matsuoka
Yu Productions
Yoshiko Ariake, a mainstream Toei
*** (or * * * '12 )
After some extensive work i n the
actress lured to Nikkatsu , plays ca
porn business, three enterp r i s i n g
reer lady Hineko who works for an
pinku directors formed Yu Produc
interior design company . She's a con
tions, a company which would spe
fident woman , dedicated to business
cialize in Ero-Gro (Japanization term
politics, but has never been willing to
meaning Erotic Grotesque) film s .
give herself to romance . In fact, it's
They picked up distribution rights for
e a s y fo r t h i s fa s h i o na b l y b i tter
some classic S &M titles and also
woman to be unfaithful in a relation
made a few of their own. The three
ship . Sparks fly when she meets a
celebrated partners [Genji Nakamu
handsome rival ( Yoshimitsu Oni
r a , Ryuichi Hiroki and Hitoshi
maru) .
Ishikawa] produced and d i rected
Sex scene are very realistic in this
movies together, signing the projects
highly successful slice-of-life film.
with the single pseudonym Go Ijuin .
Critics praised Nikkatsu for produc
They dissolved the partnership in
ing a " mature , honest and realistic
1 990 ; today , they direct films sepa
drama about erotic relationships . "
rately { see Blood And Ecstasy [HiUltimately , despite Yoshiko Ariake' s
toshi Ishikawa] , Sadistic Song [Gen
impressive performance , the credit
should go to director Nakahara for : ji Nakamura] , and Dream Devil
[Ryuichi Hirolal } .
this, his debut film. Shun Nakahara
This one is generally considered the
graduated with honors from presti
best of their in-house productions . It
gious Tokyo University , mastering in

Thomas Weisser And Yuko Mihara Weisser

tells the story of a young couple ,

Shingo and M iki (Souji Kanehako
and Kei Sano) , who experience car
problems in the middle of a dark
woods. A local man (Shiko Shima) ,
offering a helping hand , takes them
back to his modest home . Before they
know what ' s happening, the two are
hog-tied and sexually abused by the
good samaritan. However, Shingo is
impressed by the man's brutal treat
ment of Miki, and he asks to become
an apprentice . The two men then cap
ture other girls and take them back to
the house for torturous sex games .
Despite the high production stan
dards and convincing performances ,
this is rough entertainment featuring
one indignity after another, a virtual
parade m i sogynous behavior . A l
though i t may b e too much for the ca
sual viewer, this film is a quintessen
tial example of the genre . Go Ijuin
also directed Sacrifice ( 1 985) , Sexu
al Abuse ( 1 985) and The SM [Za
SM] ( 1 984) , distributed in some mar
kets as Captured For Sex 5 .
[Hahako Kankin: Mesu]
director: Mizumaru Saito
alias for Nobuyuki Saito
Asako Maekawa Yoshihiro Kato
and Yudo Yoshikawa

Nobuyuki Saito started his directorial career in 1 978 helming Teenage

Emanuelle . Before that inauspicious
debut, he worked as an assistant di
rector at Nikkatsu for more than fif-


teen years , under Seij un Suzuki ,

Chusei Sone and Yukihiro Sawada.
He was also one of the top scripters .
The studio executives had expected
big things from Saito , and he was
groomed accordingly . But after a se
ries of unimpressive attempts (only
his Woman Of The Afternoon: In
cite! [ 1 987] would receive any criti
cal notoriety) , Saito quit Nikkatsu to
follow a freelance producerlscripter
career. Following some lukewarm in
dependent projects in the mid-80s , he
returned to Nikkatsu in 1 987 under
the pseudonym Mizumaru Saito for
this picture . Critics raved, audiences
applauded and the studio honored the
film as their best movie of the year .
Saito took advantage of his newfound
popularity , moving to television for a
successful string of TV dramas , cul
minating with the televised version of
the popular XX series called X X :
Graceful Beast in 1 997 .
Student Asako (Asako Maekawa)
inadvertently discovers the ugliness
of life and sex at the end of her ju
nior year of high school . She see a
close girl friend commit suicide , and
then listens as the students talk about
the death like it was an FX scene
from a gore movie . Then Asako acci
dentally intrudes on her mother as
she ' s getting gang-raped . The poor
girl is also captured, sexually assault
ed, and later forced into prostitution
by an nasty loan shark.
[Hakui Kankin]
director: Kaoru Umezawa
Minako Ogawa Reika Kazami
F i l mmaker Umezawa originally
came from the Koji Wakamatsu fam
ily where he worked as a second-unit


Japanese Cinema Encyclopedia: The Sex Films

director until getting fired for "disre

spect" by his boss . In 1 968, Umeza
wa joined rival company Shishi Pro
ductions where he made numerous
pinku eiga { see Director ' s Appen
dix} . He changed his name to Kaoru
Tomoto in 1 974 and got out of the
sex film business . Nikkatsu lured
him back i nto the melee with this
quirky production. After this movie,
he also grabbed a paycheck from
Tokats u fo r s om e q u i c k i e s e x
grinders called Dance O f Lust and
Violated Uniform (both 1 983) . He
also slummed around with Toei Cen
tral and Million Films in 1 984 before
returning to the mainstream arena.
General City Hospital is crazy with
sex . The doctors , nurses and patients
are completely out of control, giving
embellish meaning to hedonism . One
day , a new female patent - suffer
ing from an enlarged chtoris - is ad
mitted to the clinic . Her presence
causes everybody to go nuts in a sex
ual frenzy . Nurse Akiko (Minako
Ogawa) rallies to bring dignity back
to the hospital , but she ' s captured and
raped for her righteous efforts .
see Spotlight Section: Kazuhiro Sano
director: Kiyoshi Komori
Kaoru Miya Katsuo Mikai
Yasuko Matsui Naomi Tani
Tokyo Koei

Perverse filmmaker Komori {best

remembered for h i s kinky Snake
Lust (also 1 967)} directs a buy-the
numbers pinku eiga picture here . A
p r o s t i tute named T o k i e (Kaoru
Miya) tries repeatedly to escape from
her gangster pimp (Katsuo Mikai) ,

but each time she is caught and bru

tally punished (thus the title) . During
one of her torturous sessions , while
being whipped on the pier, Tokie is
rescued by a fisherman (Shohei Ya
mamoto) and h i s s i ster (a young
Naomi Tani) . The seaman marries
the girl and releases her from the
clutches of the yakuza gang .
A year later, Kaoru Miya and Nao
mi Tani would star together again in
Virgins With Bad Reputations
( 1 968) . Director Komori continued
making pink films until the early '70s
at which point he retired from the
business .
[China Scandal : Enbu]
director: Koyu Ohara
Emi Shin do Kaoru Oda
* * V2 (or * * * )
This co-production w ith a Hong
Kong studio finds versatile director
Ohara helming a mean-spirited flesh
trafficking opus . Most of the film is
shot on location in HK, but Ohara' s
pop-art sty le i s s t i l l v e r y evident
throughout the production . This is
one of his last films for Nikkatsu . He
would leave the studio in 1 9 84 to
work freelance with Warner/Pioneer
and other Japanese record labels . He
developed numerous teen-oriented
proj ects featuring popular Nippon
singers . In 1 988, Ohara left the mo
tion picture business completely , con
centrating instead on the lucrative
music video market.
Not coincidently , this film reflects
Ohara' s growing preoccupation with
the music biz . Pop singer Mari (Emi
Shindo) is inv ited as an honored
guest for a Star Search contest in
Hong Kong . But after arriving in the
teaming city , she soon finds herself

Thomas Weisser And Yuko Mihara Weisser

the victim of a kidnapping scheme . It

seems the contest was merely a cover
for a flesh trader who captured young
Mari for a rich client.
Emi Shindo wears her age wel l .
S h e successfully plays a 20-some
thing pop singer here, but this is the
same lady who originally found fame
on the telev ision screen as a con
artist bowler in the '70s adventure se
ries Beautiful Challenger. And be
fore that, ageless Ms Shindo starred
in the cult horror film Great Insect
War ( 1 96 8 ) . She would continue
making pinku eiga w ith Nikkatsu ;
her next venture is Empress (also
1 983) .
CLIMAX ( 1 967)
director: Toshio Okuwaki
Kazuya Taguchi Noriko Tatsumi
Setsu Shimizu Kimiko Asuka
World Eiga
* * 1/2

Another early project by director

Okuwaki which - like the compara
ble Bed Dance (also 1 967) - proves
this notorious studio-hack had a mod
ule of talent, prior to his parade of
interchangeable sex flicks during the
late '60s . It's not great filmmaking ,
but at least this movie manages to be
unique within its grim view of life .
H id e k i ( K a z u y a Taguchi) i s a
broke college student who becomes
wildly protective of his sister when
s h e d e c i d e s to marry a r i c h fi
nancier. Eventually , Hideki is also
mesmerized by the money broker and
he accepts a loan in exchange for his
a s s ent to the wedding plans . But
when the student realizes how he be
trayed his own integrity , he kills his
sister .
Noriko Tatsumi, who plays the sis
ter here , was one of the first queens
of Japanese sex films , reigning in the


sleazy celluloid kingdom from 1 9671 97 0 . She usually made films for
World Eiga or Nihon Cinema . Her
most celebrated ventures are the ones
for director Koji Seki (e. g. , Whore
[ 1 9 6 7 ] , Erotic C u lt u r e S h o c k
[ 1 969] ) .
[Climax! Okasareru Hanayome]
director: Shinichi Shiratori
Etsuko Hara Mayumi Terashima
Daiki Kato Goro Kataoka

Director Shiratori w a s usually relegated to Nikkatsu ' s B projects . He

gained a reputation accordingly . It is
unclear whether he was truly an in
competent filmmaker or simply the
victim of bad scripts and a lower ech
elon crew . But some of his films , es
pecially those with the better actress
es { i . e. , Etsuko Hara , Jun Izumi
and Junko Miyashita} , are adequate,
even entertaining .
H ikaru (Etsuko Hara) , who lost
her p a r e n t s w h e n she was v e r y
young , i s raised b y the female owner
of a roadside restaurant . She has
grown into a beauty , the queen of the
cafe and an e l i g ible bachelorette .
H ikaru has a steady boyfriend , but
he' s too involved in his schooling to
think about getting married . One of
the restaurant investors arranges a
marriage through H ikaru ' s fo ster
mother and they try to separate her
from the college boy . Later , when
Hikaru runs out of excuses , she is
forced into the arranged wedding .
But then, in a denouement ripped { at
l e a s t , c o n c e p t u a l l y } fro m Mike
Nichols ' The G r a d uate ( 1 9 6 7 ) ,
everything ends happily .


Japanese Cinema Encyclopedia: The Sex Films

[Shudojo Runa No Kokuhaku]

director: Masuru Konuma
Runa Takamura Aoi Nakajima
Kumi Taguchi Roger Prinz

CLUTCHES ( 1 966)
director: Osamu Yamashita
Noriko Tatsumi Yuzo Hirayama
Kanto Eihai

* * 1/2


D i rector Konuma continues his

string of nasty-edged pinku eiga - as
initiated by his perverse masterpiece
Wife To Be Sacrificed near the end
of 1 97 4 - w i t h t h i s audac i ous ,
scathing attack on Christianity . His
casual disregard for any sense of hu
manity within the religious hierarchy
is ultimately responsible for the defi
ant tone of the picture . This film is a
brazen if not biased look at spiritual
corruption accentuated by a parade of
abusive priests and sadistic nuns .
I n the Japanese north country ,
young Runa (Runa Takamura) joins
a convent after losing her boyfriend
to K u m i ( K u m i Taguchi) , h e r
w h o r e - o f- a - s te p s i s te r . When she
made the decision to become a nun,
Runa had anticipated a pure and tran
quil life in the convent . But soon af
ter she arrives , the girl is raped by a
priest (Robert Prinz) and then intro
duced to a completely new decadent
S&M life . Two years later, Runa re
turns to h e r step s i ster and e x
boyfriend with a business proposi
tion, to help finance Christianity in
Japan by investing in the convent and
reaping huge kickbacks from the Vat
ican . The two are excited about the
deal . Of course , they don ' t real ize
until too late that it's really a plot by
the younger sister to get revenge .
This i s the debut role by Runa
Takamura, a pop singer who drifted
to porn after a five year stint with the
group Golden Halves . Her next film
would be Runa's Confession: "Men
Crawling All Over Me" [mid 1 976] ,
a true-life expose of her life in the ul
tra-sleazy music biz .

An early film from Noriko Tatsumi

- as mentioned in the review for Cli
max - the first queen of Japanese
sex movies . This time she plays a
young but sinister woman who sets
her sites on an enterprising business
man who can't resist her charms . Af
ter "capturing " him, she manages to
take control of h i s company , but
eventually greed gets the best of her.
The title, Dokuga, has been trans
lated a number of different ways over
the years , from Fangs to Tusks. The
word dokuga is difficult to translate
verbatim because it's actually part of
the Japanese s a y i n g "dokuga n i
ochiru " { to fa l l i n t o somebody ' s
clutches} .
WHITE BREASTS ( 1 97 1 )
[Jokousei Report:
Yuko No Shirai Mune]
director: Yukihiko Kondo
Yuko Katagiri Emiko Yamagishi
Yuki Takami Koji Satomi
** 1/2

Yuko (Yuko Katagiri) is just a typical high school student . She ' s got
lots of friends . She ' s a member of the
volleyball team . And she has the hots
fo r her coac h , the s c h o o l ' s g y m
teacher (Emiko Yamagishi) .
Poor Yuko' s hormones are working
overtime, in a frenzied-state of "pup
py love . " She and her friends decide
to get together for a slumber party
where they discuss these new feelings
engulfing their bodies . The whole
thing escalates into a rather unexpect
ed lesbian orgy , including a tasteless

Thomas Weisser And Yuko Mihara Weisser

" Double Dare " game with eels.

After the night of sex and games, a
liberated Yuko decides to go directly
to the teacher to seduce him in his of
fice . However, in another unexpected
twist, the film ends with the girl get
ting raped in the elevator before she
can reach the teacher.
This was Yuko Katagiri ' s fi rst
film. In a routine Nikkatsu initiated
for many of its new aspiring actress
es, the studio had Yuko play a char
acter named Yuko Katagiri. She was
surprisingly fresh in the role, perhaps
overly pubescent, considering the
rather lurid subject matter . But audi
ences reacted very well to her vol
canic, tempestuous personality . She
returned for many more pinku eiga,
including a loosely based sequel :
BLOOMING YUKO ( 1 97 1 )
[lokousei Report: Hanahiraku Yuko]
director: Yukihiko Kondo
Yuko Katagiri Hajime Kondo
Mitsuko Aoi Mamoru Hirata
* 1/2

Yuko and lunichi (Yuko Katagiri

and Haj ime Kondo) are lovers in
this less-than-memorable sequel to
C o e d Report : Yuko ' s White
Breasts ( 1 97 1 ) by the same director,
the capable but unimaginative Yuki
hiko Kondo { b e s t known for his
Sukeban Flesh Violence in 1 973 and
various episodes of the Eros Sched
ule Book series} .
While frolicking on the beach, the
two young lovers engage in sex for
the first time . It' s not particularly a
great experience for Yuko , in fact she
is confu s e d by the " l ack of fi re
works . " A few days later Yuko intro
duces boyfriend lunichi to her daddy
and stepmother . lunichi is mesmer
ized by mom and soon he' s sharing


her bed . Completely alienated b y

everyone around her , Yuko runs
away from home .
This installment is mean-spirited .
While it's true that the first episode
was kinky and socially unredeemable,
Yuko ' s attitude was always in sync ,
allowing the viewer to identify with
her budding sexuality . But this time,
she is distanced from the audience ;
Yuko i s constantly d i sappo i nte d ,
ridiculed and ultimately frustrated .
Her high-spirited personality is buck
led inside an emotional straight-jack
et. And when she finally runs away
from home , her " l iberation " is al
most a welcomed relief.
LABYRINTH ( 1 968)
[loshigakusei Sei No Meiro]
director: Kinya Ogawa
Mari Iwai Setsu Shimizu
Okura Eiga

Okura Eiga often used big-breasted

Mari Iwai for their sex movies , es
pecially for their coming-oj-age flicks
( e . g . , H u n t i n g B reasts [ 1 9 6 9 ] ,
Crazy For Lust [ 1 968] , et al) . As
typical of those other productions ,
this one breaks no new ground . It' s
just another story of a high school
girl who becomes romantically in
volved with a rebel boyfriend . Direc
tor Ogawa also directed Ms Iwai in
the equ a l l y v a p i d B u s h Of L u s t
( 1 968) . He fared slightly better with
his horror films , Freshly Severed
Head ( 1 967) and Ghost Story Of
The Barabara Phantom ( 1 968) { see
separate listing in Japanese Cinema
Encyclopedia: Horror, Fantasy and
Science Fiction }
[Joshidaisei No Kinjirareta Hanazonoj


Japanese Cinema Encyclopedia: The Sex Films

sexual liaison with an older woman.

He does and quickly looses his vir
ginity with Rei (Natsuko Yashiro) , a
libidinous middle-aged woman. Even
though they continue their affair, Os
amu soon grows tired of her wifey at
titude . "I want a lover not a spouse , "
he yells at the woman. And so, Os
amu dumps her and - feeling confi
dent - g o e s after S e t s u k o ( Rei
Okamoto) , a college coed he' s been
goggling . During summer break he
fo l l o w s Setsuko to a resort town
where they become s e x u a l l y i n
volved . A t the end o f the summer,
the g i r l breaks up w i th O s amu ,
laughing in his face when he begs her
to reconsider. Setsuko tells the boy
that he was merely a summer fling ,
nothing more . With a broken heart,
Osamu decides to return to Rei but
she is nowhere to be found .

aka Forbidden Flower Garden

director: Kioya Ogawa
Yoko Hakari Koji Satomi
Okura Eiga

An earlier sex film from director

Ogawa with essentially the same plot
as his subsequent ones (Search For
The True Virgin , Coed ' s Sexual
Labyrinth [both 1 968] , et a{) . But
this project suffers from the absence
of his strong female starlets (i. e. ,
Mari Iwai, Noriko Tatsumi or Miki
Hayashi in the starring role) . Yoko
Hakari s i m p l y i s n ' t intere s t i ng
enough - nor talented enough - to
breathe life into her character .
She is a virginal college student se
duced by one of her teachers . The ti
tle is, of course, a euphemism for the
w o m an ' s g e n i t a l i a . T h i s type of
heavy-handed symbolism is typical of
the artistic level for the production.

[Joshigakusei: Karenna Ikenie]
director: Rumi Tama
Kyoko Hibiki Mika Hijiri
and Yuri Risa
Million Films

[Joshidaisei: Hitonatsu No Taiken]
director: Yukihiko Kondo
Natsuko Yashiro Rei Okamoto
Jun Aki Ryota Nakanishi



Director Yukihiko Kondo returns

to his specialty , "pink youth films "
{ s ee Coed Report series [ 1 97 1 ] ,
Warmth O f Love
[ 1 97 2 ] ,
Teenagers' Sex Journal [ 1 975] , et
a l } . T h i s one , l ike h i s Blooming
Yuko ( 1 97 1 ) , tends to be mean-spir
ited and much darker than his typical
nubile sex-romps.
A friend convinces college student
Osamu (Ryota Nakanishi) that he
should consider the advantages of a

Rumi Tama is one of few female

directors in the pinku eiga field. She
began her career as an actress, often
starring in husband Akitaka Kima
ta ' s p i n k fi l m s ( e . g . , Pervert
[ 1 968] ) . Ms Tama took time off in
the early ' 7 0 s to c o n c e ntrate on
motherhood { son Seiji Izumi would
also become a film director, initially
helming sex films like Love Beast:
Steamy Disgrace [ 1 984] } but she re
turned to the screen in 1 975 as the
lead in Nikkatsu ' s newly refurbished
Apartment Wife series. For the next
six years Rumi starred in numerous
"A" films for the studio, working un
der their best directors from Kuyo

Thomas Weisser And Yuko Mihara Weisser

Ohara ( Sister Lucia 's Dishonor

[ 1 978]) to Chusei Sone (Lewd Wid
ow [ 1 976] ) . She joined Million Films
in the early ' 80s as a filmmaker. To
day , at age 54, she is still helming
pink films, now for Shintoho ' s Hard
Porno line .
Aside from the fact that it's directed
by Ms Tama, there' s not much to say
about this unoriginal movie. A col
lege girl (Kyoko Hibiki) is raped by
her father and then by a teacher at the
university . She decides to take the
law into her own hand s , avenging
herself against both of them.
THE SPOT ( 1 9 8 1 )
[Joshidaisei : The Anaba]
director: Yoshihiro Kawasaki
Mayumi Terashima . Eri Anzai
Yasuhiko Ishizu Yoichi Sato

Director Kawasaki specialized in

Nikkatsu ' s " uniform " movies , pri
marily l ight sex comedies dealing
with h i g h school or college g i r l s
{ i . e . Young Girls ' Holding C ell
[ 1 982] , Zoom Up: Graduation Pho
tos [ 1 984] } . This film is his debut. It
suffers from erratic continuity caused
by sporadic spurts of energy within
the haphazardly plotted script . The
m a i n s e l l i n g p o i n t is Mayumi
Terashim a . S h e w a s s i gned to
Nikkatsu because of her uncanny re
semblance to superstar pop singer
Seiko. The movie became a minor hit
because undiscriminating v iewers
could convince themselves that prim
n-proper songstress Seiko was getting
naked on the s c r ee n . D i re c t o r
Kawasaki continued with Nikkatsu
until 1 98 8 , at which time he moved
into television productio n . Actress
Terashima continued making numer
ous films for Nikkatsu , best remem,


bered for Koyu Ohara ' s Pink Tush

Girls : S l i n k i n g C lassmates an d
Seiko's Juicy Thighs (both 1 982) .
The story finds college girl M iyuki
(Mayumi Terashima) and her best
friend , Eri (Eri Anzai) , working as a
part-time waitress in a nopanty kissa
{ no panties coffee sbop } called The
Spot. Miyuki' s boyfriend isn't happy
about her being employed in such a
p l a ce { " Why don 't y o u get a re
spectable job ? Like a singer! "} and
they fight constantly . Later in the
film, after butt jokes ad infinitum, a
yakuza toughguy shows up with a
message that her father - a l s o a
gangster - is in critical condition at
the hospital . Miyuki doesn't want to
see him { she left dad and bis yakuza
world long ago , that ' s why s he ' s
working her way through college in a
tush-joint} and she ignores the re
quest. But, that night, when Miyuki
goes home , the yakuza messenger is
waiting at the apartment. He rapes
her and takes her to her dad .
ON FRIDAY ( 1 979)
[Izumi Daihachi No
Joshidaisei No Kinyobi]
aka Daihachi Izumi's
College Girls On Friday
director: Masaru Konuma
Minako Mizushima Yumi Fukazawa
Megu Kawashima Jun Aki
and Yasuo Arakawa

College student Megumi (Minako

Mizushima) plays house with her
boyfriend Naoya (Yasuo Arakawa) .
After a big argument, she runs away
from t h e i r apartment and b e g i n s
rooming with girlfriend Mari (Yumi
Fukazawa) . Within days (bours?) ,
Megumi meets another boy . She ' s
sorta interested i n rooming with him ,


Japanese Cinema Encyclopedia: The Sex Films

but put off by his "weirdness. " This

new guy lives in a house with lots of
radical types . She likes the counter
culture atmosphere but soon decides
it ' s all a bit much , and eventually
chooses to return to Naoya. When
M e g u m i gets back to her e x
boyfriend 's place , she sees her yel
low panties hanging in the window l
and she knows everything will be all
Here's another light-weight project
for d irector Konuma who ' s been
showing signs of mellowing (e. g . ,
Friday Bedroom and Wandering
Lovers [both 1 978] since his earlier
mean-spirited S&M fare , like Wife
To Be Sacrificed ( 1 974) and Noble
Lady: Bound Vase ( 1 977) . This one,
based on a book by Daihachi Izumi,
tells the story of college girl Megumi
and her on-again, off-again romance
with boyfriend Naoya. The movie is
less complicated than th exhaustive
book, preferring to concentrate only
on Megumi ' s escapades , at the ex
pense of all the other coeds which
populate the bestseller . And , while
she may be the most interesting char
acter in the book, her story is so ho
mogenized in this film that one won
ders why Konuma bothered in the
first place . For instance, Nikkatsu ' s
decision t o downplay Megumi ' s ad
ventures with the bohemian cult seri
ously compromises her saga. Instead,
the v iewer is given a few fleeting
scenes of hippie silliness (with em
phasis on liberal sexually, of course)
and then suddenly , Megumi is ready
to return to her boyfriend . Herein lies
the biggest problem with this film,
director Konuma seems more inter
ested in capturing the veneer with lit
tle regard for substance teeming un
'This ending is not part of the original Izumi
novel , rather it ' s a parody of

Yoji Yamada ' s

Yellow Handker
{Shiawase No KUroi Hand

mainstream motion picture

chief Of Happi ness

kerchief} ( 1977),

which features Chieko Baisho

hanging a yellow handkerchief in the window to

welcome her boyfriend (Ken Takakura) home

from j ail.

[Joshidaisei: Sex Hoteishiki]
director: Koyu Ohara
Mari Tanaka Maki Carousel
Miyoko Aoyama . Shinko Jo

Three college coeds work part time

for a sleazy tabloid magazine where
they are assigned a research job on
bathhouse prostitution. As the story
progresses - after many sexual es
capades in the soap-subs brothel the girls discover the editor of the
magazine is secretly a tough college
professor . And the three try to ex
pose him for the pervert that he is.
A youth sex comedy, immersed in
very dark humor . This type of
"young hipness " is the specialty of
director Ohara who started his career
as the assistant director for the 1 97 1 7 3 episodes o f Nikkatsu ' s Apart
ment Wife series. He would become
best known for the Pink Tush Girl
trilogy ( 1 978-79) { see separate list
ing} and many other erotic chic film .
There is a sequel of sorts , also direct
ed by Ohara, called Secret Of The
College Girls: Part-Time Sex Pros
( 1 974) .
[Juken Ianpul ]
aka Tutor Whore
aka Making The Grade (USA)
director: Takashi Kodama
Kaori Okamoto Takuro Obata
Eri Anzai Akiyoshi Komatsu
* * V2

Thomas Weisser And Yuko Mihara Weisser

Iluken Janpu

is a difficult title to translate into

English because, generally, Americans don't re

late to the stress of college entrance tests, nor -


of the names Reiko Natsuki and

Yoshi Takamura .

for that matter - the concept of government

employed prostitutes.
roughly translates as

Janpu is a word which

comfort women, referring

to the women who were used as "military pros


titutes" to service men stationed in foreign



means "taking a college entrance

exam . " By putting the two words together, the

connotation becomes

a woman who sexuaUy re

lieves pressures caused by anxiety over the col
lege entrance test.

College girl Noriko (Kaori Okamo

to) is tutoring high school student
Yusaku (Takuro Obata) as he pre
pares to take a college entrance test
for a prestigious university . Then, af
ter she discovers that her boyfriend is
cheating on her, the pretty tutor has
no compunction about using sex to
relieve Yusaku' s frustrations . He be
comes obsessed with the girl , but it
also makes him study harder. On the
day of the big exam , Noriko gives
Yusaku a " good luck" locket. Inside,
he finds a s i ngle pubic hair . This
heart-rending scene was considered
v er y racy in ' 8 0 s Japan where a
"public display of pubic hair" was an
offense punishable by law .
This i s d irector Kodama ' s only
Nikkatsu feature film . However he
did compile and oversee a studio doc
umentary called Nikkatsu Roman
Porn o : The Starlets in 1 9 8 8 . A
decade later, he would direct a sexy
cult fil m High Heeled Punishers
( 1 994) {see separate listing} .
Special note on Comfort Tutor: A
version, released in the United States
under the title Making The Grade,
was altered in the dubbing to tell the
story of a high school student who
brings home a bad report card induc
ing his parents to hire a sexy tutor to
improve his grades . There' s no men
tion of a college entrance exam. That
version also sports a patently bogus
credit sequence including the omis
sion of the real performers in favor

[Fufu Higi Kurabe]
director: Kazunari Takeda
Junko Miyashita Kaori Taniguchi
Hosei Komatsu Shin Nakamaru
* 1/2

A tasteless comedy from Nikkatsu .

D irector Takeda h a s suffered the
pangs of a most uneven career, fluc
tuating wildly from superb fare (i. e. ,
the Housewife's Experience trilogy
[ 1 97 5 ] ) to the unredeemably awful
(Season Of Lust [ 1 973] ) . This time ,
his film falls into the latter category .
After a traffic accident , Shunsaku
(Shin Nakamaru) becomes impotent.
Even though there doesn't appear to
be any physical reason for his infir
mity , the poor guy can ' t get it up .
Then he hears about an elderly man
(Hosei Komatsu) who e nj o y s sex
every night of the week . Shunsaku
assumes this is because the old man 's
wife (Junko Miyashita) must know
some secret technique . He goes to
their house and spies on them while
they are having s e x . Through h i s
voyeurism, Shusaku miraculously re
covers from the impotency problem .
However, he also realizes that he
must become a chronic peeper to
maintain his erectio n . Eventually ,
w h i l e watching the l u s ty c oup l e ,
Shunsaku can ' t contain himself and
he sneaks into the house . He has sex
with the woman. The husband takes
revenge by turning the tables and rap
i n g S h u s aku ' s w i fe ( Ka o r i
Taniguchi) .


Japanese Cinema Encyclopedia: The Sex Films

[Ninshin To Seibyo]
part one of a trilogy
director: Kinya Ogawa
Mari Yaguchi Kuniko Azuma
Jiro Toruoka Michiko Sakyo
Okura Eiga

Mika (Mari Yaguchi) and Kuniko

(Kuniko Azuma) , two friends from
the countryside , move to Tokyo for a
crack at success and good paying
jobs . Mika starts working as a host
ess in a sleazy showbar and winds up
with syphilis . Her chum Kuniko tries
to break into show business but gets
no further than the casting couch,
which results in pregnancy and a pro
ducer (Jiro Toruoka) who pretends
not to know her.
Another urban paranoia tale, one of
many populating the sex movies of
the late ' 60s (e. g . , Loose Women
[ 1 966] , Report On An Abnormal
Situation : Virgin Rape [ 1 9 6 7 ] ,
Woman Of III Repute [ 1 968] , et af) .
These films were initially influenced
by Shohei Imamura ' s erotic master
piece Insect Woman ( 1 963) . As with
every genre , exploitation is always
inspired by art.
The success of this film inspired
two sequels Treatment And Preg
nancy and Venereal Disease and
Delivery , also by director Ogawa
with essentially the same cast { see
separate listings} .

[Ooku Maruhi Monogatagari]

aka Shogun And His Mistresses

director: Sadao Nakajima

Junko Fuji Kyoko Kishida
Isuzu Yamada Yoshiko Sakuma

CONTINUES ( 1 967)
[Zoku Ooku Maruhi Monogatari]

aka Shogun And His Mistress 2

aka Women Around The Shogun

director: Sadao Nakajima

Tomoko Ogawa Yuriko Mishima
Hiroko Sakuramachi Mako Midori

[Ooku Maruhi
Monogatagari : Emaki]
aka Glorious Concubine Palace
director: Kosaku Yamashita
Yoshiko Sakuma Chikage Awashima
Reiko Ohara Aiko Mimasu

Three early erotic films - two by

director Sadao Nakaj ima (later he
would contribute to the gangster
genre with Modern Yakuza [ 1 97 1 ]
and SciF i , Renegade Robo Ninj a
And Princess Saki [ 1 988] et a f) and
the third by Kosaku Yamashita (best
known in the States for h i s later
yakuza efforts , especially Bunta Sug
awara ' s Tattooed Hit Man [ Yam
aguchi-gumi Gaiden: Kyushu Shinko
Sakusen] - but , d e s p i t e the
provocative titles , these " concubine
films " are decidedly nonexploitive .
#1 superficially examines life in the
shogun's harem , ful l of greed and
petty jealousies . There's also a bit of
sex, but the group of serious actress
es keep it remarkably chaste . #2 is
darker and more vicious, concentrat
ing more on mistreatment and misog
ynist behav ior . When the Shogun
dies , his wives are forced to become
Buddhist nuns , confined to convent
liv ing far away from their former
lifestyle . For many , it's unbearable
and suicide is their only option. And

Thomas Weisser And Yuko Mihara Weisser

#3 returns to tales of the "good life"

in the palace where the new emperor
has taken charge and busies himself
with the enviable task of populating
the perfect harem .
[Ooku Ukiyo-buro]
aka The General And
His Decadent Society
director: Ikuo Sekimoto
Eiko Matsuda Tokuko Watanabe
Maya Hiromi Masaru Shiga
* * 1J2

Grand scale sleaze from Toei Studio s . S am u r a i Ryuken (Masaru

S h i n g a ) m ee t s an attra c t i v e g i r l
named Okoyo (Eiko Matsuda) . He
wants to get to know her better, but
she ' s already betrothed . Okoyo is one
of the virgins promised to the Shogun
for his ever-expanding harem.
Ryuken is perturbed by the situation
and willing to risk everything - even
certain castration - to rescue her
from the Concubine Palace. He con
cocts a plan to deflower Okoyo be
fore the emperor has a chance to do
it. By blackmailing a monk [the holy
man enjoys buggering young boys,
and Ryuken finds out about it] , the
love-sick samurai gains access
through a secret passageway under
the women' s bathroom .
The plot is designed for an array of
sexual fetishes . And director Sekimo
to takes advantage of them all .
A VIRGIN ( 1 967)
[Shojo Seitai]
aka Memoirs Of A Virgin
director: Kiyoshi Komori
Kaoru Miya Michiko Sakyo
and Koji Satomi
Tokyo Koei


Director Komori once again uses

Kaoru Miya { she also starred in his
Carnal Punishment the same year}
for this dark story of a woman's de
scent. Oddly, her spiral into the gut
ter is not instigated by "desires of the
flesh" nor even "a quest for indepen
dence , " as s e e n in many s im i l a r
pinku eiga. But rather, this girl ' s hu
miliation stems from telling the truth!
In a d i sc u s s i o n w i t h her fiance
(Koji Satomi) , Akiko (Kaoru Miya)
recal l s the time she was for c i b l y
raped b y a " drunken brute " ( a n oc
currence replayed in grisly flashback
for the thrill-hungry audience) . But
her boyfriend can't deal with the con
fession, that is - with the fact that
his woman is no longer a virgin. He
drops h e r , cancel s their wedding
plans , and destroys her reputation by
telling everyone about the sexual as
sault. Akiko, who has lost everything
i n c l u d i n g h e r s e l f- r e s p e c t , t a k e s
refuge i n the city ' s district where she
becomes a prostitute to survive .
Despite the lurid plot, director Ko
mori brings a considerable amount of
class and expertise to the project. He
worked as a studio director for Shin
toho from 1 953 thru 1 964 where he
specialized in family comedies and
" human interest war dramas . " H e
swerved into t h e p i n k arena with
Japan Torture Punishment History
in 1 964 .

SHOCKING! ( 1 973)
[Osanazuma No
Kokuhaku : Shogeki ! ]
director: Shogoro Nishimura
Yuko Katagiri Yuri Yamashina
Hajime Tanimoto . Keiko Aikawa


Japanese Cinema Encyclopedia: The Sex Films

CLIMAX! ( 1 973)
[Osanazuma No Kokuhaku: Tousui ! ]
director: Shogoro Nishimura
Yuko Katagiri Morio Kazama
Kunio Shimizu Naomi Oka
* * 1/2

ECSTASY! ( 1 974)
[Osanazuma No
Kokuhaku: Shisshin! ]
director: Tadahiko Isomi
Yumiko Tatsuno . Ayako Ichikawa
and Hirokazu Inoue
* lh

Yuko (Yuko Katagiri, the perenni

al youngster in Nikkatsu' s roster, star
of C o e d R e p o r t : Y u ko ' s White
Breasts [ 1 97 1 ] , et al) , lives behind a
tavern in a poorer section of the city .
One day , she meets a truck driver ,
Sakazaki (Hajime Tanimoto) . They
fall in love and marry . He makes the
mistake of introducing Yuko to his
r i c h male c o u s i n , K o ic h i . E v e n
though Koichi has everything money
can buy , he' s envious of Sakazaki' s
r e l a t i o n s h i p w i th the c h i l d - b ride
Yuko . So, cousin Koichi does what
every pink villain does : He rapes the
girl and then tells the truck driving
husband of her " infidelity . " Sakazaki
goes b a l l i s tic ; a fist fight erupts .
Koichi gets away and calls the cops .
Husband Sakazaki is imprisoned for
assault and battery . The conclusion
fmds Yuko faithfully awaiting his re
turn from prison.
The series continues with a com
pletely different story . This time an
other girl , also named Yuko (once
again played by Yuko Katagiri) , is
working in yet a different shantytown

bar . S h e is attracted to a y oung

drifter, Veno (Morio Kazama) , but
she ' s already going steady with a
boyfriend whom she ' s planning to
marry . But soon wedding plans are
cancelled after Yuko gets raped by
her fiance' s older brother. This obvi
ously opens the door for her and
Veno to tie the knot, but then the
drifter' s secret mistress stabs him to
death in a bar fight. Yuko, rightfully
dej ected , leaves the j ob . And the
Enough has already been written
elsewhere in this volume on Yuko
Katagiri' s limited acting ability . Her
performance here i s no-betterlno
worse than the p e r v i o u s e ffo r t s .
However, despite the ludicrous melo
dramatics of the script, these films
are the very e s s e n c e of d i re c t o r
Nishimura ' s c r a ft . T h e " g hetto
lowlife" is his canvas . No other film
maker has captured this environment
so meticulously , and - seemingly so effortlessly . As he proved with the
Apartment Wife series , his goal is to
appeal directly to the Japanese Work
ing Class, focusing on "ordinary peo
ple in erotic situations . " The director
pays particularly close attention to his
characters , allowing their lusty per
sonalities to carry the tale . Nishimu
ra' s movies speak to a person exist
ing in a tiny space , l i ving a
hopelessly monotonous life sprinkled
occasionally with welcomed bursts of
sexuality . These two movies were
major hits because they seemed " real
and honest" to their intended audi
ence .
In 1 97 4 , yet another Adolescent
Wife episode appeared , but none of
the original players were around for
the festivities . Sixteen year old Rumi
(Yumiko Tatsuno) is rap e d . H e r
boyfriend Yuji feels sorry for her and
takes her to his sister ' s apartment

Thomas Weisser And Yuko Mihara Weisser

conventional pinku eiga roots . " Ac

tre s s " Ryoko Kinoyama w a s , i n
fact , a real college student { from
Tokyo ' s Wakayama University} who
approached Nikkatsu with her own
s c r i p t , and a d e s i r e to s h e d h e r
clothes for the camera . Apparently,
as Ryoko later told the tabloids, she
wanted to become a sex starlet so she
could "better understand male psy
chology . " She got her wish - or at
least a starring role in a Nikkatsu ro
man-porno film - even if it were a
short-lived ordeal . Exactly what hap
pened to Ms Kinoyama after her 1 5
minutes o f fame i s unknown.

where they all begin living together.

Everything goes well until sister ' s
husband, Kenichi (Hirokazu Inoue) ,
is released from jail . He ' s immediate
ly obsessed with Rumi and seduces
her . For the first time , she experi
ences the "joys of sex , " something
her boyfriend couldn't awaken in her.
In fact he reacts very irrationally to
the situation by confronting the ex
con at knifepoint. Too turgid for its
own good .
[Joshidaisei No Kokuhaku :
Akai Yuwaku]
director: Akira Kato
Ryoko Kinoyama Tomoka Asagiri
Miyako Yamaguchi Kazuo Satake

lOnna Hisho No Kokuhaku :
Kaniku No Shitatari]
director: Yukihiko Kondo
Hitomi Kozue Erina Miyai
Kei Sasao Hirokazu Ito


College g i r l Haruko (Ryoko Kinoyama) is bored with her peaceful

student life . To spice things up , she
becomes a part-time nightclub strip
per, and - at the same time - be
gins sexual liaisons with some of the
college professors. She also meets a
novelist, a mystery write r , named
Otani (Kazuo Satake) who becomes
h e r l o v e r - o f- p r e fe r e nc e . By day
Haruko is a stripper, by night she ' s
his mistres s . Even though Otani ' s
books aren't selling, the stories inter
est Haruko . She starts fantasizing that
his murder tales really occurred and
that he ' s the killer . Current Otani is
w o r k i n g on a b o o k about an o l d
woman . H e r killer is j u s t about to
strike . And Haruko believes she can
keep it from happening .
Lightweight Akiro Kato is the per
fect choice to helm this fluff project.
He has the necessary experience to
assemble a motion picture without the
motivation to develop it beyond the



A flurry o f sensuality and frustration from director Yukihiko Kondo

who has abandoned his nubile pink
roots { e. g. , Coed Report: Yuko' s
White B reasts ( 1 97 2 ) , e t a l } for
more sinister tales of deceit (see the
more recent Fully Opened: Sisters
Exposed [earlier in 1 976] ) .
Hitomi Kozue, again playing a role
similar to those in her Office Lady
Journal fi l m s ( 1 9 7 4 - 1 9 7 5 ) , i s
Ayako , secretary to the CEO . She ' s
making a big chunk of money and en
j oying the good l i fe . But one day
Ayako accidental l y sees new g i r l
Kazuyo (Erina Miyai) being raped
by one of the company managers .
Ayako remembers that she was also
raped by the same man during her
c limb up the corporate ladder . In
fact, the rape had ultimately been the


Japanese Cinema Encyclopedia: The Sex Films

key to her current position, which she

received as compensation. Absently,
she wonders if this new girl is also
"on her way up . " Then her boss, a
gay man, invites Ayako to escort him
to an orgy party . They go and she
quickly looses herself in the carnali
ty . Meanwhile , it's announced that
Ayako is getting fired and new girl
Kazuyo will be taking over her posi
Significantly, this is one of few pink
Nikkatsu films which feature a gay
characte r , preceded only by Late
Bloom: Campus Erotica [earlier in
1 976] .
COURTESAN ( 1 983)
director: Tetsuji Takechi
Takako Shinozuka Midori Yuzaki
Kozue Azusa Satoshi Mashiba
Takechi / Ogawa Productions
Fujii Movies

In similar fashion t o his Daydream

remake ( 1 98 1 ) , this Tetsuji Takechi
film is a mixture of romance and sex
combined with surrealistic horror ele
ments . It's a major co-production, in
volving financial support from three
different studios (i. e. , Takechi Film,
Oga wa Produ ctio n s and Fujii
Movies) , featuring an impressive cast
of mainstream actors and top-notch
pink performers .
The story , based on a novel by
Daydream author Junichiro Taniza
ki, is set in Nagasaki during the Meij i
E r a (l ate 1 800s) . Kisuke (Satoshi
Mashiba) , a married street vendor ,
becomes obsessively infatuated with a
beautiful courtesan, Ayame (Takako
Shinozuka) . They begin discussing

their hopeless romance, deciding to

run away and "live the life of free
dom in America . " But then, when a
tattoo artist hears of their plan, he
kills Kisuke to keep the girl close to
him in Japan. Seemingly , he is con
sumed w i th her p e rfe c t s k i n and
dreams of using it as a canvas for one
of his tattoo extravaganzas . However,
while Ayame grieves over her
boyfriend' s death, she is captured and
sold to a whorehouse in Yokohama .
Kisuke ' s ghost takes possession of
her body , projecting his own image
in her pure white skin - like a distorted hellish tattoo - every time she
has sex . Ayame eventually convinces
Kisuke to quit worrying about her
and move on to heaven . He takes her
adv i ce and apparently sau n t e r s
through the great white light in the
sky , while Ayame is free to continue
her life as a high-class courtesan.
I n a d d i t i o n to g r a nddaddy
Takechi' s crisp and meticulous direc
tion, much of Courtesan ' s success
lies in Takako Shinozuka ' s confi
dent performance . Here is a role
completely alien from her earlier poi
son lady part in Shogoro Nishimu
ra ' s Crimson Night Dream ( 1 983)
{ see separate listing} . Few pink ac
tress show this kind of diversity .
Courtesan had run into some se
vere censorship problems, but direc
tor Takechi spent most of his life
battling censors . He fought the gov
ernment over brief pubic hair shots in
his 1 964 version of Daydream . He
lost the confrontation and the movie
became the first shown in Japan with
"fogging . ..
Then, the famous obscenity trial of
1 966, leveled against his film Black
Snow , was one of the first public in
decen cy c a s e s t r i e d by J ap a n ' s
supreme court. This time he beat the
trumped up charge (see Black Snow

Thomas Weisser And Yuko Mihara Weisser

listing for details) opening wide the

flood gates for pinku eiga cinema, a
greenlight for risque narratives but
still a redlight for pubic hair and gen
Takechi concentrated less on motion
pictures in the ' 70s , spending his
time with television production { The
Tetsuji Takechi Hour} and various
writing proj ects . When his friend ,
m i l i tant activ i s t Yukio Mishima ,
committed hara-kiri in 1 969, Takechi
wrote a bestselling fictionalized ac
c o u n t , The H e a d Of Yukio
Mishim a . In 1 98 1 , he returned to
cinema with a highly controversial
remake of his 1 964 film, Daydream .
The performers, mainstream actors
Kei Sato and Kyoko Aizome, added
fuel to the flame when they admitted
to " actually engaging in intercourse "
while the movie was shot. Although
the m o t i o n p i c ture w a s v i s u a l l y
fogged, audiences still flocked t o the
theaters to see it. Uncensored prints
floated about in the underground .
When Courtesan was completed ,
the production company - eager to
avoid any problems which might hurt
the expensive proj ect - submitted
the print to Eirin {the government
rating board} numerous times, acqui
escing to every whim of obj ection .
Upon the release of the film, director
Takechi complained bitterly over the
censor's heavy hand . He immediately
began working on a new hard core
(XXX) fantasy film called Scared
Koya {Koya Hijiri} which he refused
to edit, censor or fog . The movie was
never submitted to Eirin for a rating
code and it has never been shown
commercially in Japan . Upon com
pletion, Takechi took advantage of
America's more liberal porn laws and
premiered the film in Guam, a United
States providence . The movie ran for
more than a year , playing mostly to


Japanese tourists who visited the is

land .
In 1 987, Takechi became involved
in yet another remake of Daydream
(aka Captured For Sex) { see separate
listing } , an independent production
which suffered from a minuscule
budget . I t also r an i n t o the pre
dictable c e n s o r s h i p p r o b l e m s in
Japan, but became a surprise hit in
Europe, especially in France , where
it was released fully uncut as Day
dream 2. Tetsuj i Takechi died of nat
ural causes in 1 988 .
PACIFIER ( 1 98 1 )
[Kurutta Joj i : Oshaburi]
director: Itsumichi Isomura
Yuka Asagiri Shiro Shimomoto
and Seru Godamichi

A married man (Shiro Shimomoto)

picks up a young w o m a n , T o m e i
(Yuka Asagiri) for a sexual liaison
which ultimately ends in disaster .
The story , told through the eyes of
the older Shiro , establishes a biased
view of his young lover . She ' s por
trayed as a girl who is " real " and
"open" (Tomei is Japanese for "trans
parent " ) , but in reality ends up com
mitting suicide in the arms of secret
lover . Tomei is a complex character
in the tradition of Takashi Ishii ' s
"Nam; " roles { see Angel Guts se
ries } ; Yuka Asagiri plays the part
exquisitely . Through the use of bril
liant flashback work, director Isomu
ra allows the intricate character to de
v e l o p far b e y o n d the t y p i c a l
one-dimensional pink fi l m criteria.
Itsumichi Isomura initially hails
from the Koji Wakamatsu stable
where he worked as an assistant di
rector before moving to Tomoaki
Takahashi ' s production company in


Japanese Cinema Encyclopedia: The Sex Films

1 980 . With associate Masayuki Suoh

(future director of Shall We Dance ?
[ 1 996] ) , he formed Unit 5 in 1 982, a
protective umbrella for rookie direc
tors who emerged from other studio
clans . Isomura later joined Shintoho,
helming films under the alias Toru
Kitagawa between 1 983- 1 987.
CRAZY FOR LOVE ( 1 97 1 )
director: Akira Kato
Kazuko Shirakawa Ryuji Ohizumi

Fresh from the success o f Apartment Wife : Affair In The After

noon , v irginal starlet Kazuko Shi
rakawa continues her innocent whore
routine in what might initially look
l ike another average Nikkatsu soft
sex fil m. She plays a girl who be
comes a prostitute to satisfy an inner
lust. Her passion turns to despair
when she looks at her miserable life
and sees the loss of her one true love .
But, historically , this film repre
sents something more . This is a sly
wink from Nikkatsu to the cinema
buffs in the audience . Here ' s a film
constructed like so many of the "old
style" actioners of the '60s . It opens
with a sailor hurriedly returning from
a long sea-duty to his modest home .
H e ' s anxious to see his w i fe . He
doesn' t even stop at the tavern for a
quick drink with his friends . When
he gets home, his wife is nowhere to
be found . In fact, it seems like she
h a s d i sappeared ; nobody knows
where she is. At this point, the stan
dard action movie setup drifts into
s l eazy territory . As it turns out,
there' s no foulplay involved. Rather,
she has become a prostitute . And is
currently living in a Singapore broth
el. Everything was masterminded by
a jealous sister who hopes to bed the

sailor. She gets her wish .

Kazuko Shirakawa plays the part
of the whore-wife with wild abandon
ment. Fans of pinku eiga still speak
in awe of the scene where she mas
turbates along the edge of the bed .
She was the first queen of Nikkatsu ' s
Roman Porn . This role is somewhat
ironic because her personal life was
always quiet and conservative . In an
interview published by Book Cine
matheque, she admits to still being a
virgin when she made these early
films { see Apartment Wife entry for
more details} .
director: Kensuke Sawa
Masayoshi Nogami Setsu Shimizu
and Mari I wai
Sawa Productions
* * 1/2

Director Sawa i s in much better

form here . His camerawork, while
still unbridled, isn't as irritating as in
Hole ( 1 967) . It ' s almost eccentric .
Almost art . However , once again ,
plot i s Sawa' s biggest obstacle . His
story is predicable and , worse, unde
veloped .
After Toshiyuki (Masayoshi Noga
mi) rapes his wife ' s kid sister , the
film has nowhere to go. The charac
ter of his wife Junko (Setsu Shimizu)
is so severely underwritten that the
audience is completely ambivalent to
wards h e r . In mov ie after movi e ,
she ' s played the " icy modern girl "
(i. e. , Virgin And Pimp, Abnormal
Rape, Swapping Between Couples
et a) . When she tries to do some
thing different , like this role , she
can't help but fail without the stern
hand of a director with more prowess .
Mari Iwai does what she does best,
shows off her tits . But she has also
managed to develop a certain cine-


Thomas Weisser And Yuko Mihara Weisser

matic vulnerability (perhaps the result

of playing the same raped-virgin ad
infinitum) .
CRAZY FRUIT ( 1 9 8 1 )
[Kurutta Kaj itsu]
director: Kichitaro Negishi
Yuji Honma Yuki Ninagawa
Eiko Nagashima Eiji Okada
* * Vz

A young man (Yuji Honma) , poor

but hard-working , meets a girl (Yuki
Ninagawa) from an affluent family .
They fall in love . However, he has a
difficult time with the cultural differ
ences between them. He instinctively
distrusts rich people, believ ing all
wealthy people have screwed over
somebody to get into that position.
This is a sadly contrived story of
love ' s ability to survive regardless of
the circumstances . The saving grace
is actor Yuji Honma' s intense per
formance, and that alone made this a
maj o r h i t fo r Nikkatsu . D i rector
Negishi ' s next fi l m would b e
Cabaret Diary ( 1 982) . Actor Hon
ma would later star as the villain in
Evil Dead Trap ( 1 988) .
[Kyosei Jidai]
director: Shinichi Shiratori
Yuri Yamashina . Michiko Tsukasa
Moeko Ezawa Morio Kazama
* Ih

In a plot setup immediately similar

to Koji Wakamatsu ' s Skeleton In
The Closet ( 1 965) , the film intro
duces Kohei (Morio Kazama) , a dis
heartened yobikosei { i . e . , a college
bound student who fails the entrance
exam and must study for another
year, usually a yobikosei is seen as
dormant individual, somebody with a
lot of free time on his hands} . Kohei

starts fooling around with a middle

aged woman (Moeko Ezawa) and
loses his virginity to her . This gives
him appetite and confidence to seduce
h i s g i r l fr i e n d N o r i k o ( Y u r i Y a
mashina) . But she doesn't share his
enthusiasm for bedknocking , rather
Noriko insults Kohei and turns the
boy down coldly . This infuriates Ko
hei . He stops going to classes and be
gins an affair with his father ' s mis
tress (Michiko Tsukasa) . Then, one
day , Kohei meets a friend who tells
him that Noriko was raped by some
body (well, of course she was , after
a l l this IS a Nikkatsu p ink film) .
Seemingly Noriko also told this
friend that she was truly i n love with
Kohei but had been too shy to admit
it, that is, until after the assault. This
stimulates Kohei again. He goes off
in search of Noriko, certain that the
rape had taught the girl a lesson in
sex . Apparently, it did . Now, Noriko
is eager to share her bed with him.
Another repu l s i v e story w i t h a
morally bankrupt theme unleashed as
a B-feature throwaway proj ect by
Nikkatsu . It' s all further reprehensi
ble by the absence of any l ikeable
characters . Kohei the Loser is espe
cially repugnant . Koji Wakamatsu
handled the whole thing much better
in the earlier Skeleton.
TORTURE ( 1 995)

lOnna Hanka-cho:
Edo Gomon Keibatsul

director: Masaru Tsushima

Yoshizumi Ishihara

Kanori Kadomatsu

* * 1/2

Thjs is probably the birth of a new

series which will become known as
Criminal Women Report. It's direct
ed by Masaru Tsushima , the man


Japanese Cinema Encyclopedia: The Sex Films

who created the on-going Female

Ninja: Magic Chronicle collection
{ see separate review } . Conceptually
they are the same, a "human interest
story " mingled with a bit of history
and loads of sex . However, where
the Ninja movies feature a bevy of
martial-arts beauties fighting their
way across medieval Japan, this one
has a bunch of female prisoners sub
jugated to the harsh tortures of the
Edo inquisition. We ' re not talking
about one or two scenes of flogging .
This is like a greatest hits package of
Torture, one atrocity after another .
The "action" is interrupted by un
dercover investigations and sanctimo
nious ramblings of Kojuro (Yoshizu
mi Ishihara) , a government spy who
is working as a prison guard . He's on
a royal mission from the emperor to
observe any penal infractions and re
port accordingly . This film concludes
with Kojuro riding off to investigate
yet another report of inquisition chi
canery , which will most l ikely be
seen in a Part 2 .
director: Tetsuji Takechi
Yokichi Goto Mina Yanagi
Chiyo Aoi Hideko Kawaguchi
and Sennojo Shigeyama
121 rating withheld
It' s impossible to j udge this film
since the original full-length version
has never actually been seen by any
one . 20 % was removed by Eirin be
fore the release . Today , that footage
is missing and considered lost.
Like Daydream ( 1 964) , Takechi's
previous movie {see separate listing} ,
this one - as the title might suggest
- is another "dream " fil m . In it,
three people (a writer, his wife and
his sister) go out on the town - to a

gourmet restaurant, then a striptease

show, followed by a sex movie and a
nightcap . Obviously , after wandering
home and cl imbing into bed, they
have some very wild dreams .
There are stories within stories, a
virtual parade of psychedelic images ,
made even more abstruse b y the cen
sor ' s cruel scissors . But among the
more comprehensible tales is "Witch
In The Bathtub " which depicts the
husband (Yokichi Goto) as he stomps
on his wife ' s naked, lifeless {dead? }
body while smearing her with black
paint . Another segment features a
snake woman who is madly in love
with a monk { this concept would be
expanded for Takechi's later film Sa
cred Koya [ l 984] } . Plus there ' s an
inordinate amount of grotesque S&M
images mingled within a story of a
Chinese noblewoman who severs the
arms and legs of the emperor's mis
tress . Her j ealous rage concludes
when she scoops out the eyeballs and
dumps the torso into the toilet.
{ For further information about di
rector Tetsuji Takechi see Spotlight
Section: The Pink Rebel, page 67. }
[Makka Na Ubuge]
aka Scarlet Hair
director: Mamoru Watanabe
Honey Reine Miki Hayashi
Kazuko Shirakawa Kaori Aihara
Tokyo Geijutsu

Tokyo Geijutsu ' s production about

a German girl (Honey Reine) forging
her way in modern Japan, first as a
bar-hostess and then as a prostitute .
Popular Miki Hayashi plays a whore
who befriends the misplaced Kraut.
Begrudgingly entertaining . This is
typical Watanabe fodder, coined as
"melo-ro " (melodramatic romance)
by the media. Mamoru Watanabe is


Thomas Weisser And Yuko Mihara Weisser

an actor-turned-director who initially

graduated with honors from the pres
tigious Waseda University , as a dra
ma major. While working at a Japan
ese television studio in 1 965 , he got
into a fi stfi g h t w i t h d i rector
Michiyoshi DoL Watanabe w a s
blackballed from TV work, but found
a new home with Shintoho and its
spinoff company Tokyo Geijutsu . He
joined Nikkatsu in the ' 80s { e. g . ,
Dark Hair Velvet Soul [ 1 982] , Uni
form Virgin Pain [ 1 983] et all . In
the ' 80s , Watanabe was generally re
spected as one of the most important
ftlmmakers in pinku eiga.
director: Shogoro Nishimura
Takako Shinozuka Kazuyo Ezaki
* * 1f2

Shot in Docu-Drama style, Shogoro

Nishimura examines the truth behind
the notorious Oden Takahashi, a poi
son lady executed as a murdere r ,
thief, and harlot during the Maiji Era
( l ate 1 8 0 0 s ) . H i story p a i n t s t h i s
woman a s a n evil conniving female ,
but was she really? Nishimura makes
a case for a more sympathetic view .
N e w c o m e r Takako Shinozuka
plays Oden Takahashi with convinc
ing zeal . Supposedly , her crimes
stemmed from a desire to be a good
wife . Because she loved her husband
so much , she would whore herself,
rob and kill people to support him.
The complicated role portrays the du
ality of her personality . There is no
doubt that Oden enjoys the unbridled
promiscuity , but she also unquestion
ably cares for her husband .
DOLL ( 1 983)

[Zankoku Document:
Kachiku1 Ningyo]
director: Kaoru Umezawa
Shiro Shimomoto Kaoru Kaze
and Mari Aoki
Toei Central Film
* 1f2
'This title is difficult to translate into English
without giving the wrong implication. A most
literal meaning would be

"Farm Animal

which - as a

- would suggest


pinku eiga

Doll, "


However, the title more accurately refers

to a beautiful woman who is subjected to severe

disciplinary treatment.

Legendary pink filmmaker Kaoru

Umezawa continues his nose-dive for
the trash heap in this cheap, insensi
tive story of a man who, after being
betrayed by h i s u n fa i t h fu l w i fe ,
abducts a girl off the street and takes
his frustrations out on her . He takes
the poor woman home , tortures her,
rapes her and all the other customary
things. As typical of other compara
ble sado sex films, the woman ends
up liking the treatment and opts to
stay with her captor.
Regarding the word "documentary "
in the title, again - as with so many
pinku eiga - this is misleading . The
mov i e , while filmed in hand-held
fashion, is definitely not a documen
tary .
[Joj i Zankokushi]
director: Osamu Yamashita
Masayoshi Nogami Ayako Hitomi
Kaori Aihara Shohei Yamamoto
Kanto Eihai

Director Yamashita is obviously influenced by Teruo Ishii ' s Joys Of

Torture series here { see separate list
ing } , as he creates a very similar film
(director Yamashita also helmed Tor
turing Widows in 1 968) . This one is
set during Japan' s Edo Period . And it
teUs the story of a high-ranking busi-


Japanese Cinema Encyclopedia: Tbe Sex Films

ness man (Masayoshi Nogami) who

presents his unfaithful wife (Ayako
Hitomi) to the high court for discipli
nary action. Her illicit escapades are
outlined fo r the judge ( reenacted
through the miracle of flashback) .
Then, after she is found guilty of the
infidelity charges , the woman is sub
mitted to a series of tortures , includ
ing a vicious flogging in town square .
The torture sequence is brutal , par
ticularly since her " crime " doesn't
seem as serious as the resulting sen
tence . But , unlike the similar Ishii
ftlms , this one fails to solicit empathy
from the viewer, due to the ineffec
tive, thinly-drawn characterizations .
Rather, the film's attraction remains
solely a misogynist one . For S&M
fetishes only .
Masayoshi Nogami, probably best
known for his many roles as a rapist,
also starred in Koji Wakamatsu ' s
Narcissus O f Lust i n 1 967 . Shohei
Yamamoto , who p l a y s Otsuki ' s
lover here, made a number of movies
with director Yamashita . The most
famo us is Japanese Sex C rime:
Concurrence ( 1 967) .
[Sex Joyu Zankokushi]
director: Hiroshi Mukai
Saeko Tsugawa Yuri Yamashina
* * V2

Here ' s an obvious movie from prolific pink director Hiroshi Mukai .
But the film ' s lack of originality is
more than c om pen s ated with the
wild-eyed performance from Saeko
Tsugawa (she later joined Nikkatsu
under the name Yuri Yamashina) .
She' s a porno queen who gets suck
ered into making S&M flicks, only to
later discover that she really enjoys
the abuse . O b v i o u s l y , her l i fe

changes dramatically as she loses her

ability to distinguish between the real
and reel world .
[Zankoku : Kurobara Lynch]
alternate title:
[Zankoku : Kurobara Dorei]
director: Katsuhiko Fujii
Naomi Tani Terumi Azuma
Hideaki Ezumi Akira Takahashi

Just prior to the war, when Japan

was ripe w ith conflicting political
ideologies, the government organized
a secret police with the authority to
squelch any " anti-patriotic " d i s s i dents . I t ' s i n this climate that the film
takes place .
Yumiko (Naomi Tani) is a wealthy
aristocrat who arrives in Tokyo with
her maid (Terumi Azuma) . They
plan to visit her brother who , unbe
knownst to them, happens to be un
der scrutiny by the undercover po
l i c e . The rebe l l i o u s b r o t h e r h a s
already taken a powder, hightailing it
out of town, but the girls get cap
tured . They are tortured and raped by
the police . Two years later, after war
is declared , the government confis
cates Yumiko ' s country estate , con
verting it to a social club for military
officers (the authorities justify this
confiscation due to the family 's repu
tation for subversive activity) . In re
ality , the mansion is turned into a tor
ture-den where the officers can enjoy
the "pleasures " of inquisition punish
ments . The two women, among oth
ers , become the mistreated victims .
This is the second of many outings
for the Tani I Azuma duo { see Wife
To Be Sacrificed for full details } .

Thomas Weisser And Yuko Mihara Weisser

While the film isn't as masterful as

Masaru Konuma' s legendary project,
it does manage to continue the cha
rade of ar t i s t i c S & M erotica as
mainstream entertainment. "
Director Fujii is the perfect choice
for this production . He had been
hopeless lost amid lame Apartment
Wife sequels (e. g . , Mid-Afternoon
Love Affair [ 1 972]) and interchange
able Eros Schedule Book entries
( 1 97 3 - 1 974) . With this fil m , Fujii
manages to capitalize on his attrac
tion to dark cinema {as intimated by
his mean-spirited Seduction Of The
White Angel ( 1 972) } , turning it into
a long-term career . Over the subse
quent years , director Fujii became
one of Nikkatsu ' s primary Best SM
filmmakers . He also helmed the next
TaniiAzuma torture fe s t , Oryu ' s
Passion: Bondage Skin ( 1 975) .
[Zangyaku No Onna Gomon]
director: Shinya Yamamoto
Naomi Tani Hiroshi Imaizumi
Yuki Minami Masayoshi Nogami
and Kazuo Komizu (Gaira)


to previous contract entanglements

with Nikkatsu {the producer of both
Flower And Snake and Wife To Be
Sacrificed with Ms Tani in 1 975 as
part of an exclusive production deal } .
I n it, Director Yamamoto recounts
the supposedly true story of Sh i
mooka (Hiroshi Imaizumi) , Japan ' s
first professional photographer. This
Meij i Era shutterbug is hopelessly
obsessed with capturing beautifu l
women on film- that i s , beautiful
nude women in bondage . He makes
a deal with the Inquisition Branch of
the government to become the official
cameraman at the cruel proceedings .
Naomi Tani is Madam Okichi, a
notorious geisha who specializes in
servicing foreigners . Yuki Minami,
from Koji Wakamats u ' s Torture
Chronicles : 100 Years [ 1 97 5 ] , is
a l so on hand for h e r fair share of
abuse . The fi lm also stars Kazuo
Komizu, a man who became an un
derground cult movie director, usual
ly hiding behind the Gaira alias { see
Living Dead In Tokyo Bay i n
Japanese Cinema Encyclopedia: The
Horror, Fantasy And Science Fic
tion Films} .

* * 1/2

Wakamatsu Productions / Shintoho

A refurbished Shintoho stocked the
video market with this title in 1 992
w h e n it l a u nc h e d the new Ha rd
Porno A V {Adult Video} line , essen
t i a l l y a c o l l ec t i o n of S & M fi l m s
which the studio had purchased from
Koji Wakamatsu ' s production com
pany (Wakamatsu ' s own Torture
Chronicles were part of this pack
age) . For a while, confusion and mis
information su rrounded this titl e .
Some publications heralded i t a s an
out-of-retirement effort by Naomi
Tani . But, after the dust settled it
was , in fact, identified as a 1 975 pro
ject which had not seen a release due

[Zankoku Onna Joshi]
director: Shogoro Nishimura
Anne Mary Sanae Ohhori
Shinji Takano Jiro Okazaki

B e fore Nikkats u ' s r o m a n - p o r n

days, workhorse director Nishimura
helmed this discerning tale of a les
bian relationship . The film opens
with Mari (Anne Mary) attempting
suicide , but she is rescued by a fe
male acquaintance (Sanae Ohhori)
from school. After that, the two girls
become close friends and start room-


Japanese Cinema Encyclopedia: The Sex Films

ing together. They begin sharing their

lives ; Sanae would even substitute for
Mari when she wasn't able to go to
her work at the S M club . Before
long, the two girls become lovers .
[Shojo Zakura]
director: Mamoru Watanabe
Keiko Kayama Shusaku Muto
Tokyo Koei

A popular theme in the pinku eiga

world - a girl , trapped in the life of
prostitution, is rescued by a former
boyfriend . This time the mistreated
whore is Tomoko (Keiko Kayama ,
who became a maj o r s e x c i nema
queen after an extensive public ity
campaign in mid '67 after the release
of the disastrous Pleasure Trap in
early 1 967) { see Pleasure Of Wo
men , a separate listing with complete
details} .
DANCE OF LUST ( 1 983)
[Inyoku No Mai]
director: Kaoru Umezawa
Midori Yuzaki Jun Nakahara
and Madoka Mizuki
* * 1/2

Kaoru Umezawa learned his craft

as assistant director with Koji Waka
matsu in the mid '60s . After he was
fi red for " d i srespect" { see li sting
Lusty Bedtime Story } , Umezawa
joined rival company Shishi Produc
tions where he helmed numerous
pinku eiga projects . He changed his
name to Kaoru Tomoto in 1 974 and
pursued a mainstream career. Nikkat-

su lured him back to pink with Cap

tured White Uniform ( 1 983). This
film followed closely on its heels.
It tells the story of a snooty profes
sional violinist (Midori Yuzaki) with
a loser office-clerk boyfriend (Jun
Nakahara) . However, in bed, their
roles are reversed as Midori slips into
a fantasy world of submission.
Actress Midori Yuzaki is a talented
performer who usually managed to
secure major pink roles from the in
dependent producers (e. g . , Fujii' s
big-budget Courtesan [ 1 984] ) . Jun
Nakahara is a versatile actor who
starred in numerous Nikkatsu films ,
ranging from art { Bone Of The But
terfly [ 1 97 8 ] to trash { Secretary
Rope Discipline [ 1 98 1 ] } . The suc
cess of this film ultimately rests on
the studio ' s shoulders .
[Kikenna Kankei]
director: Toshya Fujita
Masayo Utsunomiya Yoichi Miura
Yuko Katagiri Yuki Nohira
and Yusuke Kazato
* 1/2

Loosely based on the 1 8th century

French erotic book Les Liaisons
Dangereuses {Dangerous Liaisons}
by Choderlos de Laclos , this film
version follows the concupiscent spir
it but not the specifics of the original
De Laelos' story (captured for the
screen by Roger Va dim in 1 960)
deals with a young aristocratic couple
who enjoy a quirky open marriage.
She asks her husband to steal the
heart of his 18 year old cousin be
cause the girl has snatched a lover
from her . Meanwhile , the husband
begins bedding the cou s i n ' s mom ,
whose husband , in turn, seduces the
wife . Circles of love .

Thomas Weisser And Yuko Mihara Weisser

For this Nikkatsu version, obvious

ly, the locale switches from Paris to
Tokyo . B u t that ' s not the only
change . Sadly , director Fujita is so
concerned with the mechanics of the
script that his characters , a key ele
ment for this type of project, become
hopelessly stilted . The whole thing
collapses under its own needlessly
complicated structure .
The love-games among the rich and
famous begin when widow Ayako
(Masayo Utsunomiya) decides to
take revenge against Yusuke (Yusuke
Kazato) for his forcible seduction
{date-rape, perhaps? } . She introduces
her handsome ex-lover to the brute' s
fiancee (Yuki Nohira) in hopes that
they will begin an affair which should
u l t i mate ly shame Yusuke . M ean
w h i l e , the unexpec t ed happ ens .
A y a ko ' s current l o v e r ( Yoichi
Miura) meets and falls in love with
the fiance.
This was a major disappointment
for Fujita fans who had followed him
through years of artistic erotica . Ap
parently , the filmmaker was going
through a bungling experimental peri
od , his preceding film (Girl Plea
sure: Man Hunting) also alienated a
number of his ardent supporters .
Masayo Utsunomiya and Yoichi
Miura are not typical roman-porno
stars . They are respected mainstream
performers . Their involvement indi
cates Nikkatsu was trying to create
something which transcended the
company 's pinku eiga roots . But, un
fortunately, this movie is neither fish
nor fowl . The result is a lackluster
production which appeals to no one .
After more than a year absence
from the screen, Yuko Katagiri has
a m i no r rol e as one of Yusuke ' s
many secret lovers . She would make
another couple films for Nikkatsu ,
throwing i n the towel after a cameo


in Wet And Open ( 1 979) . She occa

sionally did some television appear
ances in the ' 80s amid publicity sur
r o u n d i n g a m e s s y d i v o rce fro m
director Masaru Konuma . She later
appeared in Toshiharu Ikeda ' s XX:
Beautiful Beast in 1 997 .
PILLOW WAR ( 1 977)
[Dannoura Yomakura Kassenki]
director: Tatsumi Kumashiro
Tokuko Watanabe Morio Kazama
Aoi Nakajima Junko Miyashita

A period piece set in the 14th century , a time usually ignored in Japanese
film {especially the within the rigid
confines of the pinku eiga } . Most his
torical sex movies (e. g . , the Eros
Schedule Book series [ 1 97 1 - 1 974] or
any number of Con cubine Palace
projects) deal primarily with the Edo
P e r i o d {l 9th Cen t u ry} . S o , th i s
movie immediately sparked curiosity
among pink fan s , especially s i nce
Kumashiro based it on a highly con
troversial book. For years , the erotic
novel Dannoura Pillow War by Yo
Yoriyama had been banned from the
bookshelves . It was the center of cen
sorship problems until the Japanese
Supreme C ourt fi n a l l y permitted
" sale and ownership to an adult audi
ence" in 1 969. The film is, indeed ,
derivative of the novel , but director
Kumashiro has exercised a consider
able amount of writer' s license here .
The script purposely accentuates and
distorts the narrative, resulting in a
rather campish rendering of the story ,
stylistically similar to the American
Russ Meyer films .
It' s based on an historical event, the
Battle of Dannoura, when the power
ful Taira family fell to the challeng
ing Minamoto clan from Kamakura .


Japanese Cinema Encyclopedia: The Sex Films

The film evolves into a sexual romp

as the conquering miscreants "deal
with" the surviving prisoners of war,
mostly noblewomen. The females are
captured by the Monamoto warriors
and earmarked for slavery and prosti
tution brothels . A young commander,
Yoshitsune (Morio Kazama) , tries to
organize the proceedings but the
randy soldiers are consumed with
dreams of b o ffi ng the high c l a s s
ladies . I n t h e m i d s t of t h e sexual
mayhem, Yoshitsune tries to behave
like a gentleman, but his principles
are also tested when he becomes in
fatuated with a royal Taira woman
(Tokuko Watanabe) .
VELVET SOUL ( 1 982)
[Dan Oniroku
Kurokami Nawa Fuj in]
aka Black Hair Velvet Soul
aka Rope Lady Black Hair
director: Mamoru Watanabe
Izumi Shima Kumiko Hayano
Shiro Shimoshita Hiroshi Ikaida
* * * 1f2

Apparently unhappy with the treatment of his scripts at the hands of

Nikkatsu ' s second string directors ,
Oniroku Dan produced this one him
self, hiring highly respected filmmak
er Mamoru Watanabe to ride helm
on the project . Despite Watanabe ' s
impressive list o f pinku eiga, mostly
from the genre ' s first wave { 1 9651 970 } , this is his debut with Nikkat
su o And he definitely brings a sense
of the old school to the classy pro
Izumi Shima, at one time touted as
"Nikkatsu 's most beautiful actress,
was systematically relegated to co"

starring roles a fter her less-than

memorable debut film Lady Chatter
ley In Tokyo ( 1 977) . But she is no
stranger to the studio ' s S&M genre,
featured in numerous Oniroku Dan
films {e.g. , co-starring with Junko
Mabuki in Blazing Bondage Lady
[ 1 980] and Female Beautician Rope
Discipline [ 1 982] , among many oth
ers } . This time she was the actress of
choice by producer Dan . His deci
s i o n was a good on e . Ms S h i m a
brings elegance and panache t o the
role, aided by a strong performance
from Kumiko Hayano .
Izumi (Izumi Shima) owns an up
perscale supper-club , inherited from
her father , under the condition that
she marry into the Takahashi family .
As it turns out , her new husband
(Shiro Shimoshita) is a louse, more
interested in gambling and whoring
than operating the restaurant. Every
day duties fall on the shoulders of
I z u m i and h e r s i s t e r , ( Kumiko
Hayano) . Meanwhile, husband Shiro
slips deep into debt with yakuza loan
shark s, accepting his wife and her
nightclub as co l lateral . F i r s t , the
gangsters kidnap sister Kumiko and
hold her for ransom , forcing Izumi to
buy her bac k . The husband i s n ' t
awakened by the ordeal . He's under
the spell of his mistress , a yakuza
babe , who convinces him to wager
even more money on bad bets . He
loses it and , in turn, increases his
obligation to the mob . Soon, it' s the
moment of truth , when Izumi must
submit to the sadistic tortures of the
yakuza and eventually forfeit her sup
per club due to her husband's folly .
Izumi Shima' s proficiency in this
starring role brought her more lead
ing parts in the coming months {e.g. ,
Indecent Family , B l u e Woman
[both 1 982] , and Snake Hole [ 1 983]
also produced by Oniroku Dan} .

Thomas Weisser And Yuko Mihara Weisser


see DIRTY MARY series
DARK ROOM ( 1 983)


writer later meets Natsue (Rie Kimu

ra) and thinks he ' s falling in love ,
but she has a violent boyfriend who
beats up both of them . It ends with
the writer alone once again.

director: Kirio Urayama
Koji Shimizu Yuki Kazamatsuri
Takashi Terada Mayumi Miura
Rie Kimura Yoshimi Ashikawa

Produced as Nikkatsu's 70th anniversary film, this big budgeted pro

duction is based on an autobiographi
cal expose by Junnosuke Yoshiyuki,
dealing with a novelist ' s search for
love and companionship among a
bevy of misfits . Depending on the
criteria for pinku eiga, this may or
may not fit the bill . It's directed by
one of Japan ' s fi nest fi lmmakers ,
Kirio Urayam a , who was also re
s p o n s i b l e fo r C h i l d Of The S u n
{ Taiyo No Ko } in 1 980, and later for
Gate Of Youth (Part 1 and 2) {Se
shun No Mon 1& ll} [ 1 995 - 1 996] .
B u t t h i s p r oj e c t , w h i l e e r o t i c i n
scope , was considered a mainstream
film upon its release , playing to the
commercial marketplace rather than
the Nikkatsu's adult theater circuit.
A popular writer (Koji Shimizu)
finds it difficult to find love after the
apparent suicide of his wife (Yuki
Kazamatsuri). He fools around with
an assortment of colorful women, in
cluding the mistress of a college pro
fessor, a lesbian he picks up at a bar,
and a neighbor lady who happens to
" s imply adore " his writing . Despite
some torrid sex scenes - and the
movie tends to be abnormally preoc
cupied w ith the intricacies of those
affairs - he c an ' t find true love .
Every woman says "1 love you , " but
they aren't faithful to him {note: he
isn 't faithful to them either, but no
one is too concerned about that}. The


[Nihon Boko Ankokushi Bogyakuma]

director: Koji Wakamatsu
Miki Hayashi Osamu Yamashita
Kazue Sakamoto Mikiko Ohkawa


After the unmitigated success of his

Violated Angels (which was based

on the 1 967 case o f the American

Richard Speck slaughtering a house
ful of nurses in Chicago) , director
Wakamatsu decided to recreate story
of Yos h io Kodaira , a rap i s t w h o
walked the streets of Tokyo just after
the Second World War .
Interestingly , Wakamatsu chooses
not to identify the character as Yoshio
Kodaira , but rather as Marqui De
Sadao. The film also takes a number
of exploitive l ibertie s . The rap i s t
(played with calculating sternness by
Osamu Yamashita) is a killer who
enjoys whipping and mutilating his
victims while having sex .
H o w e v e r , on the a r t i s t i c l e v e l ,
Wakamatsu ' s eye for detail is exquis
ite . And his recreation of post-war
Japan challenges the art direction of
major studios , especially considering
his minuscule budget . As with the
previous Violated Angels {see sepa
rate rev iew }, there are also some
h e a v y - h anded p o l i t i c a l s e g m e n t s
which suggest that aberrant behavior
in Japan is caused by the emergence
of capitalism .
After starring in this feature , actor
Yamashita put on a director ' s cap ,
responsible for such films as Tortur
ing Widows ( 1 969) and Cruel Pun-


Japanese Cinema Encyclopedia : The Sex Films

i s h m e n t F o r F e m a le Infid e l ity

( 1 969) .

( 1 964)

[Hakuj itsumu]
director: Tetsuji Takechi
Kanako Michi Akira Ishihama

( 1 98 1 )
aka Another Daydream


director: Tetsuji Takechi

Kei Sato Kyoko Aizome
Takemi Katsushika Sae Kawaguchi

( 1 987)
[Hakujitsumu Zoku]
aka Captured For Sex


director: Tetsuji Takechi

Kei Sato Kyoko Aizome
Kenji Hayami Kantaro Suga

The cinema historians will probably

n o t remember the l ate T e t s uj i
Takechi with much adulation. After
all , he was fundamentally a one note
Charlie , destined to make and re
make the same film on three different
occasions , w ith l ittle variation and
even less creativity each time . But in
the hollowed annals of cult cinema,
Takechi has a special shrine . He is
generally considered the father of
Japanese Porn . His film Daydream
( 1 964) was one of the first big-budget
pinku eiga and , more importantly , it
received a huge publicity campaign,
playing in mainstream theaters to
large audiences .
A t the time, this was an embarrass
ing nightmare . Shochiku had planned
the premiere to c o i nc ide with the
opening o f the prestigious Tokyo
Olympics and the Japanese govern
ment was not amused . They strongly
obj ected to the decadent image this

"nouvelle vague " gave to the world

visitors .
The original Daydream is tame by
today ' s standard s . However it did
feature some female nudity , including
a brief shot of pubic hair (a full two
years before Michelangelo Anto
nioni officially broke that taboo with
Blow Up [ 1 966] ) .
All three films have essentially the
same storyline (calling it a plot would
be misleading) . A young man and
woman, an artist and a singer, are
waiting in the lobby of a dentist of
fice . He is attracted to her but reluc
tant to say anything . Soon they ' re in
the examination room . The artist is
given an anesthesia and he begins to
hallucinate . He watches as the girl is
fondled and raped, tortured and mis
treated . Eventually , he awakens from
his daydream but discovers certain
clues which may indicate it wasn't a
drug-induced fantasy after all .
W i th e a c h e n t r y , D i re c t o r
T a ke c h i's p r o d u c t i o n s t a n d a r d s
dropped . T h e initial version could
easily pass for " art" but the second
one , with the inclusion of hard core
scenes and lurid toilet shots , is decid
edly exploitive . The third fi l m i s
sleazier yet, with the lion' s share of
its meager budget spent on the cli
mactic torture orgy . # 3 is especially
odd because the daydreamer never
wakes from his trance, both he and
the girl die when a fire breaks out in
the dungeon. Another interesting dif
ference between the third entry and
the other two is that the evil dentist is
played by a woman .
#1 and #2 were both shot by Akira
T akeda , the c i nem atographer o f
c h o i c e fo r Nagisa Oshima ( from
1 965-68) . #2 was the debut film for
actress Kyoko Aizome who became
an overnight sensation as a result of
the movie . She reprised her role in

Thomas Weisser And Yuko Mihara Weisser

#3. The third installment is better

known in the States by it' s imported
title, Captured For Sex.
Director Takechi also made the po
litically-charged sex movie Black
Snow in 1 965 , resulting in one of
Japan' s first motion picture obscenity
trial s . In his later years, he helmed
the big budget pink film Courtesan
( 1 983) with Takako Shinozuka and
Midori Yuzaki { see separate listing} .
After that film was butchered by the
censors , Takechi decided to do what
no other Japanese fi lmmaker had
dared . H e made a XXX hard core
film, Sacred Koya ( 1 983) and never
allowed it to to be shown in Japan .
Instead , the movie was shipped to
Guam where it played uncut - mostly
to Japanese tourists - for years .
The director started his career with
the sex-n-tell documentary Women's
Story ( 1 963) { called Women ... Oh
Women! in the United States} .

lOnna No Torihiki]
director: Hitoshi Kataoka
Naomi Kaga Kemi Ichiboshi
Kyoji Murayama Kiyozo Fuyuki


Kemi Ichiboshi , who spent a career

playing the violated younger sister
(i. e . , Empty Lust [ 1 967], Raped
Virgin Diary [ 1 968], Perverted Vir
gin [ 1 969], et al) , turns the tables
this time . Here she plays Yukie , a
girl jealous of her snooty older sister
Kyoko (Naomi Kaga) , who i s
p r e p a r i n g to g e t m a r r i e d . O n e
evening, Yukie complains t o friends
about her s i s ter ' s arrogance . The
boys interpret Yukie ' s complaints as
a request { some Japanese critics were


quick to draw comparisons between

this scene and a similar one in Shake
speare' s MacBeth} and they decide
to " teach Kyoko a lesson in humili
ty . " They bruta l l y gang-rape the
bride-to-be .
Director Kataoka is no stranger to
this type of nihilistic exploitation . He
also made the equally grim Trap Of
Lust in the early part of 1 967 and
Debauchery the year before . Nor is
Naomi Kaga a rookie . She was sexu
ally assaulted repeatedly in Japanese
Sex Crime: Concurrence ( 1 967) .

director: Hitoshi Kataoka
Akemi Hara Kyoji Murayama


An early depraved tale from film

maker Kataoka { later responsible for
the nefarious Dealing With Women
and T r a p Of L u s t [ b o t h 1 9 6 7 ] }
about a playboy who seduces coed
virgins and then punishes them for
their " loose moral s . " Decidedly
misogynist and mean-spirited with all
the charm of a witchhunt.

[Ege-kai Ni Sasagu]
director: Masuo Ikeda
Claudio Arioti Olga Karlatos
and Dona (Cicciolina) Staller

rating withheld
Award-winning novel i st M a s u o
Ikeda went to Italy to direct this pink
movie in an unsuccessful effort to
beat the Japanese censors . Essential
Iy, there are t hree g o v ernmental
agencies responsible for enforcing
Japan' s censorship laws. They are 1)
The Municipal Prosecutor 's Office
which deals mostly with live shows,


Japanese Cinema Encyclopedia : The Sex Films

p r i nted matter and c i v i l case s ; 2)

Eirin , the s e l f- g o v e r n i n g rating
board , accountable for passing or
denying distribution of domestic mo
tion pictures { no film can play a com
m e r c i a l theater in Japan w i thout
Eirin's stamp of approval } ; and 3)
Customs, a branch of the Immigration
And Treasury Department, responsi
ble for permitting foreign films to en
ter the country {after a foreign film
passes through custom s , it is auto
matically approved by Eirin}.
Each of these agencies has its own
agenda, usually working independent
ly of each other. For example, Cus
toms is inclined to be more tolerant
of subject matter, adopting a laissez
jaire philosophy of tolerance towards
foreign cultures . They tend to censor
o n l y the d e p i c t i o n of p u b i c h a i r
and/or genitalia. On the other hand ,
Eirin is a tougher watchdo g , con
cerned with both the film ' s narrative
and depiction of offensive nudity .
Under the Japanese system, a foreign
film can pass through Customs and
automatically receive the Eirin stamp
w ithout being subj ected to Eirin 's
philosophical dogma. But a Japanese
movie must be submitted to (and ap-'
proved by) Eirin in order to receive
the stamp .
In 1976 , director Nagisa Oshima
helmed the highly e r o t i c In The
Realm Of Senses , a co-production
wi th a French company , Serge Sil
berman Industries . The master print
was shipped into Japan through Cus
toms from F r a nc e . D e s p ite the
steamy subject matter, Eirin's hands
were fundamentally tied because Cus
toms had already passed it, a move
which took the film out of Eirin's ju
risdiction . The motion picture was
shown intact (minus the hardcore
scenes) .
Inspired by Oshima's successful

scheme at avoiding heavy censorship ,

Masuo Ikeda helmed his first (and

only) film in Italy with an all Euro

pean cast . But this time, when the
master print was shipped into Japan,
government o ffi c i a l s were read y ,
waiting , and determined not t o be
scammed by the ploy . The film was
delayed by the customs office for two
months . Finally , after 52 scenes were
deleted, the print was turned over to
the production company for distribu
The resulting film is difficult to
judge - obviously a pale counterpart
after a 38 m inute shearing - but
there is certainly evidence to indicate
that the original film might have been
an erotic masterpiece . It's the story
of poor art student (Claudio Arioti)
living in a boarding house with three
women . He gets sexually involved
with the young daughter (Olga Kar
l a t o s ) and her c l a s smate ( I l o n a
Staller), Aside from this minor plot
line (if there ' s more , it' s not in the
Japanese print) , the remainder of the
film deals with the artist' s decadent
lifestyle, night after night of sex - in
the kitchen, behind the sofa , down
the stairwell - culminating in an
orgy at a v a c a t i o n h o u s e w h e r e
everything turns t o violence .

[Diipu Suroto In Tokyo]

director: Hiroshi Mukai
Kumi Taguchi Hideo Murota
Tatsuya Nanjo Tetsuya Chiba


I n t h i s Toei produc t i o n , K u m i
Taguchi (who a l s o p l ayed Tokyo
Emanuelle the same year for Nikkat
su) is an aspiring top model named
Kumi Taguchi . Men are attracted to
her; she's the envy of all other modCONTINUED ON PAGE 113


Heroes of the
First Pink Wave
Hiroshi Mukai, Kinya Ogawa, and Sbinya Yamamoto
are recognized as the most influential pinku eiga directors of the '60s.
They are respectfully called The Heroes Of The First Wave.



Throughout the '50s and early '60s Hiroshi Mukai
drifted from one independent studio to another, set
tling on numerous work-for-hire projects. His special
ty was children's films and industrial documentaries.
During this time he toned his filmmaking technique
and matured into a first-rate cinematographer. By
1965, Mukai became frustrated with the industry's
glass ceiling.He shifted his talents to the budding sex
film market. NiluJn Cinema financed what his first
pinku eiga, Flesh {see separate review}. He instantly
made a name for himself. One fervent critic reported
in Kinema Jumpo: "Hiroshi Mukai is the only genre
director who could rival Koji Wakamatsu."
As his career gained momentum, Mukai spiced
his productions with controversial elements {i.e., he
convinced the wife of Indonesia's prime minister to
star in Dark History VIrginity And Rape (1969), and
he also lensed the true story
of Yaeko Okta, a famous
nude model who committed
suicide {Hymn Of Roses
(1970)}. Although he's best
known for his '60s films,
Mukai's most famous movie,
Deep Throat In Tokyo came
in 1975. That entry, like
most of the others, was sinis
ter and violent.His forte.



Heat Of The Earth


(not pinkfilrns)



Housewife's Time
(Hitozuma NoYoteibi)

Afternoon Rendezvous
(Hirusagari No Aibiki)
Techniques In Private
(KoshitsuNo TecJmique)
Lustful Companions
(IroNo Michizure)
Rape Me! Big Battle
(Okasite! Daigassen)
Some Stories Of Adultery:
Beauty & Ugliness
(Aru Mittsu: Bi To Shu)
Nightly Pleasure
(Yoru No Yorokobi)
Report On An Abnormal
Situation: Female
Plastic Surgery
(ljo Taiken Hakusho:
Jotai Seikei)
Girl's Donnitory

Torturing Semiitiw Spot

Shameful Technique
(Hazukashii Giko)
Modem Female NiI\ia:
Flesh Hell

( GendaiKunoichi
Niku Jigoku)
Blue Film: Estimation
( Aoi Fihn Shinasadame)
aka Lady ill Blue Flim
Cruel Story Of
A Sex Film Actress
( Sex Joyu Zankokushi)
Raped Virgin's Diary:
Female Beast
(Boko ShojoNikki-Mesu)
Indecent WIfe
( Midarazuma)



History Of Rape ill Japan

Soaking Wet Story
Soaking Wet
Wet Pink Rose
The Whore

Forbidden Affair
(Kindan No Zyozi)
High School Girl Game
(Jokosei No Yugi)
Oh! Genital Molester!
(Oh! SentenseiChikan)


Flesh 2
History Of Japanese
Sexual Behavior:
Forold Double Suicide
(Nihon Sei Fuzokushi
Dark Japanese History:
Vll'ginity And Rape
(Nippon Syozyo
Boko Ankokushi)
Agony Of Petals
(KabenNo Modae)
Is ill Agony
(Onna Ga Modaeru Told)
Hymn Of Roses
(BarnNo Sanka)

History Of The
Wedding NJgbt ill Japan
(Nippon Syoya
Sleeping Nude
Wet Play
(Nureta Yugi)
Porn Report In Japan
(Nippon PorunoHakusyo)

Porn Comedy: Taxi

(Kigehi Porn:Taxi)
Love Affair: Rare Lady
(Karei Na Jyoji:
Maboroshi NoOnna)
Princess Of Lecherous

Secret Porn:
Wire Tapping
(porn Jyilrlkyoku: Tochyo)
Porn Gang: Girl Hunt
(Boso Pom:Onna Gari)
Girl Sacrifice
Deep Throat ill Tokyo
( Deep Throat ill Tokyo)
Lewd Female Mafia
(IrozihakeOnna Gokudo)

True: Sisters Adultery Secret Bathhouse Story

( AneImoutoKan
Zitsuroku Maruhi
Torukozyo Monogatari)
She Beast Slave
(Zyuyoku Sei Dorei)
Snake And Lady Slave
(Hebi To Onnadorei)


Forbidden Lady Bondage

(Hakkin Shibari Fujin)
Nun: Secret
( Syudozyo:IIimegoto)

Rape Il\iustice In Japan

(Niw>n MiIdmn Goroorm)

Dark History
Of Female Inquisition

Madam Tattoo & Slave

(Irezumi Dorei Fujin)

Porno Murder Case

(Bini-bon SatsujinJiken)
Love Beast Slave
(Zyu-syoku Niku Dorei)
Lady On 6th Street:
Taste Of Honey
(Onna RokuChome:
MitsuNo Azi)

Documentary: Amateur?
Wet Kimono

( Sadohisuto)

Going West: To The West

( Going West: Nishi-e ... )

(mainstream project)

Kinya Ogawa is a direct descendent of the

original Kabuki family of Japan . Although he

graduated from a business c o l l ege in 1957,
Ogawa wanted to be a filmmaker. He immediate
ly secured a job as a freelance assistant director
for numerous independent studios . At the same
time, he began writing scripts . In 1964 , Ogawa
finally joined Kokuei as a full-fledged director
and helmed his debut film, Mistress , one of the
first pinku eiga.
After moving to Okura a year later, he deliv
ered his first major hit She-Beast, She-Beast,
She-Beast, which pressured the studio to imme
diately develop their pink line . Kinya Ogawa will
always be remembered as the director who vali
dated the profitability of sex movies. Many of his
films are scripted under the pseudonym Kazuhisa
Ogawa . He also wrote mainstream features under
the name Kakahiro Ogawa .
Artistically , he is credited as developing one
of the first recurrent pink themes, the " urban
paranoia" plot (i.e., a naive country girl finds
herself at the mercy of big city decadence) . After
years of studio hopping, he formed his own pro
duction company in

B y 1993 , he had
c o m pleted h i s SOOth
motion picture . To cel
ebrate , O g a w a p ro
duced and directed one
of the most expensive
pink films of all time ,
48 Secret Positions: A
Lady In Pornography



Independent Sex Unit
( Dokuritsu
Glamour Butai)

Counterattack Of
A Queen Bee
(JoobachiNo Gyakushu)
Storm Of
A Woman's Body
( Arashi No Nyotai)
Forbidden Breasts

Forbidden Affair
(Kindan No Joji)
Erotic Way Of Flower
(Hana NoIromichi)
Impulsive Behavior
Of Men And Women
Conception And
Venereal Disease
(Ninshin To Seibyo)
College Coed's
Forbidden Flower
(Joshidaisei No
Freshly Severed Head
Memories Of A Modem
Female Doctor
( GendaiJoiIgaku)
Three Sins Of Sex
( Sei No San-aku)
Sex Crime
( Seihan)


She-Beast, She-Beast,
She Beast
(Mesu, Mesu, Mesu)
Black White Black
(Kuro Shiro Kuro)
Loose Women
(Mukido Josei)

Treatment And
( Seiri To Ninshin)
Venereal Disease And
The Delivery
(Osan To Baidoku)
Lust Whirpool
(Yokujoh No Uzumaki)
Tokyo BathlIOuse
(anna Ukiyo Buro)

Ukiyo-e Women
(Onna Ukiyozoahi)
Search For A
True VIrgin
(Jun Shojo Shirabe)
Coed's Sexual
Sei NoMeiro)

Bush Of Lust
(Jochi No Shigemi)
Lusty Scramble
(Nikuyoku No Sodatsu)
Trap Of Flesh
(Nikutai No Wana)
Lustful Room
In An Apartment
Sex Tour
( Sex Ryoko)

Shudder Of The
White Breast
( ShiroiChibusa
No Senritsu)
Image Of
A Female Dormitory
Lusty Transaction
(Juyoku No Torihiki)

College Girl:
Lecherous Hunt
Koshoku Gari)
Lusty Flower Bloom
(Nikuyoku No
Lecherous Hunter

Indecent Queen Bee

Erotic Battle
Secret Lusty Figure

Sensitive Sexual Place
With No Hair
( Seikan FurnoChitai)


Secret Technique
Of Flesh
(Nikutai NoHigi)
Rambling Story
About Sex
( SexHoroki)
Two Pussy She-Beast
(Nihiki NoMeju)

Prostitution Gang
(Baishun Gurupu)
Reserve Unit Of Flower
(Hana NoYobigun)
Bloom Of A Ripe Lady
( Ureta Fujin
No Midarezaki)
Perverted Marriage



Modern Gate Of Flesh

( Gendai Nikutai
Play Of The She-Beast
(Inju No Tawamure)
Lecherous Hunter

Story Of Raped VIrgin

( Shojo Bokoki)
Lewd Violence: Rape
(Inzetsu Boryoku:


Flesh Bloom
Woman Who Lusted
For A Molester
( ShinKaidan
Shikiyoku Gedo)
High School Girl:
Sex Guidance
(Oiwa NoOnryo

Blissful First Sex

New Ghost Story
Lusty Devil:
Oiwa's Vengeful Spirit
Yo1suya Ghost Story
( Shin Kaidan Shikiyoku


Men Like Virgins

( Tonogata Wa Shojo
High School Girl: Ripe
(Jokosei: Urehajime)
Target Of Flesh: Shoot!
(Nikuno Hyoteki: iru)

Immoral Female Teaclier

(Haitoku Jokyoshi)
Kidnap And Rape
(Yukai Bokoma)
Hitchhiking: Abnormal
Sex Experience)
Ijosei Taiken)

College Girls: Rape Me

Hageshiku Daite)

College Girl:
Rape And Faint
(Carelji Gayaru:
Boko Shissin)
Molester of
College Girls

Delivery Of A Young
WIfe: Joys Of Sex
( Wakazuma Syussan:
Sei No Yorokibi)
I Rape High School Girls
(Jokosei Wo Osou)
Female Teacher:
Frustration At Night
(JokyoshiYoruNo Uzuki)

Way Inside
( Gutto Oku Made)
Apartment WIfe Rape
( DantizumaKyokan)
Dirty Molester Train
(Chikan Waisetsu Densya)

Female Guard: Whore's

Sensitive Spot
(Onna Gadoman:
Ahuzyo No Seikantai)
Sex Suspense:
Liz's Hot Skin
( Sekkusu Sasupensu:
Liz No AtsuiHada)
Poetry Of Lust: Rape
( Aiyoku No Uta:Okasu)

Lady's Secret
( Akuzyo NoHirnegoto)
Idol In Rope Hell
( Aidoru NawaZigoku)
Raped Young WIfe
( WakazumaOsoWlU'eru)


Sex Documentary:
Molester Train
( Sex Document:
Chikan Densya)
Mayumi's Tush
( Mayumi NoOshiri)
Maiden Will Be A Star
(Otome WaItsuka
Hoshi Ni Naru)

College Girl Exposes

Her Sex
(Joshidaisei Sei
Wo Abaku)
Rape: A Torn Lady
( Boko:
Excellent Sexy Girl
( MuchimuchiZeppin

Lady's Real Sex

Attack To Iuner Part
(Oku Made Semeru)
Lady's Crack
(Onna NoKiretsu)

Looking For Sexual

( Seikan Wo Saguru)
Insert All The Way
To The Petal
(HanabiraNi Buchikome)
Lady's Sensitive Spot
(Onna No Seikantai)

Naked Delivery Girl

( Razyo No Takuhaibin)
The Lady Likes
Abnormal Sex
(Izyo No Moeru Onna)

VIrgin's Confession:
I'll Give It To You
( Seikuhu No Kokuhaku:
Syozyo Agemasu)

Lady Is Soaking Wet

And Open
(Onna WaNurete Hiraku)
A Bitch
( Mesu)

Night Lady:
Honey Tongue & Lips
(Night Lady: Mitsu Iro
Shita ToKuchibiru)
Pleasure Technique
(Kaikan Technique)
Temptation Of Uniform
- Telephone Sex Club
( Seihuku No Yuwaku:
Terekura NiIko)

Smell Of Adultery
In The Bedroom
( Shinshitsu WaHurin
No Nioi)
Office Lady Sends
Her Flesh
(OL NikutaiHaken)
Exchange Adultery
(Onanie:Kokan Hurin)
48 Secret Positions:

Lady In Pornography
Makurae NoOnna)
Sexual Magic: Tonight
lAm A Whore
( Seimazyutu:Konya Wa

Report On Sex Customs

-Beeper Prostitution
( Fuzoku Rupo:
Pokeberu # Umbaisyun)

Office Lady:
Lower Body Report
(OL Kahanshin Hakusyo)
True Story Of Rape:
Uniform Mistress
(Inko Jitsuwa:
Seihuku AijinKeiyaku)
Sex Bathhouse For
Women: Madam Juice
( Gyaku Sopu:

Office Lady In Heat:

Massage My Skin
Molester: Wet Spot

Anaba Bisyonure)
College Girl: I'll Sell
My Lower Body

Kahanshin Urimasu)

Serious Masturbation:
Indecent Middle Finger
Hiwaina Nakayubi)
Young WIfe's Adultery:
WIggling Disarray

(Wakazuma Furin:
Midarete Kuneru)
Ripe Secretary:
Sticking Lower Body
( RanzyukuHisyo:
Young WIfe:
Swapping Orgasms
( Wakaokusama:
Suwappu Meromero)

Director Shinya Yamamoto gravitated to
Nikkatsu in the late '70s and Shintoho before
that (e. g. , Cruelty Of The Female Inquisition
[ 1 975]) . But he will best be remembered for his
work in the '60s as one of the Founding Fathers
of the pinku eiga. His early films showed a flare
for the genre . Although they were technically su
perior to much of the competition, some critics
complained that these early endeavors (Degener
ate [ 1 967], Torture By A Woman [ 1 967], The
Rapist [ 1 968], et at) were not particu l a r l y
unique, but rather , too s imilar t o t h e g l u t of
mean-spirited sex movies flooding the market
place to be taken seriously .
By ' 6 9 Shinya Yamamoto had l e ft the
rougher pink arena to develop his own style - a
lighter, whimsical sex movie which would be as
sociated with his work for the next decade (rang
ing from Love Hotel [ 1 969] to the many Wid
ow's Boarding House entries [ 1 970- 1 984]) and
derivatives l ike Female Students ' Boarding
House ( 1 980) . Obviously , Yamamoto was at
tracted to stories about groups of people living
together under one roof. He would helm 15 dif
ferent entries in the Widow's Boarding House
series, featuring a horny middle-aged woman
(played by different actresses throughout) who
operates a b o a r d i n g
house for male college
students .
In the mid'90s , Ya
mamoto left filmmaking
for a lucrative career as
the host for a late-night
network TV talk show .
He has been highly suc
cessful in his new call
ing .

Unlisted Love Affair

( Mikoka: No Joji

Memoirs Of A Modern
Love: Curious Age
(Gendai Ai NoJiten)
Complete Marriage
Some Stories Of
Adultery: Love Dream
(Aru Mittsu: Shikimu)
Torture By A Woman
(OnnaNo Seme)
( Yogore)
Ten Years Of Evil
(Akumado Junen)

Textbook For A
Married Couple
(Gendai Fufu Dokuhon)
( Bokohan)
Spring Of Ecstasy
(Kokotsu NoIzumi)
Pen'erted Vu-gin
(Hentai Shojo)
Sex Before Marriage
Marriage Philosophy
(Kekkon Seirigaku)
A Woman's Bathhouse
(Onna Yu Monogatari)

Season For Rapists

Birth & Abortion

Love Hotel
( Avec Riyokan)
Molester's Limitations
(Chikan NoGenkai)
Widow Boarding House
( MibojinGeshuku)
Complete Contrareption
(Kanzen NayuHinin)
Widow Village
(Goke Buraku)
Deshelved Uniform
( Midareta Sailorfuku)
Two Face Prostitute
( Baishun UraOmote)
Bathhouse Watch Stand
( BandaiJitsuwa

Big TIts & The Mole<>ter

( Boin ToChikan)
Don't Cum
Women's Bathhouse
(Onna Yu, Onna Yu)
Shameless Sisters
(Harenchi Shimai)
How To Melt Women
(Onna Torokashi
Big Tits & Bathhouse
( Boin ToOnna Buyo)
How To Peep At A
Woman's Bathhouse
(Onna Yu
Nozoite Daisakusen)

Take Off Your Clothes:

Big Fight!
(Nugasete Nugasete
Molester's Choices
Good Sensitivity
(Kando Ryoko)

3 Generations Erotica

(Erokan Sandai)
Single-Bout Match
(lppatsu Shobu)
Person Who likes Erotim
( Daishikima)
Person Who likes Peeping
(Nozoki Ma)

New! How To Seduce

( Shin! Chikan Jutsu)
Remodel Woman Body
(Nyotai RettoKaizo)
Comedy About A
Woman's Bathhouse
(Kigeki Onna Yu Sodo)
Bizarre Affair In Japan
(Nihon RyokiJiken)

Porno Pollution
( PornoKogai)
Molester University
(Chikan Daigaku)
Exciting Peep Hole
(Kyoretsu Nozokiana)
Pink Leader
( PinkNoKyoto)
Complete Bathhouse
( Toruko Technique
It's Porno! Indecent Group
(porno Dayo: Zeiinshugo)
Century Of
Woman's Bathhouse
(Onna YuHyakuenshi)
Occult Sex
(Ocaruto Sex)
Widow Boarding House:
Rent Montb, Rent Pus!>y
( MibojinGeshuku:
Ue Mo Kashimasu
Shitamo Kashimasu)
Century Of Molesters

Cruelty Of
Female Inquisition
(Zangyaku No
Onna Gornon)
New Widow's Boarding
House: Renting Skin
( Shin Mibojin Geshuku:
Ornote MoKashirnasu
Ura MoKashirnasu)
New Widow's Boarding
House: Renting The
Inner Room
( Shin Mibojin Geshuku:
Okuno rnaKashirnasu)

Widow's Boarding House:

I Can Cmn Right Away
( Mibojin Geshuku:
Sugu irernasu)
Confirmed Criminal
(Chikan JoshuHan)
Molesting The Secretary
Boarding House Molester
(Chikan Geshuku Ya)

Molesting On
The Night Train
(Chikan Yakoressha)
Widow's Boarding House:
Teaching Sex
( Mibojin Geshuku:
IroIro Oshiernasu)
Widow's Boarding House:
Renting Pussy On
A Floor Mat
( Mibojin Geshuku:
Shitarno Kashirnasu

(Hanna NoJoshidaisei:
Widow's Boarding House:
Free Sex
( Mibojin Geshuku:
Widows Boarding House:
First Sex
( Mibijin Geshuku:

Mr Akatsuka's Porno:
Let's Try It One More
Time With Feeling
(Akatsuka Fujio Porno:
Kibun On
Dashite Moichido)
College Girl: 3 Days,
3 Nights, All Sweaty
(Joshidaisei: Mikka
(Yakitori Movie in Shimo)
( ShimoOchiai: Yakitori)
Widows Boarding House:
Fuck And Escape
( Mibojin Geshuku:
Widows Boarding House:
Scent Of Orgasm
( Mibojin Geshuku:

Female Student Boarding

House: Almost Ripe
(Jogakusei Geshuku:
Uredoki Mibojin
Widow's Boarding House:
I'll Teach You How
( Mobojin Geshuku:
Widows Boarding House:

( Mobohin Geshuku:
Hatsu Nurashi)

College Girl:
Advice On Seduction
Chikan No Susurne)
New Widows Boarding
House: Orgasm &
( Shin Mibohin Geshuku:
Hatsu BirakiHatsu Ire)
Office Lady Diary:
Sucking Torture
(OLNikki: Shaburi-zerne)

Widow's Boarding House:

Rent You, Rent Me
( Mibojin Geshuku:
Anatamo Kashirnasu

Kyoko Aizome's
Widows Boarding House
( Aizorne Kyoko No
Mibojin Geshuku)

Midori Komatsu's
Sexy Beauty Mark
aka Sexy Beauty Mark
(Komatsu Midori:
Mp Sukibokuro)

Alive! {Kinchian's
First Comeback}
(Ikiru! Dai 1Kai

Eat! (Kinchan's
Second Cinema Jack}
( Taberu!KaiKinchan
No Cinema Jack)

Thomas Weisser And Yuko Mihara Weisser

els . Kumi has a lover . His name is

Kenichi. He's a professional boxer,
but when he gets injured in the ring
and can no longer continue his ca
reer, Kumi leaves him . What else can
a girl do?
Soon she meets Hideo, the young
heir to the massive Konzern Corpora
tion, and she is obviously impressed
with his wealth and lifestyle. Within
a short time , they marry . Kumi and
Hideo move to the family estate . The
mansion is controlled by the strict
corporate-boss patriarch, Takehiko .
A n d D a d d y l u s t s fo r K u m i . H e
arranges for h i s son t o b e sent away
on " an extended business trip . " In re
al ity , Takenhiko has contracted his
son's death. The very night his son is
being murdered , Takenhiko drugs the
girl and rapes her . But Kumi refuses
to use her throat to please him . This
angers Takenhiko . He takes Kumi to
one of the secret rooms in the house .
It's a private operating theater where
a team of doctors are standing by .
Kum i ' s c l itoris is surgically re
moved and transferred to her throat.
Obviously , after the operation, Kumi
can only have an orgasm through oral
sex . So, Takenhiko finally gets his
wish . But one night, while he is play
ing sadistic sex games, his " dead "
son shows up and rescues her . It
seems the death contract was never
honored ; Hideo had bought his way
out of it. The boy shoots and kills his
father. Then, in a surprise flourish,
K u m i s n a t c h e s the g u n and k i l l s
Hideo . Why? Because now Kumi can
become the president of the Konzern
Corporation, of course .
Director Hiroshi Mukai (who also
made films under the nickname Kan)
is generall y cons idered one of the
most foremost pioneers in the pinku
eiga genre, perhaps rivaled only by
Koji Wakamatsu. Mukai broke into


the entertainment business at a young

age and began directing children ' s
T V programs before his 20th birth
day . Through the late ' 50s/early ' 60s
he concentrated on documentaries
and educational " public relations"
films . Attracted by th e promise of
commercial independence coupled
w i th artistic l i c e n s e , 2 8 y e a r old
Mukai drifted to the sex movie arena
in 1 965 with the feature Flesh.

aka Insane Degenerate
director: Shinya Yamamoto
Koji Satomi Miki Hayashi
Naomi Tani Shohei Yamamoto

Wakamatsu Productions

One of the best early efforts from

prolific Shinya Yamamoto, this time
p r o d u c e d by c u l t d i re c t o r K oj i
Wakamatsu. It's the story o f a man,
H a m u r a ( K oj i S a t o m i ) , w h o be
c o m e s a t o r p e d o fo r a p o w e r fu l
Yakuza gang . Hamura initially joined
the mafia family because he needed
to raise a large amount of cash for an
operation desperately needed by his
wife (Miki Hayashi). But after she ' s
cured , the m a n discovers he can ' t
simply walk away from the Yakuza.
Eventually , he ' s forced to challenge
the Big Boss in a gun battle .
Young Naomi Tani - the future
pinku eiga queen - is featured in a
small role. She plays a witness to one
of Hamura' s hits . Director Yamamo
to continued using Ms Tani in subse
quent fi l m s . She head l i ned i n h i s
Memoirs O f Modern Love: Curious
Age later in 1 967 and Season For
Rapists ( 1 969) .
DELEMMA MAN (Delemman)


Japanese Cinema Encyclopedia : The Sex Films


[Shiroi Yubi No Tawamure]

director: Toru Murakawa
Ichiro Araki Hiroko Isayama
Haj ime Tanimoto Yoko Ishido


Here ' s a stylish, but decadent, look

at sex through the eyes of a liberated
young woman (Hiroko Isayama) as
she drifts from man to man, from one
affair to another. Bewildered by
the hypocritical morals of society ,
she becomes engulfed in the imper
sonal landscape of the c ity and the
people who dwell there . This girl re
fuses to take money for sex, instead
she makes a living as a pickpocket
(thu s , the dual meaning of the title
Delicate Skillful Fingers) . This soft
core Pink Film is notorious for a leg
endary orgy-in-a-bathtub scene which
occurs towards the end .
As with most films from Nikkatsu
of the ' 70s, the emphasis is on the
blatant sexual theme, accentuated by
a chic production design. This movie
also benefits from a literate script by
filmmakers Tatsumi Kumashiro and
Seiichiro Yamaguchil (supposedly
written as a favor to director Toru
M u ra k a w a w h o had b e e n K u
mashiro's production assistant for
years) .
It's an amazingly good debut film
from Toru Murakawa, perhaps too
good . Upon its release, Kinema Jun
po ( Cinema Bi-weekly) named him as
one of the ten best directors in Japan.
Seemingly , he was adversely affected
by the notoriety, and floundered bad
ly with his subsequent releases (i.e.,
Sensuous Zone: Melancholy Flesh
Business [ 1 972] ) . He left the busi




l ater to j o i n

Kadokawa Productions where he

slowly rebuilt his filmmaking confi-

dence. By 1 980, Murakawa signed

w i th Toei Studios and became a
"house" director specializing in hard
boiled action films .
Actress Hiroko Isayama made a
few more pink films (i. e. , Ichij o ' s
Wet Lust [ 1 972]) and then crossed
over to legitimate cinema . In 1 975 ,
she starred in Masahiro Shinoda's
supernatural erotic odyssey Under
The Cherry Blossoms.
'Tatsumi Kumashiro and Seiichiro Yam
aguchi wrote this screenplay under the alias
Kiyomi Koyama; seemingly. they enjoyed the
project so much that they did it again with Love
Hunter (also 1972).


[Furyo Shouj o :
Noraneko N o Seishun]
director: Chusei Sone
Yuko Katagiri Setsuko Ohyama
Hideaki Ezumi Joji Sawada


Projects l ike this one (and Overly

Ripe Breasts earlier in '73) eventual
ly tainted director Sone's impeccable
reputation, forcing him to eventually
helm such unremarkable fare as Glo
ry Cheerleaders , a youth-oriented
Animal House -ish series (from 1 97678).
I n t h i s one , H atoko ( Y u k o
Katagiri) runs away from her subur
ban home to Tokyo where she plans
on meeting her boyfriend . When he
doesn't show up , poor H atoko be
comes easy prey for the Yakuza who
are only interested in exploiting her
young body . Impressionable Hatoko
falls in love with Gomame (Hideaki
Ezomi) , a gangster toughguy; he be
comes her pimp . As the story goes,
Gomame ends up leaving Hatoko for
another girl but then suffers from a
case of impotency which results i n
h i m l o o s i n g h is e n t i r e s t a b l e o f

Thomas Weisser And Yuko Mihara Weisser


shocked by the attitude , and begins to

sympathize w ith Johnny - to the
point of enjoying and encouraging his
sexual assaults . The family finally de
livers the money to the hotel room,
but it' s too late . Yoshiko decides to
stay with her capto r , Johnny , who
kills the tycoon in a scuffle.
The Nikkatsu brass was so pleased
w i t h t h i s m o v i e ' s b o x o ffic e they
bought the rights to another Saho
Sasazawa story , D evil ' s Hostage.
Unfortunatel y , they dumped it into
the bumbling hands of director Akira
Kato { see separate listing} .

whores. So, ultimately, Hatoko gets

the last laugh .
Ms Katagiri continues her patented
"good girl in a bad situation" role, as
popularized in numerous subsequent
films . Although she ' s better in this
one than the previous Japan's Plea
sure D istrict: Three Sisters At A
Turkish Bath , her act is still grow

ing thin .
DEMON'S ROOM ( 1 982)

[Akuma No Heya]
director: Chusei Sone
Reiko Nakamura Johnny Ohkura
Ryohei Uchida Masami Horiuchi
and Yuko Iwasaki


This one is written by Saho Sasazawa, one of Japan' s most famous mys



tery w r i t e r s , and b r o u g h t to the

screen by Chusei Sone , his first pink
film in three years (following the suc
cess of Angel Guts: Red Violation
in early 1 9 80) . I t ' s an emotional
thrill-ride of a movie with impres
s iv e l y strong characte r s , t w i sted
moral dilemmas , and Sone's brand of
stylish camerawork .
Yoshiko (Reiko Nakamura) mar
ries H i royuki (Masami Horiuchi) ,
the son of a hotel tycoon. Their idyl
l i c relationship is shattered when
Yoshiko gets kidnapped by a lunatic
(Johnny Ohkura) who apparently
has some kind of grudge towards the
hotel magnate , Ryohei (Ryohei Uchi
da) {it's later revealed that Johnny is
the illegitimate offspring of his mom
getting raped by the bigshot Ryohei } .
But poor Yoshiko i s just a pawn in
the personal vendetta, as she is held
for ransom and sexually abused . The
family , however , remains cold to
ward Johnny ' s threats ; husband Hi
royuki gives the impression that he
doesn' t care about his wife . She is

[Nikutai No Yokkyu]
director: Koji Wakamatsu
Seiko Wakatake Ken Tanisawa
Miki Hayashi Akemi Murayama

. **

"See Hot Sex In Color! " That ' s

what the ads promised . A t a time
when most pink films were produced
in black-and-white, this was a tanta
lizing promise . However, the ads neglected to mention that only the sex
scenes were in color . The rest of this
film is black and white .
Despite the gimmick, this movie is
n't as interesting as other Wakamatsu
films from the same period (e. g . , Vi
olated Angels [ 1 967] or When Em
bryo Goes Poaching [ 1 966] ) , a l
though i t is less politically subversive
than his other '68 features (particu
larly , his study of the Chinese rebel
Chin Ping Mei , Kinpeibai).
Eiko and Tamura' s relationship be
comes strained when she secretly be
gins an affair with a mutual friend .
This one is a sex movie , pure and


Japanese Cinema Encyclopedia : Tbe Sex Films

simple , with a touch of the prerequi

site S&M thrown in for good mea
sure . I t ' s generally dismissed as a
w o r k - fo r - h i r e b y the pink g i a n t
Wakamatsu , p a r t of a d istribution
deal between his production company
and Kanto Eihai. Truly the film is
nothing special - j ust the story of
another lust triangle on a collision
course with disaster .
[Renzoku Boko: Okasu!]
[Ryojoku ! Seifuku Shojo]
[Hanjuku Madonna]
( 1 983- 1 987) 3 episodes Shintoho
D irector Yoshiho Fukuoka was

one of the founding members of the

Unit 5, an umbrella production com
pany fo rmed i n 1 9 8 2 with young
fi l m m a k e r s I t s u m i c h i I s o m u ra,
Masayuki Suoh, Toshiyuki Mizu
tani and Akira Yoneda. This debut

proj e c t , w h i l e promoted as pinku

eiga, more accurately would fall into
the hardboiled action genre .
The central character is ultra-cool
Detective Eij i (played throughout by
Shiro Shimomoto). Eiji is so hip that
he even wears his sunglasses at night.
In fact, he never takes them off. Plus
he zips around town on a motorcycle!
Wow ! Over the years, film-buff dis
cussions have centered on this char
acter and director Fukuoka' s original
intention . Was Detective Eij i sup
posed to be some kind of urban Mike
Hammer? or was he conceived as a
j oke , a parody , of a tough-nosed
gumshoe? Regardless of Fukuoka' s
original concept - and despite the
deadly seriousness of Serial Rape :
audiences laughed at De
tective Eij i . And they (unexpectedly?)
fell in love with him .
For the second entry , Disgraced!
Uniform Virgin, the story is equally

grim but Fukuoka purposely " l ight

ens " his Eij i character , making him
the victim of certain self-effacing
jokes . Reaction from audiences was
mixed , but many critics complained
that Detective Eij i was " funnier when
he didn't know he was funny . "
Seeming , director Fukuoka was per
plexed by the situation. For #3 , Al
most Ripe Madonna , his Eij i char
acter takes a backseat to the shrill
h i s t r i o n i c s o f a s s i s ta n t T a g u c h i
(played b y perky Ayumi Taguchi).
The change in direction succeeded
only in killing the series.
All episodes are scripted by a tri
umvirate , consisting of cult director
Kazuo Komizu (aka Gaira) , Junji
Sakamoto and Fukuoka himself.
Here are the Detective With Sun
glasses films :
Serial Rape: Attack! ( 1 983)
[Renzoku Boko : Okasu ! ]
director: Yoshiho Fukuoka
Shiro Shimomoto Ayumi Taguchi

Uniform Virgin ( 1 985)

[Ryojoku ! Seifuku Shojo]
director: Yoshiho Fukuoka
Shiro Shimomoto Ayumi Taguchi
and Kiyomi Ito
Almost Ripe Madonna:

Tasty Big Thighs ( 1 987)

[Hanjuku Madonna:
Oishii Futomomo]
director: Yoshiho Fukuoka
Shiro Shimomoto Ayumi Taguchi

All above titles are Shintoho


[Nikutai No Akuma]
director: Shogoro Nishimura
Yuki Nohira Yukio Ito

Thomas Weisser And Yuko Mihara Weisser

Yu Mizuki

Aoi Nakajima

* 1f2

Allegedly , this film is based on the

notorious French novel Le Diable Au
Corps {Devil In The Flesh} by Ray
mond Radiguet , previously brought
to the screen in 1 946 by Claude Au
tant-Lara , and then later as an Ital
ian production directed by Marco
Bellocchio [ 1 986] ) . The original nov
el tells the story of a woman who se
duces a young student after her sol
d i e r husband goes o ff to fi ght in
World War I. Their guilt over the
rendezvous soon turns the relation
ship into a agonizing affair.
For this Nikkatsu version, filmmak
er Shogoro Nishimura prefers to
sidestep any issues of shame or re
morse on the part of the lovers , in
stead he stearnrolls his absurdly sim
p l istic affair-with -an-older-woman
theme with l ittle regard for fervid
characterization. This is especially
disconcerting in light of Nishimura's
track record . For many years , begin
ning with his Apartment Wife series
( 1 97 1 + ) , he was generally consid
ered the best of the studio' s "charac
ter-intensive " directors . None of his
talent for narrative is evident in this
derailed venture . Besides that, there
are so many variances from the origi
nal novel , one wonders why Nikkat
su bought the rights to Radiguet' s
work in the first place.
lun (Yukio Ito) is the student who
falls in love with newlywed Naoko
(Yuki Nohira). Her husband, unlike
the man in the novel , is an elite busi
nessman, not a soldier . Another ma
jor difference lies in the onset of the
affair; for this Nikkatsu film, it' s the
boy who pushes Naoko into the sex
ual l iaison . One evening , after her
husband leaves town on a business
trip , lun rapes the woman . This leads


to romance . But then, soon, Naoko

has to move abroad w i th her hus
band . Ten months pass before she fi
nally returns . The boy seduces her
again, but things are not like before .
She seems d i stant and distressed .
Within a short time , her husband ' s
business fails and they become vic
tims of a double suicide .
Yuki Nohira was initially hired by
Nikkatsu because of her physical re
semblance to mainstream actress Ko
maki Kurihara.

[Akuma No Hitoj ichi]

director: Akira Kato
Kazumi Sawada Mai Inoue
Naohiko Shigeta Rena Natsuki


Here ' s an attempt by Nikkatsu , in

the early ' 8 0 s , to i m p rove o n its
crumbling pinku eiga line . This one
is also based on a bestselling mystery
novel by Saho Sasazawa (inspired by
the success of his Demon's Room) ,
but unfortunately it was assigned to
unimaginative workhorse d i rector
Akira Kato instead of Chusei Son e .
The plot deals with a love, hate and
sexual relationship between a rich
man and a feisty poor woman. In the
specifics , Fumiyo (Kazumi Sawada)
has a sexual liaison with her married
boss. After she get dumped , the jilted
woman attempts suicide at his vaca
tion home in the wilderness . Mean
while a gang of bank robbers , led by
Ohmachi (Naohiko Shigeta) , coinci
dently decide to use the house as a
hideout. Her suic ide is interrupted
by a rape and sexual abuse . But, as
predicted , soon Fumiyo falls in love
with Ohmachi .
In typical fashion, filmmaker Kato
misses the intricate psychological im
plications which underscore the nov-


Japanese Cinema Encyclopedia : The Sex Films

el . He settles on creating just another

soft-core sex flick .
DIRTY MARY series ( 1 983- 1 984)
[Dirty Mary] 3 episodes Shintoho
Inspired by Clint Eastwood' s Dirty
Harry character, Usagi Aso plays an

unconventional tough-nosed female

detective named Dirty Mary in this
three-film Shintoho series , conceived
and d i rected by S uj i Katao ka.
Kataoka graduated from the Yojiro
Takita production company where he
mastered filmmaking skills as an as
s i stant d irector fo r the Molester
Train series . However, in direct op
position to the lite perspective of
those movies, Kataoka' s Dirty Mary
trilogy is much heavier in scope, de
spite its foundation in parody .
Episodes 1 and 2 are dark, violent
and depressing with barely a hint of
humor. In Rape Warning: Attack!
Stab , D irty Mary embarks on a per
s o n a l v endetta a g a i n s t a gang o f
toughs when her entire family is sex
ually abused and murdered . With no
consideration for citizen rights nor
the Japanese court system, she per
sonally takes revenge against the al
leged perpetrators . Seemingly , i n
Dirty Mary ' s world, the ends justify
the means. Her vigilante "wild cat"
technique is again championed in #2 ,
Dark Rape , when she and her one
eyed partner Yukij iro (Yukijiro Ho
taru) tracks down a serial rapist who
specializes in assaulting female cops .
The third, Female Prisoners Brutal
Treatment , is the most entertaining
of the series . D i rty Mary matches
wits with a psycho killer who eventu
ally hijacks a female prisoner trans
port bus . While the madman terror
izes the inmates (for example , he
gingerly inserts a bomb inside a con
vict's vagina) , Dirty Mary and Yuki
j iro figure out a way to stop his reign

of terror; she even has the opportuni

ty to ask : "A re you feeling lucky,
punk ? "
Director Kataoka left Shintoho and
joined Nikkatsu in 1 985 for his vi
cious Subway Serial Rape series
{see separate listing} . In 1 993 , he be
came a mainstream darling with Un
armed Detective {Marugoshi Keiji}
and , then l a te r , w i th P r i s o n e r
Mar i a : T h e M o v i e [ 1 9 9 6 ] { s ee
Japanese Cinema Encyclopedia: The
Action Films for details}
Rape Warning:
Attack! Stab ( 1 983)

[Yokoku Boko : Yam ! Sasu]

director: Shuji Kataoka
Usagi Aso Yukijiro Hotaru
Dark Rape: Attacking

The Female Cops ( 1 983)

[Kuroi Bokan: Fukei O Osou]

director: Shuji Kataoka
Usagi Aso Yukijiro Hotaru
Female Prisoners

Brutal Treatment ( 1 984)

[Joshu Zankoku Shikei]

director: Shuji Kataoka
Usagi Aso Yukijiro Hotaru
and Shiro Shimomoto

All above titles are Shintoho

CAMPUS RAPE! ( 1 983)

[Ryojoku No Hokago:
Gakuen Rape ! ]
director: Yoshikazu Nishihara
Ako Kawana . Yoko Azusa
and Kayoko Sugi


Thomas Weisser And Yuko Mihara Weisser

Much has been written in Japanese

publications about how the pink stu
dios came up with the titles for their
movies . Apparently , the names were
often c o n c o c ted in w e e k l y board
meetings , by executives who hadn 't
even seen the films . Sometimes, of
course, the titles are brilliant (not to
mention accurate ) , but too many
times they are wildly misleading , fur
ther taunting a beleaguered industry .
This one again exemplifies the point.
A middle aged man starts a sexual
relationship w ith a high school girl .
But, as it turns out, she isn't as inno
cent as he thinks . The poor sap is
manipulated and ultimately financial
ly destroyed by the Lolita .

( 1 967)

director: Satoru Kobayashi
Masayoshi Nogami Yasuko Matsui
Yuko Fuji Setsu Shimizu

Mutsukuni Eiga

( 1 967)
[Zoku : Midaregami Hadairoj igake]


Continued: Dishevelled Hair

The Soft Skin Trick

director: Seiichi Fukuda

Noriko Chizuki Midori Enoki

Mutsukuni Eiga

A return to the basics for director

Kobayashi after his disastrous social
ly significant bomb Impotent ( 1 966) ,

this one tells the frothy story of ro

mance among the girls working at a
hot springs resort and the guests . The
filmmaker concentrates mostly on sex
scene s , nicely orchestrated against


the backdrop of the mountain village

parad i s e . The freshness of sexual
freedom is much appreciated after the
stifl ing moodines s of Kobayashi ' s
forementioned Impotent.
This is an out-of-character film for
Masayoshi Nogami. He has etched a
career playing a nasty rapist in film
after film (i. e . , Awakening [ 1 967] ,
Pervert [ 1 96 8 ] , A b n o r m a l Rape
[ 1 968] , Crazy With Lust [ 1 967] , et
a/) . But here he ' s Chuj i , a college
student from Tokyo , who finds more
than hot water in the natural springs .
Many of the director' s projects feature Y a s u k o M a t s u i . E v e n a ft e r
Kobayashi became a studio director
for Nikkatsu in the mid ' 70s , M s
Matsui - n o longer young enough
for the lead - turned up in various
supporting roles. The popular specu
lation among cult enthusiasts is they
are husband and wife .
The success of D ishevelled Hair
caused the studio to immediately pro
duce a seque l , released two short
months later . But this is a sequel in
name only . It features none of the
original cast members nor even the
same directo r . T h i s time , Seiichi
Fukuda (better known for his sex-n
horror movies Female Bodies Are
Disappearing and Vicious Doctor
[both 1 967] and a string of samurai
movies in the ' 50s) goes through the
motions, but his heart isn't really in
the proj ect . Noriko Chizuki (from
the Giichi Nishihara stable, see Se
duction Of The Flesh) is no substi
tute for Yasuko Matsui. But, realis
tical l y , she has l ittle to do except
look cute while she seduces a rich
tourist from Tokyo .


Japanese Cinema Encyclopedia : The Sex Films

LIKE AN ANIMAL ( 1 98 1 )

[Moa Sekushi :
Kemono No Yoni Mo Ichido]
aka More Sexy: Like An Animal

director: Akira Kato

Yoko Hatanaka Amy Yokoyama
Ryuji Katagiri Kenji Kasai


A yakuza pink film. Two wiseguys

kidnap a r i v a l gang ' s whore and
threaten to sell her to the highest bid
der. The girl escapes and joins other
d i s g runtled prostitutes in a battle
against both yakuza gangs.
Yoko Hatanaka began her career
as a p o p s i n g e r . W h e n the h i t s
weren't hot anymore, she joined the
Nikkatsu family and became one of
the studio ' s Roman Porno starlets.
This film was preceded by two much
better o ne s , From T h e Back Or
From The Front ( 1 98 1 ) and her de
but, Love Daydream ( 1 980) . It was
followed by the clunker Sexy Pud
ding: Almost Addictive, also direct
ed by Akira Kato .
DOUBLE BED ( 1 983)

[Double Bed]
director: Toshiya Fujita
Naoko Ohtani Eri Ishida
Ittoku Kishibe Akira Emoto


D irector Fujita made his first film

in 1 967, Juvenile Delinquent: Howl
ing At Sunrise. After changing his
name from Shigaya to Toshiya , he
accepted a studio director position
for Nikkatsu's new Pinku Eiga divi
s i o n in 1 9 7 1 , and the fi l mmaker
flourished in the artistic freedom of
fered by the maverick company . The
corporate bosses seldom interfered
w ith any of their trusted production
teams . If the film had generous help
ings of T-n-A {i. e. , a minimum of

four nude/sex scenes per hour} and a

lurid title, the director was given cre
ative latitude to make whatever kind
of movie he chose .
Throughout his pinku eiga career,
Fujita directed films about relation
ship s , benefiting from h i s strong
sense of characterization. After his
s u c c e s s fu l S o S o ft , S o C u n n i n g
( 1 979) which dissected contemporary
family life in Japan, he delivered this
movie. It is Fujita's bittersweet diag
nosis of the "disenchanted youth and
adults . " His Big Chill .
A group of friends , all of whom
graduated fro m c o l l e g e togethe r ,
reach age 3 0 amid broken dreams and
illicit affairs . A bored wife cheats on
her husband , a stockbroker steals
from his best friend , a couple decides
to experiment with an open marriage,
and another man tries to bed the
babysitter .

[Double Docking]
aka Two Virgins
aka Double Virgins
director: Shintaro Kishi
Noriko Tatsumi Yukari Yamabuki
and Shohei Yamamoto

Kanto Eihai

Another early sex movie which may

or may not be Noriko Tatsumi's de
but feature (some sources list Muddy
Uniform as her first film, both were
made in ' 66) . In this one , Tatsumi
plays Kazue , a girl who takes a job as
a nightclub hostess in hopes that she
will learn what happened to her miss
ing sister. Soon Kazue unravels the
secrets behind a blackmarket prostitu
tion racket run by the bar mistress
(Yukari Yambuki).

[Dan Oniroku Kinbaku Manj i-zeme]

Thomas Weisser And Yuko Mihara Weisser


given the chance to break away from

the "captured girl " roles which con
sumed her girl career, from Young
Flesh Slave to Beautifu l Sisters :
Skin ! (both 1 985) .

director: Ikuo Sekimoto

Miki Takakura Kaori Aso


Ikuo Sekimoto returns to helm an

other Mild Takakura SM film, after
directing the young starlet in Rope
Torture ( 1 984) . This would be her
last film for Nikkatsu , after a series
of annoy i n g l y s i m i l a r rop e fi l m s
{ e.g . , Beauty Rope Cosmetology
[ 1 983] , Beauty In Rope Hell [ 1 983] ,
et al} .
Not much can be done to save this
stillborn project. The Oniroku Dan
script looks more like swiss cheese .
Director Sekimoto is simply going
through the motions in this story of
two s i s ters captu red by a bounty
hunter for an S&M nightclub .


( 1 989)
[Musei : Yaburechatta]
director: Akio Watanabe
Kiichiro Muto Junji Asada
and Mami Ichinose


Tokatsu is the worst of the worst, a

bastard subsidiary of Shochiku , with
a terrible reputation for "street ac
tresses , " intolerable production val
ues , and the most blatantly exploitive
scripts imaginable. Generally, critics
never took Tokatsu seriously , that is,
until Akio Watanabe started making
movies for the company .
For this one, the main character is
Akira (Kiichiro Muto) , an ex-private
[Yume Han]
eye who became an i n v e s t i g a t i v e
director: Naosuke Kurosawa
Rei Akasaka Kiriko Shimizu
: journalist because "money is nice for
a change . " . He's now involved in re
search for a criminal case about the
Illusion or reality? It's difficult for
disappearance of a high school girl .
the audience to tell a difference as a
The plot may seem quite ordinary ,
cool female assassin, Yu (Rei Akasa
but Watanabe manages to bring a
ka) roams about, cooling her heels ,
freshness to it. A highly suspenseful
while awaiting the opportunity t o hit
(and sexy) film, not to be judged by
her target on command from various
the tacky Tokatsu {My Hymen Seems
clients . This one , based on a Takashi
Broken } title .
Ish ii script, foreshadows Naosuke
Kurosawa ' s talents for the crome-n
glass erotic thrillers which populate
[Sasurai No Jouj i]
his later career (especially his entry ' s
director: Shogoro Nishimaura
in t h e XX series [ 1 995- 1 996] , see
Kazuko Shirakawa . Yuri Yamashina
separate listing) .
As usual , Kurosawa's camera work
is impeccable , capturing a whirlwind
Director Nishimaura proved him
of chic violence laced with some very
self with his Apartment Wife series ,
sexy pink segments . Also , thanks to
but he comes up empty handed here .
director Kurosawa , Ms Akasaka is
This embarrassingly simplistic tale of


Japanese Cinema Encyclopedia : The Sex Films

one-upmanship is little more than an

excuse to shoot a string of very un
pleasant rape scenes . It's ugly in con
cept, ugly in execution .
Hiroko (unconvincingly played by
Kazuko Shirakawa) is devastated to
learn that her boyfriend , Yukio, is
about to marry the daughter of a rich
entrepreneur . She is consumed with
j ealousy . The spurned girl orches
trates a vengeance plot by paying a
family caretaker to rape the new fi
ancee . Boyfriend Yukio retaliates by
hiring a drifter to rape Hiroko . Ini
tially it appears that the insidious
counter-attack isn't effective because
Hiroko seems to be bewitched by the
sexual assault. She is baca (insane)
for the drifter and can't get enough of
his lusty brutality . But then, to bring
the cunning sting full-circle , Yukio
pays the drifter to leave town. Hiroko
languishes as a broken woman and
Yukio marries his new girlfriend .
Is there a message here?

see Spotlight Section: Hisayasu Sato


[Zeccho Shimai Ochiru]

director: Naosuke Kurosawa
Asako Kurayoshi Kazuyo Ezaki
Moeko Ezawa Go Choho


Mika (Asako Kurayashi) is a callgirl . Her mother (Moeki Ezawa) and

older sister (Kazuyo Ezaki) are also
call-girl s . M ika isn't happy in this
dangerous occupation. She has a fear
of getting killed by some psycho john
and plopped in an unknown grave .
The girl tries to get a normal job. But
just when things start going well , her
boss finds out about her checkered
past and she gets fired . Meanwhile,
her older s i ster runs i nto a lucky

streak after meeting a good man who

wants to marry her. M ika is very
happy . She sees this as an opportuni
ty for the family to start leading nor
mal l ives again . But when one o f
Kazuyo ' s former customers is found
murdered, his illicit relationship with
the prostitute gets exposed causing
her fiance to cancel wedding plans .
In the end, everything reverts back to
the way it was in the lives of the call
girl family .
Under Naosuke Kurosawa's com
petent direction, actress Kurayashi
has evolved considerably - especial
ly in light of her struggle with Girl
In The Black Lingerie for filmmaker
Nobuyuki Saito e a r l i e r in 1 9 8 2 .
Here , she plays a complicated role
with determination and conviction .

see Spotlight Section: Toshiki Sato

FEAST OF LUST ( 1 972)

[Edo Komachi : In No Utage]

director: Akira Kato
Setsuko Ogawa Yuko Katagiri

* V2

Akira Kato is one of those Nikkat

su directors who stayed with the stu

dio from the beginning of the pink

period until the doors closed in 1 988 .
His early films, including this one ,
are uniformly unexceptional . It was
n ' t until Tokyo Emanuelle in ' 7 5
that h e reaped the fruits o f a success
ful film (although Love Makes Me
Wet was a critical hit in 1 973 ) . His
later movies , especially Slave Wife
( 1 97 6 ) and Momoe ' s Lips : Love
Beast ( 1 980) are the closest Kato
came to "art. "
This one is a period sex film, sort
of an historic v e r s i o n of d i rector
Kato's previous Morning O f Ecsta-

Thomas Weisser And Yuko Mihara Weisser

sy (also 1 97 2 , see separate review) .

Here , Yumi ( Setsuko Ogawa) dis

covers that her fiance is playing bed

games with her mom . Yumi reacts by
running away from home , but soon
she ' s surrounded and raped by a gang
of outlaws . Depressed , she tries to
kill herself by jumping into a lake . A
man rescues her , but then he rapes
the girl too . However, Yumi is at
tracted to his brutish ways and they
become romantically involved . In the
m e a n t i m e , h e r l i fe c o n t i n u e s i t s
downward spiral as she becomes a
waitress and a pickpocket . Eventual
ly, Yumi starts hooking ; she ' s be
come no more than a common street
whore . In an odd turn of events , the
girl notices that everyone she bofts
dies in a brutal fashion . Convinced
that she's living under a curse, Yumi
joins a convent and becomes a nun.

[Ane Nikki]
director: Hiroyuki Nasu
Kaoru Oda Asako Kurayoshi
Seiko Mihara Yuji Yasuda


Obviously inspired by the mega-hit

serie s , Pink Curtain ( 1 982- 1 98 3 ) ,
Nikkatsu produced this bargain base
ment clone . D irector Nas u , whose
previous credits include Lesbians In
U n i fo r m s ( 1 9 8 3 ) and B e a u t i fu l
Wrestlers : D o w n F o r T h e C ount
( 1 9 8 4 ) { both also starring actress
Kaoru Oda} , directs this tale of a

brother who fancies his s ister too

much .
Taro (Yuji Yasuda) realizes he ' s in
l o v e w ith o l d e r s i s t e r M u t s u k i
(Kaoru Oda) when h e becomes jeal
ous of an affair she' s having with a
married man . But, then after careful
consideration { "my sister has already
lost her virginity to this immoral rela-


tionship "} , Taro sneaks into Mutsu

ki ' s bed and seduces her .
All the action takes place in the re
sort town of Shonan, about an hour
out of Tokyo . This seems to be a fa
vorite shooting site for director Nasu
who also filmed Indecent Family :
Mother And Daughter ( 1 982) there .

[Dendo Baiburu Shisuta Gari]

director: Tsuyoshi Arisue
Rena Hashimoto Yoko Tomita

Sams Film

Rather typical hardcore sex action

with a few prerequisite S&M scenes.
And not much else . There ' s very lit
tle to recommend in this sacrilegious
feature from director Arisue.
A young nun wants to be dominated
by the convent pastor, a bald sex-toy
controlled by the mother-superior . As
these things go, she gets her wish and
half the movie is nothing more than
an e xtended s e x r o m p i n v o l v i ng
whips , chains and kinky butt games
with jelly . All prints are irritatingly
fogged .

[Denki Kurage]
director: Yasuzo Masumura
Mari Atsumi Yusuke Kawazu
Akemi Negishi Ko Nishimura


[Shibire Kurage]
director: Yasuzo Masumura
Mari Atsumi Ryo Tamura
Ryoichi Tamagawa Yusuke Kawazu


Masumura has always been attracted to feminist themes, especially the


Japanese Cinema Encyclopedia : The Sex Films

plight of independent women { e . g .

Red Angel [ 1 966] , Tattoo [ 1 966] ,
Blind Beast [ 1 969] } . Here now , are
two movies generally regarded as his
ultimate endorsement, featuring simi
lar stories of women (Mari Atsumi
in both films) who use their bodies to
survive in a very cruel world .
In # 1 , Electric Jellyfish , after Mari
is raped by her mother's lover, she
runs away from home to find sanctu
ary in a nightclub as a hostess . The
ugly sexual experienced has taught
her to become callused w ith love .
She learns how to whore herself for a
few bucks .
#2 , Poisonous Jellyfish , she ' s a
fashion model, who not only under
stands the intricacies of "fucking her
way to the top " but Mary also learns
the fine art of extortion as she black
mails a multimillionaire after snag
ging him in an incriminating position.

A SECRET ROOM ( 1 967)

[Misshitsu No Hoyo]
director: Ario Takeda
Shinji Naka Junko Yamamoto
and Akiko Mari

Okura Eiga
Contrived , utter nonsense from di
rector Takeda. Goichi (Shinji Naka)
is an older man with eyes for college
student lunko (Junko Yamamoto).
But she wants nothing to do with
him. He concocts a plan to kidnap the
girl and to keep her caged up inside a
secret room in h i s basement . One
night Goichi nabs the coed , quickly
slipping her into a burlap sack. He is
later shocked to discover that he cap
tured the wrong girl .
THE DARK ( 1 982)

[Yami Ni Dakarete]

director: Kazunari Takeda

Yuki Kazamatsuri Reiko Natsu
Osamu Tsuruoka Toshiyuki Kitami

Most o f K a z u n a r i T a k e d a's
movies {e.g. , Secret Of One Sum
mer [ 1 979] , Season of Lust : Trail
Of Honey From An 18 year Old

[ 1 973] , etc . } fal l into the "awfu l "

category (one * ) . But a couple times,
most notably with Woman ' s Trail
( 1 980) and the Housewife's Experi
ence trilogy ( 1 975), he managed to
rise above his meager predilection
and achieve greatness . Or, at least,
something very close to it. This is
also one of those moments .
Obviously inspired by Michelange
lo Antonioni's L' Avventura ( 1 960) ,
it te l l s the story of M ieko (Yuki
Kazamatsuri) , the other woman in
an adulterous relationship who disap
pears after picking up a suicidal man
in a bar . Here ' s how the film plays
out: Mieko is the unhappy mistress of
Keisuke (Osuma Tsuruoka) and , af
ter getting a verbal lashing from his
wife, she goes to a local bar to drink
away her sorrow . There , she meets
Toshiyuki (Toshiyuki Kitami) who
is obsessed with killing himself. She
agrees to go away with him for some
casual sex. Meanwhile , lover Keisuke
enl ists the aid of her friend Ayako
( R e i k o N a t s u ) to find m i s s i n g
Mieko . Off they go, looking for her.
During the search , he becomes inti
mate w ith the girlfriend { this guy
simply can't keep his pants zipped} .
And they begin to realize that they
don't really want to find M ieko at all .
But Ayako starts to wonder if she can
trust him {after all , his track record
isn't very good} . They have an argu
ment and he then goes to a bar and
picks up somebody else . During all
the other unfaithfu l shenanigan s ,

Thomas Weisser And Yuko Mihara Weisser

Mieko and Toshiyuki have sordid but

detached sex and attempt a double
suicide , unsuccessfully .
Director Takeda would return to
his junk roots with Room Of Shame,
later in 1982. Actress Kazamatsuri
c o n t i nued m a k i n g p i n k fi l m s fo r
Nikkatsu until 1 988 when the studio
closed its doors . She later managed to
s u c c e s s fu l l y p a r l ay her career to
mainstream c i nema and telev ision
productions .


concerned board member .

The Empress is played convincingly
by Jun Mayuzumi , a popular singer
during the ' 70s . She ' s another exam
ple of a songstress turned porno star
(i. e. , Yoko Hatanaka) . Starlet Emi
Shindo came to N i kkatsu ' s pinku
eiga from TV sitcoms (best remem
bered as a con-artist bowler in the hit
TV series Beautiful Challenger from
the ' 7 0 s ) ; s h e a l s o s t a r r e d i n
Shochiku ' s cult horror film Great
Insect War ( 1 968)



EMPRESS ( 1 983)

director: Ikuo Sekimoto
Jun Mayuzumi Arisa Hayashi
Tamio Kawaj i Emi Shindo

EMPTY LUST ( 1 967)

[Furno No Aiyoku]
aka Barren Lust
director: Osamu Yamashita
Aki Kanze Hachiro Tsuruoka
Akiko Shimura Kemi Ichiboshi

Kanto Eihai




Two interlocking but unrelated tales

about "the death of a relationship "
encompass this bitter film from direc
tor Yamashita (best known for his
misogynistic Cruel Punishment For
Female Infidelity [ 1 969] and Tor
turing Widows [ 1 968] ) . In the first
story , Misa (Aki Kanze) is a sexually
frustrated housewife who can't reach
satisfaction with her brutish husband
(Hachiro Tsuruoka). And in the sec
ond tale, Tabe (Masayoshi Nogami)
plans an auto accident to get rid of
his nagging mistress Kikuko (Akiko

Here ' s a major production with an

unusually large budget - especially
in l ight of the disastrous string of
failed Nikkatsu pink films earlier in
1 983 - based on the "true story be
hind the headlines" about a scandal
surrounding the lecherous CEO of a
popular Japanese department store
chain. Of course, all the names are
changed "to p rotect the innocent'
(more likely to protect Nikkatsu from
a lawsuit) but the public reacted fa
vorably at the box office, giving the
studio a major hit in an otherwise dis
mal year.
Interestingly , the story does not
chastise the Top Boss for misconduct,
but rather it paints the picture of an
evil woman known as the Empress
who manipulates the "poor" VIP into
sexual (and thus financial) submis
sion. Somehow , all the CEO ' s scan
dalous behav ior is condoned when
the seductress becomes too greedy
and falls into a trap orchestrated by a


Neither plot is fully realized in this

relatively short (7 1 m inute) fi l m .
Filmmaker Yamashita i s more inter
ested in extended scenes of imprudent
groping than any k i nd of denoue
ment . E v e n when y o u n g e r s i s t e r
(Kemi Ichiboshi) becomes suspicious
of Kikuko ' s death , she finds herself
incapable of "doing the right thing . "
Instead she is inexplicably drawn to
the bed of the man who killed her sis-


Japanese Cinema Encyclopedia : The Sex Films

ter . This twisted concept would've

made for an interesting film unto it
self, but in the heavy hands of Ya
mashita it remains frustratingly inept.

see Spotlight Section: Takahisa Zeze


[Bijo No Harawata]
aka Guts Of A Beauty
director: Gaira (Kazuo Komizu)
Megumi Ozawa Kazuhiko Goda
and Kazuhiro Sano

Komizu Productions / Nikkatsu

on the monste r ' s penis . During the

act, she is suffocated by the crea
ture' s vagina. Some of the other mur
ders are exceptionally gory , with lots
of dismembered limbs and spurting
blood . Gaira is obviously influenced
by the popularity of the Herschell
Gordon Lewis films (even in Japan,
Herschell is recognized as the Godfa
ther of Gore) .
I an hermaphrodite is an organism with both
male and female genitals; arguably this is the
first, and perhaps only, hermaphrodite monster
in the annals of world cinema.


see Spotlight Section: Kazuhiro Sano


An early entry in Gaira's splatter

eros trilogy which also includes En
trails Of A Virgin [ 1 988] and Fe
male Inquisitor [ 1 987] . These films
are odd hybrids, essentially horrific
porno movies .
A female psychologist (Megumi
Ozawa) fights back when one of her
patients commits suicide after being
raped by a yakuza toughguy . Howev
er, the lady doctor is tricked by the
same man; she is trapped, raped and
killed . Megumi gets buried with the
d i s membered body of a gangster
from a rival gang . As one might ex
pect, her vengeance can't be stopped
by the grave - but apparently it can
be transmutated . Megumi emerges as
a hermaphrod ite l zombie-creature
who proceeds to take a savage re
venge on the Yakuza enemy .
Although it's much more mean-spir
ited and degrading , this film is con
ceptuall y similar to the American
slasher films of the ' 80s (Friday The
1 3th [1980] , et a{) . The preoccupa
tion is on the carnage, with particular
e m p h a s i s on u n i q u e methods o f
killing . For example, the yakuza Big
Boss has a nymphomaniac wife . This
woman is forced to perform fellatio


[Shojo No Harawata]
aka Guts Of A Virgin
aka Entrails Of A Whore
director: (Gaira) Kazuo Komizu
Saeko Kizuki Naomi Hagio
Kazuhiko Goda Taiju Kato

Komizu Productions / Nikkatsu

** 1/2

Models and their professional crew ,

returning from a rural photo-shoot,
take refuge in an old house after the
highway is closed by dense fog . After
an evening of abusive sex game s ,
they are systematically murdered b y a
creature who rises from a nearby
swamp . Many unlikable characters
are graphically slaughtered ; the fe
males get raped before being killed .
One g i r l g o e s b o n k e r s fro m the
bloody carnage and starts masturbat
ing with her boyfriend' s severed arm .
There ' s only one survivor , a g i r l
(Saeko Kizuki) impregnated by the
swamp thing . The movie closes with
her pondering over the type of baby
she will have .
Director Kazuo Komizu signs most
of his movies with the Gaira pseudo
nym, probably inspired by the name
of the evil green monster in War Of

Thomas Weisser And Yuko Mihara Weisser

The Gargantuas ( 1 966) . To date , his

most financially successful films has

been Living D e a d In Tokyo Bay
( 1 992) and the first entry in the XX
coUection ( 1 993) . But he is best re
membered for his series of splatter
eros films (which includes Entrails
Of A Beautiful Woman [ 1 986] and
Female Inquisitor [ 1 987] ) , and this

[lrogoyomi Ooku Hiwa]




This was the debut for starlet Set

s u k o Ogaw a , a g i r l w i t h c l a s s i c
Japanese looks (i. e. , high-boned fa
cial features with a rounded full-fig
ured body) . Seemingly , Ms Ogawa
was born to play traditional geisha
parts and she made a lucrative career
from it, allowing her innocent de
m e a n o r to be c o ntrasted fo r e v e r
against a numbing parade of sleazy
stories . Her acting tends to be stiff
and rigid, but many film buffs insist
those inadequacies are the crux of her
charm. Director Hayashi understood
her shortcomings perhaps better than
any other filmmake r , and he con
structed the movies accordingly, usu
ally swirling the action around her
thus maximizing her screen presence
without demanding much participa
tion from her.
The story for the first entry (with
subsequent entries as m i l d varia
tions) : a female attendant (Setsuko
Ogawa) is in charge of the emperor's
Ooku [harem] . It is her responsibility
to organize his sexual schedule, with
each of his w ives getting their fair
share of the man ' s carnal attentions .
She also has the dubious honor of
guarding the rule r ' s bed as he en
gages in his sexual escapades . Ulti-


mately , this job has made the atten

dant very horny , but she must live
with the frustration because tradition
demands that she remain a virgin.
Eros Schedule Book: Concubine
Secrets was one of the first Nikkatsu

pinku eiga , released in tandem w ith

Sh ogoro Nishimura ' s Apartment
Wife: Affair In The Afternoon (see

separate entry) . These two movies set

the stage for the studio ' s new c ine
matic direction: this one concentrates
on J a p a n ' s dec adent p a s t , w h i l e
Apartment Wife exploits the mores
of the contemporary Nippon society .
Both films found immediate success ,
each spawning a string of popular se
quels .
Director Hayashi was later respon
sible for the Harenchi School series
plus a variety of Nikkatsu "B" fea
tures, including CaU Girl: Lust Case
( 1 978) , and Koichiro Uno ' s Juicy
Ride ( 1 975).
The films marked with [e] are con
sidered the best in the series:
e Eros Schedule Book:
Concubine Secrets ( 1 97 1 )
[Irogoyomi Ooku H iwa]
director: lsao Hayashi
Setsuko Ogawa e Yoichi Nishikawa
Yasuko Matsui e Megumi Fuji
Eros Schedule Book Continued
Concubine Secrets:
Lustful Dance ( 1 972)
[Zoku lrogoyomi Ooku Hiwa:
In No Mail

director: lsao Hayashi

Setsuko Ogawa e Yuri Yamashina

e Eros Schedule Book Concubine

Secrets: Tattoo Contest ( 1 972)
[Irogoyomi OOku Hiwa Irezumi
Hyaku-nin Kurabe]
director: Yukihiko Kondo

New Eros Schedule Book: An

Offering Of Fine Skin ( 1 972)

[Shin lrogoyomi Ooku Hiwa:

Yawahada Kenjo]


Japanese Cinema Encyclopedia : The Sex Films

director: [sao Hayashi

Chusei Sone , former assistant direc

tor to SeijuD Suzuki (between 1 9621 967) . And Chusei does his best at

[Shin Irogoyomi Ooleu Hiwa:

Hanaafubuki anna Kotohaj ime]
director: Yukihiko Kondo

Sone ' s films are riddled with quirky

New Eros Schedule Book Concubine

Secrets: Sexual Technique
Education ( 1 973)

[Shin Irogoyomi Ooleu Hiwa :

Aigi Oshikomi-dokoro]
director: Katsuhiko Fujii

Secret of Concubine Palace

Addendum: Convent's
Gate of Lust ( 1 973)

[Maruhi Ooleu Gaiden Amadera

In No Mon]
director: Katsuhiko Fujii
Setsuko Ogawa Miki Hayashi

This is the filmmaking debut for

New Eros Schedule Book Concubine

Secrets : Flower Storm
New Year Sex ( 1 973)

Secret of Concubine Palace

Addendum : Aphrodisiac
Women Orgy ( 1 973)

[Maruhi Ooleu Gaiden Inyaleu

anna Rankyo]
director: Yukihiko Kondo
Concubine Secrets:
Glorious Sex Scroll ( 1 974)

[Ooleu Hiwa Haresugata

director: [sao Hayashi
FEMALE ARTIST ( 1 97 1 )

[Irogoyomi anna Ukiyoe-shi]

director: Chusei Sone
Setsuko Ogawa Soichiro Maeno

Regardless of the similarities between this title and the popular Eros
Schedule Book: Concubine Secrets

{ see above} , it' s not considered part

of that perennial serie s . True , Set
s u k o Ogawa a l s o stars here , but
then, she graced practically every 2
out of 3 decadent Edo tales from the
' 70s .

keeping his master's memory alive .

characters and surrealistic metaphors ,
but unlike the works of Suzuki, these
movies are much more linear , plot
driven, and ultimately crowd pleas
ing . He may be heavy-handed w ith
his images (i. e. , the symbolic red
rose between the legs of the raped
girl) , but the story never drags be
cause of them.
The wife of a struggling artist is
raped on a river bank . The experi
ence awakens an artistic chord inside
her and she begins working on a se
ries of erotic paintings. Her violent
and abusive illustrations help to exor
cise the memory of the sexual as
sault, but the man in all her paintings
has the face of the rapist . As her
compositions become more popular,
the man who attacked her also be
comes a sex folk hero. Eventually , in
an odd homage to Mary Shelly s fa
mous Frankenstein myth , the "mon
ster" returns to the "creator" looking
for instructions on how to cope with
the complexities of life , but his in
ability to control his own carnality
destroys the link forever.
Many Japanese mainstream publica
tions have praised C husei Sone as
the best of the Nikkatsu new wave
directors . Prestigious Peer Cinema
reported that this movie was actually
intended as symbolic of Nikkatsu ' s
n e w d i r e c t i o n i n fi l m m a k i n g b y
"comparing their motion pictures to
the erotic Ukiyoe paintings of the Edo
Period, with both works appealing to
the common man of society . "


Thomas Weisser And Yuko Mihara Weisser

[Eros Gakuen : Kando Batsugun]

director: Koretsugu Kurahara
Asami Ogawa Asami Morikawa
and Mami Yuki



it' s directed by Shogoro Nishimura ,

v irtual l y a stranger to the genre .
However, the movie succeeds on an
debauched / erotic level similar to the
director' s earlier Apartment Wife and

* lh

Confessions Of An Adolescent Wife

D irector Kurahara continues his

death wish, his chute to self-destruc
tion as he wallows around in more
mean-spirited rape pornography {also
see his previous Rape Me: Sexual
Assault In A Hotel Room [ 1 977] } .
W i t h i n the y e a r , h e w o u l d l e a v e
Nikkatsu to j o i n h i s brother , Ko
reyoshi Kurahara , who had carved a
niche in the world of television docu
mentaries . They would later work to
gether on the critically acclaimed fea
ture film Antarctica ( 1 983) .
Misa (Asami Ogawa) is the home
room president and star of the Athlet
ic Club . She is a very popular stu
dent . Ryu , on the other hand , is a
boy transferred to the high school
fro m a j u v e n i l e d e t e n t i o n center
where he was incarcerated for rape .
M isa is curious about this boy , at
tracted to his wild streak. When her
two best friends get raped by this kid ,
he' s expelled from school . M isa finds
she can no longer concentrate on her
studies and she does very poorly in a
track tournament. Apparently , she is
in love with Ryu . Then, as if an an
swer to a prayer, the boy attacks and
rapes her . She is happy, finally . Now
Misa can get back to her studies .

films , managing to recreate the aro

ma of the period . N i sh i mura pays
particu l a r l y close attention to h i s
characters , allowing their lusty per
sonalities to carry the action. But, ul
timately , these are ordinary people in
an erotic situation. That' s the beauty
of a N i s h imura mov i e , when he ' s
good (and, admittedly , that' s not all
the time) he has the ability to speak
directly to his intended audience. He
doesn't patronize .
A flood cuts an Edo village from
the rest of the world . M any people,
especially travelers , are stranded with
no place to stay . These people are
forced to shared space . For this par
ticular story , a group of ten - an as
sorted collection of men and women
- bunk together in one room . Their
night escalates into a wild sexual out
burst. Obviously , not everyone en
dorses of the promiscuous behavior.
For example , a farmer ' s daughter
named Omina (Mina Asami) gets
raped three different times before


[Iro Zange]
director: Shogoro Nishimura
Mina Asami Mizuho Nakagawa
Jun Izumi Kenji Shiitani


Something of a rarity , this is one of

few pink historical films produced by
Nikkatsu Studios of the ' 80s . And



[Erotic Fuudoki-kaedoko]
director: Koji Seki
Kazuko Takatori Jun Kitamura
Noriko Tatsumi Reiko Akikawa

Shin Nihon

Taeko (Kazuko Takatori) resists

her husband ' s wife-swapping brain
s t o r m ( K i y o s h i c l a i m s it w i l l
strengthen thei r marriage and keep
him from "straying into temptation"
with other women) . When Taeko dis-

Japanese Cinema Encyclopedia : The Sex Films


covers her own father in the middle

of an extramarital affair with an of
fice girl (Reiko Akikawa) she finally
agrees to her husband' s idea. The re
sults are, as anticipated, disastrous .
As typical with many Japanese sex
fil m s , a naughty premise is estab
lished , justified , but then ultimately
chastised . This movie (and many sim
ilar ones in the ' 60s) has no convic
tion for its subject matter; the film is
dishonest and insincere .





[Shikiyoku Kaidan:
Hatsujo Onna Yurei]
director: Satoru Kobayashi
Nao Saej ima Kioako
Yumi Yoshiyuki Shoichi Shirato

Nightly , a female ghost (Kioako)
appears in the bedroom of a doctor
and his wife (Shoichi Shirato and
Nao Saej ima). It's the wife who sees
the spirit. The husband doesn' t be
lieve her frantic story because he ' s
always sound asleep when the ghost
arrives . Later, the ghost rapes him
while he' s sleeping . His wife is pow
erless, frozen by a magic spell. After
doctor becomes very ill - apparent
ly, his soul has been sucked out of
his body by the horny specter - his
wife discovers that the ghost is seek
ing revenge against the family . Why?
She is the wandering spirit of the
slain mistress of the doctor's father.


Ryuji Fukuyama

A married couple (Ren Urano and
Chomi) have the job of guarding the
public execution square in ancient
Edo . One day they c a t c h a g i r l
(Kunei Chin) who i s trying t o steal
the decapitated head of a criminal
{ her father } . Seeming l y , she had
wanted the head so she could bury it
with his body . Caretaker Ren promis
es her the head if she agrees to sleep
with him for three consecutive nights
{ known in the execution business as a
head for head arrangement} . After
the girl says yes , Ren arranges for his
wife to go and visit a yakuza loan
shark to pay i n te r e s t on a d e b t
through some sexual gyrations o f her
own. Later, when she realizes that
husband Ren was screwing the young
girl while she was gone, the wife gets
mad . She demands that he sell the
girl to a brothel to pay off his debts .
A fight erupts and the daughter i s
k i l l ed . She b e c o m e s a g h o s t who
haunts the couple nightly in search of
her fathe r ' s head . A s a ghost, she
also rapes Ren and sucks out his soul .
The man goes insane and kills his
wife .
IN HONG KONG ( 1 973)

[Sikijo Ryoko : Hong Kong Bojo]

director: Masaru Konuma
Setsuko Ogawa Yuko Katagiri
Junko Miyashita Hirokazu Inoue
and Kazuhiko Yakata

* * 1/2



[Shikiyoku Kaidan: Edo No Inrei]

director: Nobuto Sakai
Ren Urano Kunei Chin

This one is a rarity for Nikkatsu

due the grouping of the studio ' s three
biggest starlets in the same feature .
The movie itself is also a major de
parture from the pink Nikkatsu for-

Thomas Weisser And Yuko Mihara Weisser


mula, conceptually closer to the stu

dio ' s melodramatic crime films of the
' 60s . It's also one of sex queen Ms
O g a w a's n o n - p e r i o d p i e c e s fo r

However the marriage limped on for

another six years . It officially ended
in 1 98 1 .

Nikkatsu .


A wife (Setsuko Ogawa) and her

lover (Kazuhiko Yakata) leave
Japan and run away t o Hong Kong ,
w i th h e r i n d i g nant husband ( H i
rokazu Inoue) hot on their trail. But
then, in Hong Kong, he inexplicably
runs into Setsuko' s sister and begins
an affair w ith her. The whole thing
escalates into a decidedly non-pink
drug traffi c k i n g c a p e r w i t h v e r y
noirish qualities.
Unlike most budget-minded Nikkat
su films, this one enjoys considerably
higher production standard s . The
lion' s share of the story takes place in
Hong Kong which in-and-of-itself es
calates the costs , especially consider
ing the large cast of Japanese per
formers exported for the project.
The script is intentionally "broad , "
with lines purposely delivered i n a
hammy fashion. This is an obvious
attempt by Nikkatsu to lampoon its
' 60s crime fare, but it ' s at the ex
pense of the current line. The movie
goes against the grain by seriously
backpeddling sexual content despite
the inclusion of the three major sex
queens .
The title Love Affair In Hong Kong
seems to have a clandestine meaning
of its own. Apparently , starlet Yuko
Katagiri and director Konuma em
barked on a particularly torrid liaison
during the HK shoot. They were se
c r e t l y m a r r i e d after retu r n i n g to
Japan. However, a public wedding
announcement didn't come until mid1 974 when rumors of the marriage
began sprouting in the Nippon gossip
tabloids . At that time M s Katagiri
announced that she had made a mis
take and would be seeking a divorce .

[Eroticna Kankei]
director: Yasubaru Hasebe
Yuya Uchida Reiko Kayama
Hitomi Maki Shogoro Nishimura

*** Ih


(Erotikkuna Kankei]
aka Les Liaisons Erotiques
director: Koji Wakamatsu
Rie Miyazawa Yuya Uchida
Takeshi Kitano Jennifer Galin


These films are broad adaptations of

the sexy 1 8th century French book
Dangerous Liaisons by Choderlos de
Laelos, modernized and transformed
into an erotic thriller.
Yuya Uchida is the lead in both
versions , playing the role of hapless
Kishin. He and Reiko (Reiko Kaya
rna stars in the original , Rie Miyaza
wa does the remake) are a young
couple trying to survive as private de
tectives . They find themselves in se
rious trouble when gangster Okuya
rna (played by Shogoro Nishimura
in the first, " Beat" Takeshi Kitano
in the second) hires them to shadow
his girlfriend to see if she ' s cheating
on him. They do . And she is. In fact,
this foxy chick (Hitomi Maki in # 1 ,
Jennifer Galin in #2) has a virtual
parade of lovers . And before Kishin
knows what ' s happening, he is shar
ing a bed with her too . She convinces
him to help in a plot to kill the suspi
cious boyfriend , their client . Kishin
falls for it. Meanwhil e , his partner
has discovered a link between Okuya
rna and a brutal murder of an politi-


Japanese Cinema Encyclopedia : The Sex Films

cian , a murder which he hopes to

blame on Okuyama (for the remake,
there ' s no murder , rather , a multi
million dollar heist involving mem
bers of an affluent S&M club) . But in
a series of twists and turns , the detec
tives soon realize everything isn't al
ways what it seems .
Both films benefit from a terrific
cast and a class director riding helm.
It would be difficult to choose one
version over the other . Hasebe's
tends to be more serious, with a finer
emphasis on the intricacies of the cat
n-mouse game, while Wakamatsu's
adaptation benefits from a fmely writ
ten script which vacillates constantly
between sardonic and charming .
There are two major differences
between the projects . As mentioned
previously , the 1 978 film deals with a
murder case and the remake centers
around a robbery scam . In both ,
however, the vil l ain has the same
goal : to frame Detective Kishin for
the crime . Another difference lies in
locale . Hasebe's story takes place in
Tokyo, while Wakamatsu got closer
to the source material by setting his
film in Paris. That version opens with
a shot of a snooty French woman
begging the audience to " leave the
theater immediately" and she further
insists, " this feature is not sanctioned
by the French Film Industry nor any
of its representatives. "
A curious point is both projects fea
ture a wellknown director as the vil
l ai n . Famed Nikkatsu fi l mmaker
S h o g o r o N i s h i m u r a { i . e . , the
Apartment Wife series} hams it up
for the first rendition, while cult di
rector Beat Takeshi Kitano {Hana
bi} steals the remake .
Lead Yuya Uchida is a rock star
w h o broke i n t o a c t i n g w h e n h i s
fr i e n d , fi l m m a k e r K o y u Ohara ,
asked h i m to costar i n the movie

Pink T u s h G i r l (earlier i n ' 7 8) .

Based on that performance , Nikkatsu
signed him to the starring role of this
movie . Later the studio produced an
ultra sleazy docu-drama of his life in
the music business, Oh Women! A
Dirty Song ( l 98 1 ) { see separate list
ing} .
Actress Rie Miyazawa was a televi
sion model (think Vanna White) who
achieved frenzied popularity when
she released a sexy book, containing
nude pictures shot by her photograph
er mother. After the release of the
Wakamatsu fil m , Rie became ro
manti c a l l y i n v o l v e d w ith a w e l l
known sumo wrestler. The affair was
short-l ived . When he dropped her ,
she went into a depression, refusing
to eat and eventua l l y attempted a
quicker form of suicide . Rie quit
show biz a few months later.

[Yoen: Niku Shibari]

director: Junichi Suzuki
Shihori Nagasaka Taro Kohira


A particularly vicious S&M movie

from Nikkatsu . Unlike many of the
earlier sado-erotic pink films which
had moments of misogynist mayhem,
this one relishes in it. Aside from the
competent camerawork and creative
directing techniques of Junichi Suzu
ki, there ' s no " social redeeming val
ue" anywhere in sight. Actor Kohira
plays a mad doctor researching the
pain threshold in modern woman. He
captures a variety of unwilling guinea
pigs (concentrating mostly on pretty
Shihori Nagasaka) and gleefully tor
tures them in his dungeon. The doc
tor talks to his victims incessantl y ,
usually a n endless patter of "you ' re
so ripe and juicy " and similar w itti-


Thomas Weisser And Yuko Mihara Weisser

cis ms . The g i r l s are whipped and

stretched, suspended and pummeled.
It will probably be difficult to con
vince the medical journals to publish
his finding s . But the good doctor
doesn't seem to care .

[Shikijo Shimai]
director: Chusei Sone
Keiko Tsuzuki Akemi Nijo

The story of three sisters- a prostitute , a secretary and a delinquent .
They are drifting aimlessly with no
direction, taking whatever they can
from a society which they each de
spise for different reasons . The pros
titute wanders from one affair to the
next , usually w ith the police (or a
jealous wife) on her trail. Her secre
tary sister is a cynic , fed up with the
business world's glass ceiling and her
boss who desperately wants to bed
her. Their gangster sister is the only
one of the three who enjoys her life,
but it's at the expense of lawbiding
citizens .
It' s a great looking production from
director Sone , who is arguably much
better than his source material . Even
though he attempts to deliver tlesh-n
blood characters , Sone doesn't forget
that this is an exploitation film. The
sequence with the secretary sister get
ting gang raped in the back of a pick
up truck is chillingly savage .
Chusei Sone went on to direct the
screen versions of Glory Cheerlead
ers ( 1 976-7 8) , an Animal House type
of satire about male cheerl eaders
based on a popular comic book. Per
haps he' s best known for his segment
in the Angel Guts series { see sepa
rate l i st i ng } . B e fore making p i nk
films he was the assistant director for
Seijun Suzuki.


[Seidan: Botandoro]
aka Erotic Bride From Hell
director: Chusei Sone
Setsuko Ogawa Haj ime Tanimoto
Miki Hayashi Hiderni Hara

Setsuko Ogawa, the Nikkatsu starlet who was born to play traditional
geisha roles { e . g . Eros Schedule
Book series , et al} , is Otsuyu for this
erotic adaptation of the traditional
KaMan Botandoro [Bride From Hell]
tale . Otsuyu is the daughter of the
shogun' s personal samurai and she ' s
considered t h e "beauty of the em
pire . " One day the girl meets and
falls in love with a young warrior,
Shinzaburo (Haj ime Tanimoto) who
asks for her hand in marriage . But
b e fore the w e d d i n g c a n e v e n be
planned , she is killed by one of the
royal servants, a j ealous woman who
wants dad ' s attentions for her own.
But fear not, Otsuyu returns from the
grave as a very sensuous ghost and
continues her carnal relationship with
Shinzaburo . After a night of love
making , the two plot revenge against
the tart who killed her .
Although a period fil m , director
Sone's jairytale stylings provided the
movie a visionary charm which ap
pealed to the college crowd . Students
embraced it as a cutting-edge movie,
turning this venture into Nikkatsu ' s
first youth-oriented pinku eiga hit. At
the same time , Chusei Sone's camer
awork was hailed for its creativity by
numerous tough critics . The film won
many industry awards and became a
bonafide hit.



Japanese Cinema Encyclopedia : The Sex Films

[Joshidaisei No Kiso Cbishiki: Ana Ana]
director: Koyu Ohara
Komi Aochi Yoko Morimura
Ayako Ohta Teruo Kuwasaki
Nenji Kobayashi Ako


Filmmaker Ohara became one of

Nikkatsu ' s most prol i fic directo r ,
helming eight projects in 1979 alone .
His movies ranged from ultraviolence
( Z o o m U p : Rape Site [ 1979] ) to
s e x y s a t i r e s ( L o v e D aydream
[ 1980] , from rough S&M [Wet Rope
C o n fe s s i o n [ 1979] to pink S c i F i
( L a d y M o m o ko ' s Ad v e n t u r e
[ 1979]). This time he enters the "uni

form" { school girl} arena .

Junko (Yoko Morimura) and Ku
miko (Ayako Ohta) teach the secrets
of s e x to the i r v i r g i n c l a s smate ,
M ichiyo (Kumi Aochi) , in this coed
comedy . After the girl has learned
her lessons well , they set up a liaison
with a cherry boy , Yasuda (Teruo
Kuwasaki). In the meantime , allur
ing Junko tries to seduce a handsome
guy (Nenji Kobayashi) , but he pays
her no attention . Just when the girl
starts thinking that she ' s lost her
touch, Junko finds out that he' s a ho
mosexual .

Nikkatsu ' s attempt to transform

model -cum-actress Eve into a sex
starlet meets with mixed success . The
fust film, Flower Petal - easily the
better of the two - is a whimsically
erotic tale of a 20 year old girl who
blossoms into a woman during one
chimerical summer. D irector Shun
Nakahara redeems himself from the
disastrous Rope Sisters earlier the
same year.
The second film, however, is drivel
- it' s an indulgent story of a post
man heading home from work when
he sees a mannequin on display in the
window above a red - light brothe l .
The mannequi n is Eve; she comes
alive (similar to countless other god
d e s s s e x fl i c k s , i n c l u d i n g a l m o s t
every Cicciolina film) and seduces
There wouldn ' t be another Eve

[Hakurnen Sex-han]
translation: White Faced Sex Maniac
director: Kosuke Fuj iwara
Miho Sugimoto Maria Seki
and Shun Yamakura



[Eve-chan No Hanabira]
director: Shun Nakahara
Eve Saeko Kizuki


[Eve-chan No Nurete Yuku]

director: Osamu Murakami
Eve Akira Nomuri


A systems analyst discovers - according to the computer - his ideal

mate would be a teacher. So the per
vert paints his face white { the signifi
cance of the kabuki disguise is lost on
the authors of this book} and kidnaps
a couple high school girls. He rapes
and tortures them until they agree to
help capture their teacher, the real
target of his lust. The white-faced vil
lain locks the three females in differ
ent rooms of an abandoned building .
He continues raping the girls after the

Thomas Weisser And Yuko Mihara Weisser

teacher refuses his marriage proposal

{ " Computers don't know what's best
for people " she screams, " They only
spit out what humans feed them ! " } .
She eventually wins the battle against
the bad guy by wiping off the white
paint and " exposing his true face . "
While he ' s cowering in the corner,
the teacher and the two girls escape.
At one point the bad guy says to his
captured girl : " This is an experience
you ' l l never forget . " Unfortunately
neither his sexual dexterity - nor the
film - lives up to that promise . Di
rector Fij iwara tries very hard , but
he ' s seriously hamstrung by the mi
nuscule Tokatgsu budget { see listing
for Wicked Salesman}. However his
camerawork is surp r i s i ngly good ,
aided by some very creative editing
techniques . Yet, ultimately , i t ' s an
over-reaching project with an anticli
mactic ending .

director: Toshio Okuwaki
Masayoshi Nogami Mari Aoki
Kiyozo Fuyuki Hiroshi Izumida


Yoshimi Kashiwagi Minako Ogawa

and Shihori Nagasaka

D irector Fumihiko Kato h a s the
distinction of making Oniroku Dan
films which don't follow the typical
Dan formula {also see Girl And The
Wooden Horse Torture [ 1 98 2] } .
This one has none of the tedious cap
tured female theatrics . Instead , it ' s
the story o f a high school girl , Keiko
( Y o s h i m i K a s h i w aj i ) , w h o g e t s
raped repeatedly by h e r father, but
then finds love and comfort in the
arms of her older brother.
The lurid incest tale is somehow
contorted into a beautiful excursion
as director Kato fills the screen with
incredible images of traditional
Japan, ranging from the exotic masks
of the title to remarkable shots of
back streets and a l l e y w a y s w h i c h
seem t o smell of soy-sauce and baked
Some years before, in Nikkatsu ' s
golden era o f roman porn , filmmaker
Fumihiko Kato would ' ve have been
mentioned in the s a m e breath a s

Shunichi Naho
With this film, director Okuwaki
switches studios - from World Eiga
to Shunichi Naho - but the results
are the same : more low-budget, plot
l e s s tras h . S e x starlet Mari Aoki
sheds her clothes without much coax
ing . And Masayoshi Nogami does
what he does best, rape. He's proba
bly the best known rapist in Japanese
cinema .

Masaru Konu m a , Tatsumi Ku

mashiro and Chusei Sone. B y 1 988,


Maki (Kumi Taguchi , from Deep
Th roat In Toky o a n d Toky o
Emanuelle [both 1 975]) is an attrac
tive "mix " (the child of Japanese/

see Spotlight Section: Hisayasu Sato


[Dan Oniroku Yoen Nomen JigokuJ

director: Fumihiko Kato

the studio had so alienated the critics

that most films didn ' t even get re
viewed .
TESTIMONY ( 1 976)

[Aru Callgirl No Shogen: RoshutsuJ

aka Memoirs Of A Call Girl
director: Shogoro Nishimura
Kumi Taguchi Tony Wada
Shinzo Hotta . Naomi Oka


Japanese Cinema Encyclopedia : The Sex Films

C a u c a s i a n parents) who u s e s her
ALMOST RIPE ( 1 978)
good looks for fame and fortune, al[Kagaikyoju: Urehaj ime]
beit the sleazy variety . She has become a call girl specializing in politidirector: Shinichi Shiratori
cians and wealthy VIPs, certainly a
Machiko Ohtani Katsuhisa Shinoda
giant step away from her childhood
Haruka Taj ima Asami Ogawa
in the wretched urban ghetto . Then,
one day , Maki is attacked and nearly
raped by an unknown assailant. She
Miyuki (Machiko Ohtani) and other students from her all-girls high
is rescued by Yoshio (Tony Wada) ,
school , decide to pay a Saturday afa m u l atto . They b e c o m e i n s tant
ternoon visit to their favorite teacher,
friends , finding comfort in each othMr I s h i kaw a . The t e e n a g e r s a r e
er' s arms , as they recount their pershocked when they interrupt his sexusonal traumas of growing u p in a n in'al gymnastics with a girlfriend . But
terracial environment . However as
this story unrav el s , Yoshio i s ifi :-!-be.ide being stunned , Miyuki is also
volved in dirty dealings with some
motivated (proof positive that "actions Sp eak louder than words ") . She
powerful politicians . He gets shot and
decides to engage in some sexual exkilled . Maki watches him die. She
perimentation w ith her a boyfriend ,
thinks her political ties will help her
Shinj i (Katsuhisa Shinoda).
expose h i s k i l l e r , but instead she
finds a very cold world among the afShinichi Shirator{ i.s best known
.: for movies based on"'/('O ichiro Uno
books { see listing under "Uno " } with
This is one of the last examples of
t i t l e s l i ke Y u m m y A n d M e a t y
Nishimura's talent (until a brilliant
( 1 977) . So, nobody should be expectperiod in the early ' 80s) , as he caping too much from this prurient comtures and exposes characters who
ing-of-age film.
refuse to " know their place . " Once
again, like so many of his previous
l andmark fil m s (i. e . , the orig inal
see Spotlight Seclik Toshiki Sato
Apartm e n t Wife entries , Gypsy
Rose [ 1 974] , Trembling [ 1 975] , et
FAIRY IN A CAGE ( 1 977)
at) director Nishimura manages to
[Ori No Naka No Yosei]
turn the common man into a tragic
aka Woman In A Cage
hero . It' s the secret to his success.
director: Koyu Ohara
Perhaps ten years of pinku eiga
Naomi Tani Hirokazu Inoue
killed his spirit, but his subsequent
Rei Okamoto Reika Maki
films reflected a steady decline into
mediocrity . By the ' 80s, Nishimura
was relegated to a stream of witless
This is considered among the best
wonders like White Uniform Story:
of Nikkatsu's graphic S & M p i n k
Violated ( 1 984) and Uniform Girls :
films, certainly one o f the few writ
The Fruit I s Ripe ( 1 98 1 ) .
ten by Oniroku Dan (see Rope Slave
[ 1 98 1 ] or Beautiful Teacher In Tor
ture Hell [ 1 985]) which could be rec
ommended for something beyond the
see Spotlight Section: Takahisa Zeze
whip and fetish misogyny .


Thomas Weisser And Yuko Mihara Weisser

Judge Murayama (Hirokazu Inoue)

is the head of Kempe [the Inquisition
Branch of the Japanese military dur
ing WW2] . And he really enjoys his
job. When there ' s a woman he 'd like
to get to know (i.e., abuse and tor
ture) , he orders his investigative team
to fabricate charges and . . . poof. Like
magic , the new victim is brought to
Murayama' s torture chamber.
In this case, the judge has the hots
fo r a u p p e r - c l a s s b u s i n e s s l ad y ,
Namij i K ikushima (Naomi Tani).
She is accused of secretly financing a
rebel group . And so, Namij i is arrest
ed and the sadistic judge tortures her
until she manages to escape with an
other prisoner.
Director Ohara also did well with
h i s Pink T u s h Girl series ( 1 97 8 1 980) and many other youth-oriented
sex films , but fared poorly with Man
And Woman Sexology : Private Les
son ( 1 974) and I Like It From Be
hind ( 1 98 1 ) . Naomi Tani , the queen
of sado-porn, and starlet Rei Okamo
to were also mistreated together in
the early film, Rape! ( 1 976) .


T h i s p r e d i c a b l e action-or i e nted
pinku eiga is saved by a surprisingly
complex script and Konuma's stylish
direction. But ultimately , the conclu
sion is too simple and unrealistic to
take seriously . If this were made as a
comedy { which it decidedly isn't} the
movie might work. But as an action
film, it falls short on logic .
The two daughters as p l ayed by
Yuki Kazamatsuri and J u n Izumi
are quite good, but Eiko Yanami (in
her Nikkatsu debut) is sorely miscast
here . She came from Daiei where she
had starred in Gamera Vs Zigra
( 1 97 1 ) and a number o f j u v e n i l e
delinquent features l ike Delinq uent
Midnight Radio ( 1 970) and D elin
quent Blues ( 1 97 1 ) . She is lost in
this movie .
FAN LIFE ( 1 968)

[Kaburitsuki Jinsei]
aka Front Row Life
director: Tatsumi Kumashiro
Hatsue Tonooka Shizu Tanba
Shuntaro Tamamura Hiroko Hanae



[Akujo Gundan]
director: Masaru Konuma
Yuki Kazamatsuri Jun Izumi
Eiko Yanami Akira Nakao


A low-ranking yakuza gangster is

k i l l ed . H i s y o u n g w i fe (E i k o
Y a n a m i ) and t w o step-daughters
(Jun Izumi and Yuki Kazamatsuri)
investigate . They discover that daddy
was involved in some kind of govern
ment conspiracy connected to espi
onage activities in an American mili
tary base . The female warriors use
every possible means, including their
bodies, to solve the caper and get re
venge .

Arguably , this one is based on a

novel by Komimasa Tanaka , but it' s
suspiciously c l o s e to t h e Steph e n
Sondheim / Jute Styne musical Gyp
sy ( 1 962) . Here ' s the story of a strip
per and her daughter who wants to
follow in mom' s show-biz footsteps .
Actress Hatsue Tonooka became
Kumashiro' s wife the same year, but
the marriage failed after a few scant
months . In 1 969, he married another
leading lady , Yukiko Shimazaki.
This is director Kumashiro's first
movie {he was 41 years old} . While
it was a critical success , especially
praised for his sensitive depiction of
women, the film failed to find an au
d ience . Nikkatsu relegated him to
scripter p o s i t i o n for a number o f


Japanese Cinema Encyclopedia : The Sex Films

years until the studio began their new

line of Pinku Eiga in 1 97 1 . At that
time Tatsumi Kumashiro was given
another opportunity to climb into the
director's chair. His first movie for
Nikkatsu ' s Roman Porn period, Wet
Lips { see separate listing} , was a big
success, initiating Kumashiro's long
string of bl ockbuster fi lms which
spanned for more than two decades .

[Genso Fuj in Ezu]

director: Koyu Ohara
Naomi Tani Yuko Asuka
Minoru Ohkochi Tachiki Bessho

** '12

While some of Koyu Ohara's earlier films feature moments of sado fare
(e.g. , his True Story Of A Woman
In Jail series [ 1 975-76] , this movie
officially marked his foray into the
S M genre , fol lowed by the savage
Fairy In The Cage (also 1 977) and
Rope HeU ( 1 978) , et al. This movie
still enjoys all the Ohara idiosyn
crasies , solidifying his reputation as
the king of pink pop-art.
Hisako (Naomi Tani) is a young
salacious woman married a professor
at an art academy , an older man who
has very little interest in fornication .
Her sexual frustrations have led to
fantasies which ultimately make her
hornier. She eventually meets one of
her husband ' s colleagues, a painter
(Minoru Ohkochi) who specializes
in S&M artwork . They begin a pas
sionate affair and run away together.
After setting up house in a cabin on
the mountainside , H i sako becomes
the masochistic victim of torturous
whip-n-bondage sessions .
Like most every other Naomi Tani
film, this one is also based on a script
by Oniroku Dan.


RAPE OFFICE ( 1 985)

[anna Ginko-in: Boko Office]

director: Shogoro Nishimura
Kaori Aso Saeko Kizuki
and Kaya Kiyomoto

* '12

Perhaps Shogoro Nishimura is the

most uneven of all the Nikkatsu fim
makers . His work vacillates wildly
from moments of brilliance to utter
trash { see Director' s Appendix} . As
good as Erotic Confessions ( 1 983)
may be , four awful films followed in
its wake .
This is a bad one .
One evening, while working over
time at the o ffice , Hitomi (Kaori
Aso) gets sexually attacked by bank
supervisor, Mr Kato . After he' s fin
ished poking her on the floor, the
bossman asks Hitomi to marry him .
She flatly rejects his proposal , cruelly
turning him down . To get revenge,
the supervisor then seduces Hitomi's
younger s i s t e r , Megumi ( S a e k o
Kizuki) , an i m p re s s i onable h i g h
school girl .

[Dan Oniroku
anna Biyoshi Nawa Shiiku]
director: Hidehiro Ito
Junko Mabuki Izumi Shima
Shin Nakamaru Yoichi Sase


Oniroku Dan continues to phone in

his scripts , while director Ito essen
tially remakes his previous Secretary
Rope Discipline ( 1 98 1 ) by substitut
ing a beautician for an office lady .
Hairstylist Misa (Junko Mabuki)
meets S&M enthusiast Ippei (Shin
Nakamaru) and is convinced to give
it a try . Then later, Ippei ' s ex-wife

Thomas Weisser And Yuko Mihara Weisser


(Izumi Shima) , who happens to be


one of M i sa ' s beauty shop clients,

begins a sexual relationship with her .
The lesbian affair is also accentuated
by some more S&M .

Memoirs Of A Modern Female

Doctor ( 1967) may be Naomi Tam ' s


[Jotai Johatsu]
director: Seiichi Fukuda
Yuri Izumi Michiko Sakyo
Midori Enoki Hachiro Tsuruoka

Nihon Cinema

Here ' s a sadistic twist on the " mad

s c i e n t i s t " t a l e . P r o fe s s o r Ej i r i
( Hachiro Tsuruoka) is a respected
college teacher who secretly captures
girls for his unorthodox experiments
in p a i n endurance . He roams the
streets of Tokyo searching for naive
o ffi c e g i r l s ( Y u k i I z u m i and
Michiko Sakyo are kidnapped early
on and tortured throughout the film) .
Sometimes he snatches a pretty bar
hostess, l ike Midori Enoki. Eventu
ally , Ej iri ' s ex-wife becomes suspi
cious and goes to the police .
Michiko Sakyo has also made films
under the name Michiko Sakamoto,
her most famous being Koji Waka
malsu ' s Violated Angels ( 196 7).
Yuri Izumi became part of sleaze
meister Giichi Nishihara ' s troupe,

starring in such infamous pink films

as Abnormal Passion Case: Razor
( 1977) and Please Rape Me Once
More ( 1976). Some source books in
s i s t that she ' s married to director

[Jotai Zanyakuzu]
director: Masanao Sakao
Naomi Tani Sachiko Inoue
Miki Hayashi Joj i Nagaoka

Okura Eiga

first brush with S&M films, but this

one is definitely her first full dose of
sado fare . Here she plays what will
become a familiar role . Ms Tani is
Yoko , a girl caught in a prostitution
ring , who continually tries to escape
the clutches of her yakuza captors but
is recaptured ad infinitum and tor
tured for her misbehavior.
Director Masanao Sakao is obvi
ously attracted to stories about prosti
tutes and their unique struggles with
life . After this p icture , he made a
considerably l ighter variation, also
starring Naomi Tani, called Virgins
With Bad Reputations ( 196 7). I n
that one , Tani is a prostitute who has
a difficult time fitting into society af
ter she retires fro m the b u s i ne s s .
Sakao made numerous other whore
movies , his most popular being Vir
gins And Pimp in 1968.

[Jotai No Doronuma]
director: Katsuhito Mukoyama
Hiroshi Nikaido Setsu Shimizu
Hachiro Tsuruika Kako Tachibana

Okura Eiga
* lh

More typical fare from Okura Eiga

as married man K itamura (Hiroshi
Nikaido) is attracted to the wife of a
close friend . When his mate, Kazuko
(Setsu Shimizu) discovers the affair,
she sets out to d e s t r o y K i tamura
through a n e l ab o rate plan w h i c h
leaves him destitute .
Obviously Doronuma (quicksand) is
used in the figurative sense - as hus
band K i t a m u r a is s u c k e d i n t o a
scheme and then buried . However,
d i re c t o r M u k o y a m a , a l o n g t i m e
scriptwriter for Okura Eiga , is not


Japanese Cinema Encyclopedia : The Sex Films

much of a directo r . He approaches

the project w ith lackluster soft-core
dedication, unwilling to deliver any
more than necessary . His work tends
to be sloppy and uninvolving , despite
the adequate script.

** if2

TORTURE ( 1 984)

[Dan Oniroku Reijou Nawazeme]

aka Hanging Lust
director: Satoru Kobayashi
Yui Maisaka Mami Ichinose
Yuichi Minato Shozo Sakairi

* * (or * * 1/2 )
Yet another Nikkatsu exercise in
misogyny written by the guru of cru
elty , Oniroku Dan (see Rope Slave
[ 1 9 8 1 ] , Fairy In A C age [ 1 9 82] ,
Beautiful Teacher In Torture Hell
[ 1 985] et al) . This one has even less

story than the others . It' s an episodic

tale of three girls captured by a rich
eccentric sadist. He uses these unfor
tunate beauties as "entertainment" for
his friends and business associates
who generally m i streat them with
whips, ropes and enemas .
Satoru Kobayashi learned his craft
while working as the assistant direc
tor for filmmakers Hiroshi Shimizu
and Teruo Ishii. Perhaps that embry
onic relationship with these two ero
gro masters primed him for the dark
world of S&M . In an interview with
Director's Guild, a leading Japanese
reference journal , Kobayashi claimed
h i s attraction for sado fare stems
from his own brush w ith torture at
the hands of the military police dur
ing World War II resulting from his
anti-war activities .
FEMALE CATS ( 1 983)

director: Shingo Yamashiro
Ai Saotome Koichi Iwaki

Ai Saotome is a naive girl seduced

by a dorobo neko { female alley cat} ,
a lesbian tramp who tries to take over
her life . When the girl succumbs to
the amorous advances of a male co
worker, her lover goes ballistic mak
ing life a living hell for the young
couple .
Despite the l uri d p l o t , d i rector
Shingo Yamashiro goes the extra
mile to compose many astonishing
good-looking sequences , punctuated
by some creatively stylish camera
work. For example, the sexy shower
scene between the two women is tak
en from the sprocket' s point of view ,
shot thru a cascade of spraying water.
Too bad the script isn't as imagina
tive .
DORMITORY ( 1 984)

[Joshidai-ryo vs Kango Gakuen-ryo]

director: Nobuyuki Saito
Mina Asami Makoto Yoshino

Director Saito has dropped all pretense of class. At one time he was a
highly touted Nikkatsu filmmaker ,
responsible for such cult projects as
Woman Of The Afternoon : Incite

( 1 979) and Woman In The Black

Lingerie ( 1 982) , in addition to re

spected scriptwriting credits w ith

such illuminaries as Seij un Suzuki ,
Yukihiro Sawada and Chusei Sone.
But, by 1 98 4 , Nikkatsu ' s fate was
sealed , and the directors who re
mi\ined onboard tailored their films
accordingly { Good reviews aren 't im
portant, just see how many fannies
you can put on the seats. . . } .
Two female dormitories go to war
over the property rights to a popular


Thomas Weisser And Yuko Mihara Weisser

male student. In the fmal showdown,

the girls use secret weapons befitting
of their majors. The nurses , led by
Mina Asami, charge with a sex hy
podermic and Makoto Yoshino's
colleg iate g i r l s counterattack with
pleasure pens . Pleasant on the Ani
mal House level, but ultimately very
dumb .
Actress Mina Asami also played a
nurse in the decidedly grim White
Uniform Story : Violated the same
year . And Makoto Yoshino was one
of the Rope Sisters (also 1 984) .
A DOCU-DRAMA ( 1 977)

[Jitsuroku Furyo Shoujo: Kan]

director: Toshiya Fujita
Tayori Hinatsu Yuya Uchida
Ittoku Kishibe Megumi Ogawa

* * '12
W ithin the confines of the pinku
eiga, director Fuj ita returns to his
original cinematic roots . He initially
had j o i ned Nikkatsu i n 1 95 5 as a
scriptwriter and publicist, diligently
climbing the corporate ladder until he
was finally awarded the chance to di
rect his first fil m Juvenile Delin
quent: Howling At Sunrise in 1 967 .
Fuj ita followed that movie with a se
quel , Juvenile D elinquent : Youth
Fortress ( 1 969) , and some impres
sive episodes of the Alleycat Rock
series in the early '70s { see separate
l isting } . When Nikkatsu developed
plans for its roman porno line , Fujita
was tapped as a full-time studio di
rec to r . He m a d e n u m e r o u s p i n k
films , but none o f them were a s obvi
ously influenced by his action-cinema
cache .
This highly controversial movie is
based on the bestselling autobiogra
phy by Mako Minato , a notorious
Japanese bad girl . The story is slight,


but the narrative follows her disrep

utable exploits which include a bro
ken home , an illegitimate baby , the
prostitution racket, and a chain o f
criminal hustles . If there ' s a message
in the sordid tale, it' s found in young
Mako Minato's assertion "Survival
is the most important thing in life."
Seemingly , regardless of the conse
quences .

[Maruhi Ama Report: Monzetsu]

director: Yukihiko Kondo
Rie Tachibana Maki Higuchi
Yasuhiko Ishizu Midori Mori

Tadashi (Yasuhiko Ishizu) is on the
road with his stripper girlfriend (Mi
dori Mori) , a member of a traveling
erotic tent-show . A fter a disagree
ment, he leaves the touring company
and wanders into a small fishing vil
lage nearby . All the men have gone
to sea for the summer, leaving a bevy
of beauties to fend for themselves .
Since the women have not seen their
men for over two months , Tadashi ' s
arrival is met w ith certain exuber
ance. He enjoys steady sex with these
horny women. The man also gets in
volved in a money raising project for
a proposed marineland park, but ends
up scamming the funds . When the
summer ends and the husbands re
turn, Tadashi kisses everyone good
bye and goes back to his stripper girl
friend .
While not great filmmaking , the
movie struck a chord with audiences
who enj oyed seeing beautiful naked
women underwater (seemingly an in
ternationally popular fetish) . Its suc-


Japanese Cinema Encyclopedia : The Sex Films

cess spurred Nikkatsu to produce the

equally popular Nasty Di ver series
{ see separate listing} .
" STEP AND OPEN" ( 1 98 1 )

[anna Taiiku Kyoshi:

Funde Hiraite]
director: Koyu Ohara
Junko Asahina Hiroyoshi Takemura
Mizuho Nakagawa Saori Erikawa

Not t o b e confused with Koichiro
Uno's Female Gymnastic Teacher,

d i re c t e d by the s a m e fi l m m a k e r
(Koyu Ohara) in 1 979, this one tells
the story of a new gymnastic teacher
w h o b e c o m e s p o p u l a r when she
teaches modern dance to the students .
The story isn't important, the movie
made a direct appeal to patrons who
have a leotard fixation.

[Goumon Kifuj in]

director: Gaira (Kazuo Komizu)
Keiko Asano Saeko Kizuki
Ayu Kiyokawa Hitomi Kazama

Hiroko Ichijo (Keiko Asano) is a
descendent of royalty ; her ancestors
were the original j udges of the an
cient Nippon Inquisition . Today , in
modern Tokyo, Hiroko has an under
ground company called Japan Inquisi
tion Inc . Essentially, she and her as
s i stants capture criminal s , mostly
thieves and embezzlers , torturing
them until they reveal the where
abouts of their stolen loot. Hiroko is
amassing her fortune in hopes that,
one day , she can buy a castle and live
in grandeur with her trusted team-

mates . She is also a lesbian who plea

sures herself constantly with a perky
female assi stant p l ayed by Saeko
Kizuki. Most of the film deals with
the gang ' s attempt to break a self-as
sured bank m a n a g e r w h o h a s
snatched a million dollars from h i s
company . The inquisitors torture both
him and his girlfriend until he finally
surrenders the combination to h i s
safety deposit box .
D i rector Gaira incorporates h i s
affrnity for splatter, S&M , black hu
mor, sex and melodrama (this film is
considered another entry in his splat
ter-eros preceded by Entrails Of A
Virgin ( 1 986) and Entrails Of A
B e a u t i fu l W o m a n ( 1 9 8 6 ) . T h e
biggest difference between this one
and all the other Gaira movies is his
budget. Since this film was backed by
the powerful Nikkatsu Studio , the di
rector had the necessary funds to hire
a competent cast, production assis
tants and special effects wizards . Fe
male Inquisitor is one of Gaira' s
best looking endeavors .
But despite the high production
standards, this motion picture is still
recommended for only for acquired
tastes . Some viewers will be offended
by the s u rp r i s i n g l y g r a p h i c s e x
scenes. Others will b e nauseated by
the casual stream of on-screen vio
lence (which includes dismember
ment , ripping off toenails , yanking
out teeth , to mention just a few atroc
ities) . However, the campy script
does manage to cushion the mean
spirited theme, ever so slightly .

director: Koyu Ohara
Kozue Tanaka Minako Ogawa

"Alright, here 's what we 're gonna

Thomas Weisser And Yuko Mihara Weisser

do " an executive is talking in a smoky

boardroom. "We 're gonna take every
pop u lar p inku storyline and cram
them all into one film! " Everyone ap
plauds . "What a great idea ! " Then
everybody g rows quiet. "But who
could direct such a movie ? " The top
executive announces with confidence:
"Koyu Ohara, of course. "
The preceding scenario is obviously
conjecture on the part of the authors .
But with regards to this project, it's a
conversation which could 've easily
taken place . Advertised as a "super
eros mystery, " this is essentially a vi
cious story of a serial rapist/killer
coupled with the airy Pink Curtain
motif. And, as usual , director Ohara
weaves his pop art magic , creating a
deadpan parody which rivals some of
his best efforts .
A young man has a bad habit of
picking up girls and raping-n-killing
them . He also has a younger sister
whom he loves way too much . One
day , after seducing her, he introduces
sis to his violent hobby . She is turned
on by the excessive violence , which
solidifies the relationship between her
and her brother.
Throughout the movie, there are nu
merous references to many previous
Nikkats u fi l m s - fro m Assault !
Jack The Ripper to Ohara ' s own
Zoom U p : Rape S i t e. T h i s odd
homage is one of Ohara ' s last pro
j ects for the studio. He became in
volved in independent music produc
tions during the next three years . Mr
Ohara retired in 1 988.

[Kunoichi Senshi]
director: Masahiro Kasai
Yuka Ohnishi Senako Fujimoto
Akemi Ooshima Tetsuro Tanba
Shimon Sumii Hideyo Amamoto

Shishi Productions/Shochiku


*** 1/2
In the vast world o f exploitation
there are very few movies so anx
ious, so willing , to simply do their
job: entertain the audience. Director
Kasai understands h i s a s s ignment
well . He is not making Rashomon
here . This is, after all , a sexually ori
ented movie about three cute ninj a
girls fighting crime i n contemporary
Tokyo. And from the very beginning,
when the heroines foil the plans of
nasty fl e s h - t r a ffi c k e r s , th i s fi l m
promises to be something special .
It's the story of three female ninjas
{ headed by Yuka Ohnishi , one o f
the Sukeban Deka side-girls [Kaza
ma Sisters] } . They are upset because
demand for their services has taken a
nose dive and lately they ' v e been
having troubl e making ends meet .
Everything changes when they inves
tigate the death of a monk and the
disappearance of a sacred scroll . The
girls fall into the clutches of a sadistic
maniac who strives to control the
world through an alliance with beings
from outer space .
Even though the plot is outlandish
and reminiscent of Saturday morning
kid ' s stuff, the treatment is decidedly
adult. For example, when one of the
perky ninjas tries to get information
out of the governor, she poses as a
hooker. And after a crime-fighting
sister is captured by the bad guy s ,
she ' s stripped , suspended a n d v i
ciously whipped .
The movie is a product of Shishi
Productions , a studio best known for
avant garde pinku eiga . This film, in
fact, benefits from a top-notch group
of behind-the-scenes personne l , in
cluding Takahisa Zeze (one of the
notorious Four Kings Of Pink) work
ing as the assistant director.
While i t ' s true that Female Neo
Ninjas isn ' t the typical sex movie


Japanese Cinema Encyclopedia : The Sex Films

brew, this incredible gem has every

thing the exploitation genre can offer,
but especially a sly voguishness and a
very black sense of humor. Plus it's
also got veteran actor Tesuro Tanba
playing an extraterrestrial . How can
it miss?
100 TRAMPLED FLO WERS ( 1 974)

[Kunoichi Ninpo :
Hyakka Manj i-garimi]
director: Chusei Sone
Junko Miyashita Kyoko Kano
Hitomi Kozue Yuko Katagiri

This is a period piece dealing with
female ninj a s and thei r stultify i ng
s e x u a l mag i c . The fi l m p redates
Toei' s In Bed With The Enemy: Fe
male Ninjas (and subsequent clones)
by two years, once again confirming
Nikkatsu ' s keen assessment of pop
culture .
The powerful Shogunate family is
trying to take over Akizuki Provi
dence upon the death of the warrior
prince . The shogun sends a notorious
band of ninjas, the Iga, to fight the
war . Meanwhile the Akizuki family
employs Fumi ninjas, consisting of
female warriors , to protect the king
dom . The fighting divas use thei r
special brand of erotic magic (white
snake spell being the most effective)
against the enemy . The Fumi Ninjas
are victorious. When all is said and
done , their leader Tsukinojo (Junko
Miyashita) has fallen in love w ith
Lord Akizuki and they decide to get
married .
Certainl y , this is unusual roman
porn , relying more on an exciting
story than sexual liaisons . But direc
tor Sone is in top form here, reminis
cent of his earlier days when he was
anxious expand the traditional bound-

aries of the pinku eiga by meshing

genres (e . g . , Erotic Story: The Pe
ony Lantern , Love Bandit Mouse
and S h o w a W o m a n : N a ke d
Rashomon [all 1 972] ) . A t the same
time, Junko Miyasita (taking a break
from her ever-popular Apartment
Wife series) continues to show why
she ' s Nikkatsu ' s top star . And this

film is, yet again, another example of

Yuko Katagiri 's yo-yo career. Here,

the shackled actress fal l s to fourth

billing .

[Kunoichi Nipo]
director: Sadao Nakajima
Yuriko Mishima Mad Yoshimura
Sanae Nakahara Mitsuko Aoi

* * 1f2
This is the first of the female ninja
films - the inspiration for the many
sex-actioners to follow - based on a
book by Kazetaro Yamada {the au
thor of many Japanese fantasy stories
including Black Magic Wars and
D arkside Re b o r n { see Japan e se
Cinema Encyclopedia: The Horror,
Fantasy And Science Fiction Films

for future information} .

There 's a surprising amount of nu
dity as the female warriors use their
bodies and sexual magic to fight the
dreaded Iga Ninja.
series ( 1 989- 1 997 + )
[Kunoichi Ninpou-chol 6 Episodes

This collection is a series in concept

only . Each film deals w ith the ex
ploits of new female ninj a s . Since
Masaru Tsushima directed all the

Thomas Weisser And Yuko Mihara Weisser

episodes, the style is similar and the

overriding message is the same : de
spite their training and dedication,
these ninjas can 't control their emo
tions, especially love. But don't wor
ry , this lofty theme doesn't keep di
r e c t o r T s u s h i m a fro m h i s true
mission of entertaining the audience .
He does this two ways, CD by filling
the movies with very attractive nubile
ninj as who are experts in magical
arts ; and @ by having them get naked
a lot.
These ninjas are skilled in an im
pressive array of lethal tricks . For in
stanc e , they are ready to kill w ith
" v a g i n a b u b b l e s fro m he l l " or a
stream of " acid milk rain" squirted
from their breasts . These girls realize
their greatest weapon is their body .
Through secret ninja magic they are
p repared to u s e its deadly power
whenever the occasion should arise .
And that' s almost all the time .
In #1 the girls are protecting their
master' s unborn baby . They pass the
embryo between one another with
unique sexual dexterity as they at
tempt to keep it from the clutches of
their enemy . It's a terrific introduc
tion to the world of female ninjas .
And despite the abundance of nudity
and supernatural tricks , the story is
paramount . It' s a fresh new approach
for fans who have become jaded by
the standard chambara films.
# 2 is about Christian rebels who get
a shipment of gold coins from the
Vatican, earmarked as seed money to
establish the religion in Japan. Lord
Matsuhira wants to get his hands on
the treasure and wipe out Christiani
ty . C l ues to it ' s whereabouts are
written on a col lection of tiny bells
inserted , for safe keeping , into the
genital area of five female ninjas . At
one point Matsuhira muses : " What
kind of a religion would hide a bell


inside a woman's vagina? " Indeed .

In #3 , the advisors are worried that
their emperor will never have a heir
due to his inabi lity to maintain an
erection. They send the female ninjas
to find and secure a sacred book de
scribing various sexual techniques .
Unfortunately , this book is owned by
Lord Nakari and he will not share it.
The ensuing adventure makes this the
best of the serie s , filled w ith well
drawn characters and kinky magic
tricks (i. e. , Wild Sperm , Bouncing
Echo, Magic Hair and the ever popular Rain of Milk plus Vagina Bubbles
From Hell) .
#4 is the weakest . Unlike the first
three films , this one is not based on
an original story . Rather, it's a varia
t i o n on a p o p u l a r N i h o n l e g e n d
{Chushingura] deali ng w ith a con
quered lord , reinstated by his loyal
samurai bodyguards who organize a
counterattack against the new ruler .
Director Tsushima tries to insert his
female ninjas into this traditional tale,
but they clearly don't belong .
Regardless of the inherent problems
in the previous entry , the next one ,
#5 , was released theatrically in 1 995
with extensive fanfare . Interestingly ,
this time , the female ninjas are the
villains . The Fuj ido family loses the
heir to the throne in a freak accident,
leaving only Princess Mari (Michiyo
Nakaj ima) , a daughter who cannot
inherit the throne . The royal parents
force her into a marriage to secure
the kingdom . It is arranged , M ari
weds Ishigoro (Takanori Kikuchi)
from the wealthy shogunate family .
But he' s mentally retarded and Mari
hates him . Female ninj a s are d i s
patched b y a neighboring providence
to seduce the imbec i l e p rince and
w r e c k h a v o c in the k i ng d o m . A
masked superhero named J a r a i y a
{White Mask} shows u p and kills all


Japanese Cinema Encyclopedia : The Sex Films

the enemies of the state . The royal

fam i l y is s a v e d by W h i t e M a s k .
Princess Mari seduces him and dis
covers that Jaraiya is really her own
husband who i s n ' t retarded at all .
He's just very cunning .
It' s a big budget production, costing
twice as much as #4, but the film still
misses the mark . Too much time is
spent on the incongruous superhero
premise (not a bad storyline, but in
appropriate in the Magic Ch roni
cles) , forcing the female ninjas to
take a subordinate role to the real ac
tion. This same criticism was lodged
against the previous episode . But di
rector/writer Tsushima finally gets
things back on track for the next in
stallment .
I n #6, benevolent Shogun
Yoshimune of the Tokugawa dynasty
secretly has many mistresses , some
of whom could be political embar
rassments for the empire . Kouga Nin
jas, the shogun' s sworn enemy , tries
to expose the emperor ' s sexual es
capades to d i s c re d i t h i m and h i s
court. In retaliation, the emperor's
advisors employ their band of female
ninj as to find and kill Yoshimune ' s
lovers before the enemy can disclose
This episode is a deliberate " return
to the basics " in concept and style to
the first three entries , featuring a
heady m ixture of sex and b izarre
magic tricks ( i . e . , the ever popular
vagina bubbles are back) . Plus, in a
stunning casting coup , Yuka Ohnishi
(the popular star of Female Neo Nin
j as and Sukeban D eka) plays the
head of the government ninja force
who challenges the cruel annihilation
policy . It' s one of the best episodes
in this stalwart collection - an ap
preciated return to form .
There is every reason to believe this
hit series w i l l continue for many

years . The best entries are indicated

with a symbol (.):

Female Ninj as : Magic Chronicles

Protecting The
Royal Embryo ( 1 989)

[Kunoichi Ninpou-cho]
director: Masaru Tsushima
Yasuyo Shirashima Reiko Hayama

Female Ninjas:
Magic Chronicles 2
Secret Of The
Christian Bells ( 1 99 1 )

[Kunoichi Ninpou-cho I I :
Seishoujo N o H ihou]
aka Secret Treasure Of Girl Saints
director: Masaru Tsushima
Yuki Sumida Kenji Yamaguchi

Female Ninjas:
Magic Chronicles 3
Sacred Book Of
Sexual Positions ( 1 993)

[Kunoichi Ninpou-cho III :

Higi Densetsu No Kai]
aka Mystery Of Secret Positions
director: Masaru Tsushima
Hase Marino Miyuki Komatsu
Female Ninjas:
Magic Chronicles 4
Rebel Forces At
The Threshold ( 1 994)

[Kunoichi Ninpou-cho IV :
Chushingura Hishou]
aka Secret Story Of Chushingura
director: Masaru Tsushima
Makiko Ueno Megumi Sakita
Female Ninjas:
Magic Chronicles
Secret of Jaraiya ( 1 995)

[Kunoichi Ninpou-cho :
Jaraiya Hisho]
director: Masaru Tsushima
Michiyo Nakajima Takanori Kikuchi

Female Ninjas:
Magic Chronicles
Ninja Moon Shadow ( 1 996)

[Kunoichi Ninpou-cho V I :
Ninja Tsukikage-sho]
director: Masaru Tsushima


Thomas Weisser And Yuko Mihara Weisser

Yuka Ohnishi Tetsuo Kurata

Rina Kitahara Miho Nomoto

Maya Hiromi Akira Takahashi

and Kiyoyasu Adachi


[anna Keimusho]
director: Nobuaki Shirai
Erina Miyai Natsuko Yashiro
Toru Ibuki Yusuke Kazato


* * '12
After directing Erina Miyai in two
episodes of the Apartment Wife se
ries { Secret Call Girl and Violated
Skin [ b o t h 1 9 7 7 ] } , fi l mm a k e r
Nobuaki Shirai escorted the sexy ac
tress into this women-in-prison opus .
On the day of her marriage, Ryoko
( E r i n a Miyai) d i scovers that her
boyfriend Akao (Toru Ibuki) has not
only stolen money from her, but has
also been unfaithful with her best
friend . Instead of marrying him, she
stabs Akao and is sentenced to prison
for attempted murder. Later, in the
penitentiary , a new arrival named Jun
( N a t s u k o Y a s h i r o ) p r o u d l y an
nounces that she i s the fiancee of
Akao {an annoying coincidence in the
script, for sure} . Apparently Jun has
been imprisoned because she embez
zled money for the casanova . But
she ' s madly in love and trusts in him
completely . Ryoko tries to convince
the g i r l of the man ' s d i shonesty .
However, Jun is a bit dense and it
takes a while . After some prerequi
site prison sadism and lesbian grop
ing , the two i nmates make a j a i l
break to take revenge against Akao.

director: Akira Kato

Tokuko Watanabe Tsuyoshi Mikami

see DffiTY MARY series

BOY HUNT ( 1 975)

[anna Kyoshi: Shonen-gari]
director: Masaru Konuma


[anna Kyoshi : Dotei-gari]

Shunsuke Nango Kiyotaka Takahashi

and Kunio Shimizu

* * '12
For # 1 , Maya Hiromi (in yet another lightweight role after the suc
cess of her debut p er formance in

Rose ,

D oc u- D r a m a

[ 1 9 7 4 ] ) p l a y s H i k a r u , a fe m a l e
teacher a t a n a l l boy ' s high school .
Yata (Kiyoyasu Adachi) is a myste
rious student who transfers from an
other school . Seeming l y , he ' s the
younger brother of a boy who com
mitted suicide because of an obses
sion with teacher Hikaru . Obviously ,
as these stories g o , Yata wants to
avenge his brother ' s death . So one
day , he recruits two more boys and
the three of them rape H ikaru on the
roof of the school . At first, the vio
lated teacher shrugs off the incident
with a "boys will be boys " attitude .
But then, when she realizes revenge
was the motive, she stalks them be
fore they can do any more damage.
The film emerged as a separate enti
ty , not considered a sequel to a direc
tor Masaru Kon u ma ' s earlier Fe
male Teacher : Sweet Life ( 1 97 3 ) .
However, the movie' s success did in
spire a loosely related, mean spirited
follow-up called Cherry Boy Hunt
in '76.
For this one , Tokuko Wantanabe
plays female instructor Hikaru { not
the same Hikaru as in # 1 , she ' s an
other Hikaru teaching in a different


Japanese Cinema Encyclopedia : The Sex Films

all boys academy) . This pedagogic

beauty is the heart-throb of school c o v eted by students and teachers
alike - but H i karu is untouchable
because she ' s already promised to an
affluent businessman. The woman is
the faculty advisor for the ski club
and is forced to accompany the boys
to the mountains for a Sports Week
end where she becomes sexually in
volved with the physical ed teacher,
Tokida (Kunio Shimizu). The stu
dents get randy just thinking about
the tabooed liaison and they starting
musing "What a great idea! " A bit
later, the students gang rape Hikaru
on the ski slope .


[Onna Kyoshi : Shiseikatsu]

director: Noboru Tanaka
Ayako Ichikawa Morio Kazama
Hitomi Kozue Osamu Tsuruoka

* * 1!2

SWEET LIFE ( 1973)

[Onna Kyoshi: Amai Seikatsu]

director: Masaru Konuma
Ayako Ichikawa Aoi Nakajima
Nozomi Yasuda Naomi Oka

This scandalous story o f a promiscuous teacher' s private sex life was
written by a woman, Mari Abe , who
submitted the script to Nikkatsu in
response to a nationwide talent con
test. She ended up with a healthy roy
alty check and a college scholarship .
Mari a l s o has the s a t i s faction of
kno w i ng she c reated the stud i o ' s
most controversial series ( 1977 - 1983)
{ see separate review} . This two-part
motion p icture deals primarily with
the illicit relationship between a fe-

male high school teacher and one of

her male students . The story begins
via a flashback , to a time when the
heroine (Ayako Ichikawa) was a stu
dent at that very school and she was
deflowered by a lesbian teacher. This
experience has kept her from enjoy
ing any kind of " normal " sexual rela
tionship for more than ten years . In
fact, she is completely obsessed with
her original lesbian lover, a woman
still teaching at the school. The two
instructors meets for coffee and sex.
But this time , the lesbian includes her
husband in the s e x g a m e s . T h i s
freaks out the young teache r . Her
brain snaps and she undergoes major
mental disorders , including shopl ift
ing binge s . One of her students , a
boy whom she constantly harasses in
class , happens to see her hide some
jewelry in her purse . She takes the
boy to bed in exchange for his si
lence, and - in the process - learns
how to enjoy hetro-action again.
FEMALE TEACHER ( 1977 - 1983)
lOnna KyoshiJ 8 EpisodeslNikkatsu

This series is loosely based on the

hit film, Female Teacher : Private
Life and its sequel Female Teacher:
Sweet Life (both 1973). It was refur
bished by veteran pinku eiga director
Noboru Tanaka who wrote a script
based on a true story of a young
teacher (Eiko Nagashima) raped by
students . She tries to resign but then
decides to return and face her class.
The gang leader is played by Yasuo
Furoya. He later changed his name
to Masato Furoya and found a ca
reer in the mainstream cinema (best
known for Toshiya Fujita' s Give Me
A Slow Boogie [ 198 1 ] ) Also note
worthy is the music by Shigeru Izu
miya ; nine years later he would di
rect Death Powder { see critique in
Japanese Cin ema En cyclop edia :

Thomas Weisser And Yuko Mihara Weisser

Horror, Fantasy and Science Fiction

Films for overview} .
Each of the eight Female Teacher

entries star a different actress , rang

ing from critically acclaimed Eiko
N a g a s h i m a in #1 to n e w c o m e r
Kiriko Shimizu in #8 . In the begin
ning (#2 , #4 and #5) , the emphasis
was on the teacher herself, a liberated
woman who openly enjoyed a healthy
sex l ife , best exemplified by Erina
Miyai in Female Teache r : Dirty
Rumor ( 1 979) .
However , #3 is an oddity . Pretty
Yuki Kazamatsuri plays her role
with the same kind of abandonment,
but she is chastised for being a hyp
ocrite . Specifical l y , in this story ,
Sakiko (Yuki Kazamatsuri) is raped
while doing her student teaching . Her
attacker is caught. Then, later, while
teaching in Tokyo, she meets Sueko
(Ayako Ohta) , the alleged rapist ' s
daughter who tells her that someone
else had actually committed the crime
and the family has been persecuted
ever since . Sakiko investigates on her
own and soon realizes she made a big
mistake .
T h i s en tr y i s a m aj o r fi l m fo r
Nikkatsu from Kichitaro Negishi ,
one of their top directors . Its success
gave the series unparalleled credibili
ty . A c t re s s Y u k i K a z a m a t s u r i ,
seemingly the q u i ntessential irre
sistible teacher, would be back for
two more episodes .
Female Teacher: Awakening marks
the acting debut of Junko Asahina, a
p r i z e student fro m p r e s t i g i o u s
Takarazuka Academy and Musical
Theater. At the same time, the film
also starred M a r i K i s h i d a , who
hailed from a rival musical theater
c a l l e d S K D {Sh och iku Kag e k i
Dance} . The two girls would appear
together again in Koyu Ohara ' s I
Like It From Behind ( 1 98 1 ) .


W i th H u n t i n g T h e F e m a l e
Teacher [#6] , things turn ugly . Rape
and brutality replaces normal (albeit
promiscuous) sex . Junchi Suzuki ,
one of the studio ' s brightest new di
rectors , unspools an unsavory story
o f a homeroom teache r , S h i mako
(Yuki Kazamatsuri) who wrongfully
accuses high school student Daisuke
(Hajime Inoue) of sexually assault
ing a classmate . The boy quits school
and then rapes the girl for real . Lat
er, Daisuke investigates to find out
who framed him and , after discover
ing the truth , ends up raping the
teacher too .
O f the ro ugh ie s , #8 ( W o m a n
Teacher : Twice Raped) is the best
l o o k i n g . P i n k F i l m v e t Sh ogoro
Nishimura turns the famil iar H igh
School setting into a nightm a r i s h
landscape . T h e c l imactic r a p e s e
q u e n c e o n the a b a n d o n e d t e n n i s
court, with rain angrily smacking the
pavement in ferocious gusts , is al
most high art.
The series stopped abruptly in 1 983
amid formidable c o m p l aints from
government officials and the Nihon
Teacher Association. Nikkatsu felt it
was a battle better l e ft unfought .
However, renegade studios Okura
and Shintoho both picked up the ban
ner with their Female Teacher en
tries , Female Teacher: Private Les
son { Okura } and Female Teacher :
{ Shintoho } , both in 1 983 (see sepa

rate listing) .
The films marked with [e] are consid
ered the best in the series :

Female Teacher ( 1 977)

[anna Kyoshi]
director: Noboru Tanaka
Eiko Nagashima Yasuo Furoya
Female Teacher:
Dirty Rumor ( 1 979)

[anna Kyoshi: Yogoreta Uwasa]


Japanese Cinema Encyclopedia : The Sex Films

director: Akira Kato

Erina Miyai Yudo Yoshikawa

Female Teacher:
Dirty After School ( 1 98 1 )

[anna Kyoshi : Yogoreta Houkago]

director: Kichitaro Negishi
Yuki Kazamatsuri Ayako Ohta
Female Teacher's
Awakening ( 1 98 1 )

[anna Kyoshi N o Mezame]

director: Katsuhiko Fujii
lunko Asahina Yuri Yamashina
Mari Kishida Masayoshi Nogami

Female Teacher:
In Front Of The Students ( 1 982)

[anna Kyoshi :
Seito No Me No Maede]
director: Yasuaki (Yasurou) Uegaki
Lucia Santo Rina Oka

Hunting The
Female Teacher ( 1 982)

[anna Kyoshi Gari]

director: lunchi Suzuki
Yuki Kazamatsuri Kyoko Ito
Hajime Inoue Hajime Ishigami
Assaulted Female Teacher ( 1 983)
[Osowareru anna Kyoshi]
director: Nobuhiko Saito
Yuki Kazamatsuri Kaie Asabuki

Female Teacher:
Twice Raped ( 1 983)

[anna Kyoshi Wa Nido Okasareru]

director: Shogoro Nishimura
Kiriko Shimizu Kosuke Yorita

[anna Kyoshi: Kojin Kyoju]

director: Ichiro Kitami
Yoshiko Sasa Midori Nanjo
and Maki Fuj imura

* 1/2
Director Kitami is another film
maker who survived in the pinku eiga
arena from its inception in the ' 60s
(e. g . , Sexual Vice [ 1 968] ) . Unfortu
nately , he never managed to perfect

his craft. Most of his movies fell on

the south side of competent; Kitami
was usually tapped to helm negligible
projects like Okura ' s unofficial entry
in the Molester' s Train series called
It's Addictive.

Here he rips off Nikkatsu ' s Female

Teacher series with this hopelessly
l ightweight imitation . The story such as it is - deals w ith a g i r l ,
Yoko , who was seduced by a male
teacher when she was in high school .
N o w Y o k o h a s matured i n t o a
woman (Yoshiko Sasa) and she has
become a teacher who enjoys seduc
ing her male students .

[anna Kyoshi : Kinbaku-gesho]

director: Sakae Nitta
Yukari Taguchi . Yuka Takemura
and Rei Matsubara

Shintoho took advantage of Nikkatsu ' s dec i s i o n to stop i t s F e m a l e
Teacher series amid complaints from
school and parent groups in early
1 983 . Shintoho (along w ith Okura)
produced its own variation of the se
ries . This one stars stately Yukari
Taguchi and Yuka Takemura , the
girl who played the sexy sidekick to
Detective Kuroda in Yojiro Takita' s
Molester's Train series .
By day , Reiko (Yukari Taguchi) is
a conservative school teacher. But at
night she and her slutty friend Yuka
(Yuka Takemura) cruise the bars
and d i s c o s looking for men . One
evening , they find more than they
bargained for, when they accompany
an S&M freak back to his place .
IN ROPE HELL ( 1 98 1 )

[Dan Oniroku


Thomas Weisser And Yuko Mihara Weisser

Onna Kyoshi Nawajigoku]

director: Shogoro Nishimura
Junko Mabuki

Miki Yamaji

This is one of Junko Mabuki's final movies, prompting a premature
retirement, triggered by medical
complications directly related to her
torturous S&M roles. Quite simply,
her frail body couldn't endure the
abuse any longer. This Oniroku Dan
screenplay, like so many of his other
post Naomi Tani scripts, is pre
dictable and simplistic to a fault.
For the plot, replace lead character
from Office Lady Rope Slave or Fe

male Beautician Rope Discipline

(both 1981) with a teacher as the cap

tured woman who begins to enjoy her
new masochistic life. It all starts
when teacher Sayuri (Junko
Mabuki) tries to help a student who
is getting raped. Instead she, herself,
is subjected to a sexual assault. Then
later a co-worker stops by her house
with words of cheer, but instead of
making her feel better he captures
and tortures the woman. Director
Nishimura also helmed one of Ms
Mabuki's earlier venture, Hell Of
Roses (1980).
SECRET (1967)

[Jokyoshi No Himitsu]
aka Secret Of The Female Teacher
director: Akitaka Kimata
Sanae Fujimura
Jiro Yoshikawa

Yoshiko Tohisa
Keiko Kayama

Tokyo Koei
Female teacher Mieko (Sanae Fujimura) has a secret. She's a lesbian.
During the school year, her sexual
preference had remained a secret.
However, when she and three female
students take a summer vacation to a

remote mountain cottage, teacher

Mieko comes out of the closet.
An early project for Keiko Kayama
who later became one of the queens
of the first pinku eiga wave. Director
Akitaka Kimata enjoyed a long and
active filmmaking career, concentrat
ing exclusively on adult cinema. In
terestingly, both his son, Seiji Izumi,
and wife Rumi Tama are movie di
rectors as well. Izumi is better known
for his mainstream dramas, while
mom - a former starlet - is one of
the few female pinku eiga directors in
the business.'
'as of this writing, Ms Tama is still employed

Shintoho as a studio
Porno line of films.


director for their



[Mesu Ookami]
director: Noboru Tatsugami
Keiko Kayama

Kenji Tanaka

and Kenji Yamamoto

After the disastrous Pleasure Trap
(earlier in '67), Keiko Kayama ignit
ed the imagination of the pinku eiga
crowd with this portrayal of a sexy,
streetwise con-artist. She and her
pickpocket boss (Kenji Tanaka)
have devised quite a scam. She sheds
her clothes while he fleeces the mes
merized crowd. But things get out of
hand when one of her admirers, Joji
(Kenji Yamamoto) becomes ob
sessed with fmding her.

[Yasagure Anego-den:
Soukatsu Lynch]
director: Teruo Ishii
Reiko Ike

Makoto Aikawa

Harumi Kuri

Meika Seri

Jun Midorikawa


Emi Jo


Japanese Cinema Encyclopedia: The Sex Films

This one is stylistically similar to

Toe i's Female Gambler films, accen
tuated by the claustrophobic confines
of Ishii's own Joys Of Torture se
The main character is Ocho (Reiko
Ike, fresh from Hot Springs Geisha
series). Early in the film she is acci
dentally captured by a drug traffick
ing cartel who use Chinese women to
smuggle drugs into Japan by hiding
the contraband in their vaginas. After
a few days of vicious tortures, Ocho
escapes. But she is forced to fight
both the yakuza and a gang of female
street- thieves.

see Spotlight Section: Hisayasu Sato



FLESH (1965)

director: Hiroshi Mukai
Kemi Ichiboshi

Toshio Tanaka

Nihon Cinema
FLESH 2 (1969)

[Zoku Niku]
director: Hiroshi Mukai
Yuko Maya

Fred Silver

Asakura / Mukai Productions

Throughout the '50s and early '60s
Hiroshi Mukai drifted from one in
dependent studio to another, embark
ing on various work-for-hire projects.
His specialty was children's films and
industrial documentaries. During this
time he toned his filmmaking tech
nique and matured into a first-rate
By 1965, Mukai became frustrated
with the industry's glass ceiling. He

refused to acquire the compulsory ed

ucational requirements necessary for
employment with the big studios. So,
the young filmmaker shifted his inter
ests to the budding sex film market,
seemingly a venue with big opportu
nities and few prerequisites. Nihon
Cinema financed what would become
his first pinku eiga, Flesh, a titillat
ing but bleak look at the life of a
young prostitute in Tokyo's Ginza
district. Although the plot is virtually
nonexistent, rather, a series of unre
lated vignettes in a whore's workday,
audiences were captivated by an air
of proficiency seldom realized by a
pink filmmaker. He instantly made a
name for himself. One fervent critic
reported in Kinema Jumpo: "Hiroshi
Mukai is the only genre director who
could rival Koji Wakamatsu." High
praise, indeed.
As his career gained momentum, di
rector Mukai spiced his productions
with controversial elements. For ex
ample, he convinced the wife of In
donesia's prime minister to star in
Dark History Virginity And Rape

(1969), and he also lensed the true

story of Yaeko Ohta, a famous nude
model who committed suicide, in
Hymn Of Roses (1970).
The success of Flesh 2 hinged on a
similar kind of notoriety. It glorifies
the lusty relationship between a Kore
an girl (Yuko Maya) and a black
American GI (Fred Silver) on leave
from Viet Nam. By making a film
which dwells on the carnal relation
ship between these two races - the
two most victimized by prejudice in
Japan - Murai enjoyed on a tremen
dous whisper campaign which turned
this film into a major hit.

[Ran Mitsuo Niku Shiiku]

director: Yoshihiro Kawasaki


Thomas Weisser And Yuko Mihara Weisser

Mizuho Nakagawa

Minako Ogawa


Yoshihiro Kawasaki, generally

considered the weakest of Nikkatsu's
second wave directors, helms this
project like a man possessed. Or,
perhaps, obsessed would be more ac
curate. The movie has no strain of
logic. Daytime scenes abruptly cut
into nighttime shots, and vice versa.
The plot vaguely resembles a narra
tive as two college girls are abducted
by a janitor who enjoys S&M and
happens to have access to the univer
sity boiler room. What a lucky man!
Perky actress Mizuho Nakagawa
worked with director Kawasaki pre
viously, and she apparently lived to
talk about it. The project was a goofy
high school farce called Young
Girls' Holding CeU (1982). Her co
star comes from a more virulent
background. She starred in Flower
And Snake: White Uniform Rope
Slave (1986) with Ran Masaki and
Sisters To Be Sacrificed (earlier in

This film is scripted by Mitsuo

Ran, a new S&M writer, basd on

his debut underground novel, N

Shiiku. It makes one almost miss
Oniroku Dan.

director: Jiro Matsubara
Miki Hayashi

Setsu Shimizu

A few short months earlier, director
Matsubara premiered Miki Hayashi
in his Loose Women (1966). There,
she garnered only a few minutes of
screen time, but he was obviously
impressed with her brief perfor
mance. Now Miki is back in her first
starring role (the first of many, as Ms

Hayashi would become one of the

screen's foremost sex queens).
Unfortunately, this film is nothing
special, marred by unimaginative
camerawork and an extremely deriva
tive plot. The only reason to watch is
- of course - Miki Hayashi who
does wonders with the limited script.
She's a prostitute owned by the local
yakuza, destined to work the docks
and shipyards where everyday is
threat to her life.

[Niku Dorei: Kanashiki Gangu]

director: Katsuhiko Fujii
Nami Matsukawa

Kazuyo Ezaki

Yoshinari Sumimoto

Hide Ezumi

Director Katsuhiko Fujii is back
with more of his mean-spirited slee
zoid ideology. But after a decade of
misogynous exposition, bad-boy Fu
jii seems to be mellowing, ever-so
N a m i M a t s u k a w a,
Nikkaisu's New Wave SM Qu een
{heir to the throne of Naomi Tani
and intermeaiary Junko Mabuki}
plays maid-n-sexslave for the Sakura
ba family. The story begins when
new cook Hide (Hide Ezumi) flubs a
dinner and the master of the house
punishes on him mercilessly. Nami
feels sorry for the new guy {"He's
doing his best!"} and recei;es several
lashes of the whip for her insolence.
Meanwhile, there's a young daughter
confined to a wheelchair who hates
all the arrogant adults living in the
mansion. But she adores Nami. In the
end, the little girl, Nami and the cook
lead an insurrection against the rest
of the domineering household.

[Niku No Hyoteki: Ubau]


Japanese Cinema Encyclopedia: The Sex Films

director: Yukihiro Sawada

Eri Kanuma
Keijiro Shiga

Izumi Shima
Asami Ogawa

Office worker Mezu (Keijiro
Shiga) has one drink too many dur
ing his lunch break. Intoxicated, the
man stumbles back to work where he
picks a fight with his supervisor, in
juring him. Without waiting around
for the fallout, Mezu heads for home.
Enroute, he bumps into bar hostess
Asami (Asami Ogawa) and tries to
convince her to accompany him.
When she resists Mezu's drunken ad
vances, he rapes the girl.
The next morning, after reporting to
the office, Mezu learns that he's been
demoted to a different position in the
company. The man is disappointed
and frustrated with his life, but does
n't know how to control himself. He
goes on a rape rampage, sexually as
saulting every woman within reach,
including most every female in his
new department. This leads to a very
unexpected situation. Mezu had
thought the girls would hate him be
cause of his wanton behavior, but ac
tually, quite the opposite takes place.
The women are so excited and stimu
lated by his brazen onslaught they as
sist Mezu in his quest back up the
corporate ladder.
Of course, on face value, this is a
foolish - if not imprudent - story.
But director Sawada, whose cinemat
ic roots are firmly entrenched in the
old yakuza action genre, is merely
retelling the classic "thug" story
shrouded within the trappings of the
pink rape-movie. Female critic
Takako Kitagawa wrote: "What's
the difference between physical fight
ing and rape? Rape, even more dra
matically, shows more tension be
tween two human beings." Perhaps,

feminists would argue the point. But,

if one accepts rape as "action, " then
this movie is cram-packed.
It should also be mentioned, that
due to the eccentric storyline, some
film buffs consider this movie a satire
- a purposely broad exaggeration of
the compulsory rape scenes which
populate most Nikkatsu pink films.
On the other hand, some critics have
chastised S a w a d a for this film,
claiming that it glamorizes socially
unacceptable behavior.

director: Kaoru Higashimoto
Kyohji Fuyuki

Minoru Sawada

Koji Satomi

Setsu Shimizu

Yet another adventure in misogyny
from director Kaoru Higashimoto, a
man responsible for a virtual glut of
similar features. This one tells the
mean-spirited story of a yakuza boss
(Kyohji Fuyuki) and his disciplinary
tactics against a stable of disgruntled
prostitutes. Big breasted Minoru
Sawada plays newcomer Keisuke,
sold into prostitution by her destitute
Ms Sawada eventually moved to an
executive position in the pinku eiga
world when she opened a production
company with her filmmaking hus
band Kensuke Sawa, Sawa Produc
tions. Together, they produced a
number of successful sex movies in
cluding the axiomatic Hunting
Breasts in 1968.

[Hana To Kajitsu]
director: Kenjiro Morinaga
Masako Isumi

Ichiro Arishima

Tomoko Naraoka


Reiko Abe

Thomas Weisser And Yuko Mihara Weisser

Another Nikkatsu pre-Pinku Eiga
film, this time based on a counter
culture book by Yojiro Ishizaka
dealing with sex and infidelity on a
college campus. Three young women
discover they are each going steady
with the same boy. They join forces
to teach a lesson in honesty. Their
objective is to reduce him a "love
slave," torturing him with affection.
After a few weeks of marathon
Nobuko Murakami
(Masako Izumi) begins to feel sorry
for lchiro (Hyozo Murakami) and
helps him escape from the clutches of
the other spurned women.
The plot is uncomfortably similar to
the American hit Three In The Attic
(directed by Richard Wilson, star
ring Christopher Jones and Yvette
Mimieux) released one year later, in

[Hana To Hebi]
director: Masaru Konuma
Naomi Tani

Yasuhiko Ishizu

Nagatoshi Sakamoto

Hiroko Fuji

**1/2 (or ***)
Well-made garbage. 1974 was a
good year for Masaru Konuma as
he also would direct Wife To Be
Sacrificed, one of the best Nikkatsu
S&M pink films. In fact, these two
movies are among the best examples
of the studio's notorious marriage
with misogynist entertainment. This
one also stars Naomi Tani, the
"queen of S&M," who once com
plained in a Bunschun Weekly inter
view that these flicks had permanent
ly changed the shape of her breasts.
When he was a tiny lad, Yoshi
(Yasuhiko [shizu) did something ter
rible. He shot and killed a black GI
who was doing the bomp with his


mother (Hiroko Fuji). Now the poor

guy is permanently scarred for life,
unable to get an erection unless his
partner is tied up and whipped. As it
happens, Yoshi works for a top-notch
investment company. On the surface,
he's the perfect corporate man; no
one knows about his problem. One
day, the president of the firm (Na
gatoshi Sakamoto) asks for Yoshi's
help with a "delicate matter." He
wants this maladjusted schizoid to
sexually educate his frigid wife.
Everybody gets more than they bar
gained for.
This movie is the official beginning
of Nikkatsu's new line of S&M ori
ented fare. As socially unacceptable
as that may seem in these PC times,
the new genre pumped life into the
struggling company.

[Hana To HebiJ 3 Episodes

Nikkatsu (1985-1987)
The budding AV {Adult video} in
dustry was starting to encroach on
Nikkatsu's command of the market
place. Pink fans were beginning to
prefer their fetishes in the comfort of
their homes instead of a darkened
theater. At first, Nikkatsu tried to
compete by developing the Harder
Than Pink video line (i.e. initiated
with Woman In A Box {see separate
listing}) but abandoned the concept
after dismal audience response.
An executive decision was made to
continue the operation as a theatrical
venture - after all, the studio already
owned an impressive number o f
movies theaters - and concentrate on
providing a "higher caliber pink eiga
product." Nikkatsu attempted to
rekindle interest and public support
by producing films which immediate
ly invoked the studio's great pink
heritage {although, too often the sim-


Japanese Cinema Encyclopedia: The Sex Films

ilarities stopped with the title}. Thus

came the new Flower And Snake se
ries (1985-1987), Snake And Whip
(1986) and Sisters To Be Sacrificed
(1987), Wife To Be Molested (1987)
to name but a few.
Some film historians agree with the
studio's decision. There was nothing
else for Nikkatsu to do. The logical
choice had been made, confident that
the public would support the superior
quality productions. Of course, in the
traditional marketplace, the consumer
always chooses the bigger-budgeted
filmed movies as opposed to the inex
pensive shot-on-video productions.
But because of the disposable nature
of sex movies - as intimated by the
glut of cheaply-made AVs in the late
'80s - the public seems to have no
noticeable affection for "quality"
Video may not have killed the radio
star, but it definitely demolished the
porno industry. Nikkatsu continued
making sporadic films until 1988
when the company finally gave up the
ghost. The stUdio returned as a sell
thru video company in the early '90s.
A revitalized Nikkatsu, under the
new leadership of former Shochiku
president Kazuyoshi Okuyama
opened, with government financial
support, in 1998.
Regarding the specifics of the
Flower And Snake series:
#1, Sketch Of Hell, is generally
promoted a remake of Masaru Konu
ma 's 1974 classic, but Shogoro
Nishimura concentrates more on a
torturous relationship between a
sadistic step daughter (Kaori Aso,
from Double Rope Torture [1985])
and her masochistic mom (Marui Fu
jimura) . The original Oniroku Dan
story of the trouble child who turns
into a socially scarred adult is miss

#2 doesn't even attempt to continue

the facade. White Uniform Rope
Slave is an S&M nurse movie, sup
posedly based on a new Oniroku
Dan novel. The interesting twist is
she's a dentist's nurse. But the plot,
once again directed by Shogoro
Nishimura, is little more than an ex
cuse for Nurse Yuki (Ran Masaki)
to get tortured in the dentist's chair.
This movie also reflects a notable
cultural trend, the advent of big
breasted girls. For some reason,
enormous tits became suddenly popular in the mid '80s. Ran Masaki's
major claim to fame is her 52 inch
#3 As the title, Ultimate Rope Dis
cipline, may indicate, it's the rough
est of the trilogy. In a plot derivative
of Dark Hair Velvet Soul (1982,
also written by Oniroku Dan), a
mom and daughter <!re used as collat
eral on a loan. When gambler dad
doesn't pay, the Yakuza gang kidnaps
the two women and revels in beating
and torturing them.
The titles:
Flower And Snake:
Sketch Of Hell (1985)

[Hana To Hebi: Jigoku-hen]

director: Shogoro Nishimura
Kaori Aso Mami Fujimura
Flower And Snake:
White Uniform Rope Slave (1986)

[Hana To Hebi: Hakui Nawa Dorei]

director: Shogoro Nishimura
Ran Masaki Minako Ogawa
Flower And Snake:
Ultimate Rope Discipline (1987)

[Hana To Hebi:
Kyukyoku Nawa Chokyo]


Thomas Weisser And Yuko Mihara Weisser

director: Masayuki Asao

Mai Hayami Kaoru Mizuki

[Mayonaka No Hanazono]
director: Takeo Takagi
Kazuko Kano

Hiroshi Imura



Takeo Takagi was one of Kanto's

studio directors who tackled its more

serious pink films, i.e. the features
envisioned as something more than
T&A showcases {also see Takagi's
Secret Affair [1967]}. But the film
maker is distressingly unoriginal,
destined to rely on hackneyed stories,
bringing little enthusiasm to the new
genre. The result - as expected - is
picturesque but superficial. Takagi's
films never seem to rise above the
prosaic level.
In this one, nurse Keiko (Kazuko
Kano) marries Goro (Hiroshi
Imura) the son of a rich farmer. But
soon after the wedding, Goro is
killed in a car accident. The girl is
rejected by the family and she's
forced to become a hostess in a night
club in order to survive.



[Kindan No Joji]
director: Kinya Ogawa
Kaoru Miya

wealth of pinku eiga blooming in the

late '60s.
Nobuko (Kaoru Miya) is an office
girl, working late one evening on vi
tal company files. She is surprised
and raped by an intruder who then
steals the documents. After the dust
settles, her boss is exposed as both
the rapist and an industrial spy.

Hachiro Tsuruoka

Okura Eiga
Yet another ojjice/espionage
thriller, perhaps slightly better than
similar fare due to director Ogawa's
deft hand. But it's still hopelessly
"average" when compared to the



[Kinjirareta Taiken]
director: Shogoro Nishimura
Akiko Hyuga

Junko Miyashita

Kiyoyasu Adachi

Mirai Kiuri

After the outrageous eccentricities
of Rope Cosmetology (1978) {see
separate listing}, director Nishimura
returns to the more refined terrain of
roman-porno. In a movie - notably
the forerunner of Nikkatsu's Pink
Curtain series (1982-1984) - the
filmmaker toys with an unusual
"love" triangle.
Twin brother and sister, Mirai and
Akiko (played by pop comedian Mi
rai Kiuri and Akiko Hyuga) , are
very close. In fact, Mirai is aberrant
ly protective of his sister; he's always
been that way. When they were
younger, Mirai got into a fist fight
with his best friend over the boy's at
tempt at getting a kiss from Akiko.
Now she's dating another one of Mi
rai's friends, Yagi ( K i y o y a s u
Adachi) and he's not comfortable
with her brother's obsession towards
her. When sis turns up pregnant, the
three young people get into a scrim
mage (both verbal and physical) over
whether she should get an abortion or
not. But, regardless of her brother's


Japanese Cinema Encyclopedia: The Sex Films

feelings, Akiko is determined to keep

the baby. And so she does, at the ex
pense of alienating Mirai.
[Rashamen Oman:

Arne No Oranda-zaka]
director: Chusei Sone
Sally May

Shusaku Muto

FLOWER (1972)
[Rashamen Oman:

Higanbana Wa Chitta]
director: Chusei Sone
Sally May

Miki Hayashi

[Enzetsu Jokyo-den: Oman Midarehada]
director: Katsuhiko Fujii
Sally May

Miki Hayashi

In the early 1930s, Oman' (British
actress Sally May) leaves her Shang
hai home in a desperate search for
her mother, reportedly living in
Japan. Oman is the grown child of di
vorced interracial parents, and after
her father dies in China, she and her
drifter boyfriend Ryuji embark on a
journey to Japan. But the girl is naive
and too trusting of Ryuji. At the first
opportunity, he betrays Oman and
sells her to a brothel.
She learns the tricks of the trade
and soon elevates herself into a lofty

position of gambling dealer. Her new

profession allows Oman the freedom
to search for her mother again. The
girl accepts a casino job in Nagasaki
where she accidentally runs into her
former boyfriend Ryuji. Oman is riv
eted with emotions, both love and ha
tred. But when she discovers he has
already tracked down her family and
raped her younger step-sister, Oman
takes revenge. During a vicious con
frontation, her mother is killed by
Ryuji and this pushes Oman over the
edge. She stabs him to death and
Oman gets carted off to jail as the
closing credits roll.
#2 opens as she is released from
prison. Oman returns to her old job
of casino dealer. The girl accidentally
overhears a plot to kill the yakuza
boss and so she is captured by Tome
kichi, the man who masterminded the
murder. After some mandatory rape
scenes, Oman escapes and begins
searching for her step-sister, Okiku.
Meanwhile, Tomicichi sends two as
sassins after her, but she's saved by
con-artist Hanji and the two begin a
short but fierce love affair. The
whole thing ends as Oman returns to
the big city to take revenge against
In #3, Oman becomes a waitress.
But due to her foreigner looks (i. e.,
blond hair), she is treated badly by
all the other female workers. Howev
er the owner is nice to Oman. He
tries to convince everyone to accept
her and leave their prejudices behind.
This draws the mistreated girl closer
to him, causing his wife to become
jealous. She fires Oman. The woman
returns to the familiar yakuza world
and becomes a dealer once again in a
gambling den.
The convoluted plots of each install
ment is written with an air of urgency
and calculated disorientation by At-


Thomas Weisser And Yuko Mihara Weisser

sushi Yamatoya (scripter for Seijun
Suzuki and the cult director of In

flatable Sex Doll Of The Wastelands

[1967] ). Incidentally, Chusei Sone
{the director of #1 and #2} is also a
student of Suzuki, working as his as
sistant throughout most of the '60s
{see Eros Schedule Book: Female
Artist for more details}.
'Oman is not a common name in Japan; it is a
slang word


used mostly in Tokyo.

meaning vagina.


[Kinyo-bi No Shinshitsu]
director: Masaru Konuma
Reiko Kayama

ther that film, nor this one, did much

to stimulate her career.
Primarily, this is a fluff piece from
director Masaru Konuma who usu
ally concentrated on much darker
S&M {e. g. , Wife To Be Sacrificed
[1974, Noble Lady: Bound Vase
[1977], Flower And Snake [1974],
et all. However, it's not the first
time he's turned his sites to lighter
productions; Konuma has even been
known to direct a comedy {In The
Realm Of Sex [1977]) or two {Great
Edo [1975]}. Or three {does this one

Yuki Nohira

Hiroshi Unayama

Rei Okamoto

Manager Mihara (Hiroshi Unayarna), a married man, spends every
Friday night at his girlfriend's apart
ment. Her name is Reiko (Reiko
Kayama). She spends a lot of time
under him, both as a subordinate at
work and as his secret mistress.
However, their erotic liaison is soon
compromised when they receive a
blackmail threat. Before long, Mihara
uncovers the culprit, the female own
er (Yuki Nohira) of a flower shop.
He confronts Yuki. But during the
tete-a-tete, Mihara realizes he's excit
ed by the precarious situation and
asks her to become his lover. Soon,
the affair is turned into a threesome,
which is what Yuki wanted all along.
Yuki Nohira and Rei Okamoto
worked together before, sharing reli
gious vows and each other's bodies in
Sister Lucia's Dishonor [earlier
1978]. Ms Okamoto is usually rele
gated to second-string roles, best
known for her performances in the
grisly Fairy In A Cage and Rape!
[both 1977] . Reiko Kayama made
her debut with Shogoro Nishimura's
Gate Of Flesh remake (1977). Nei-



[Ushiro Kara Mae Kara]

director: Koyu Ohara
Yoko Hatanaka. Yuki Kazarnatswi
Masatsugu Takase

Tomoyuki Taura

The title comes from a hit pop song,
Ushiro Kara Mae Kara, by actress
Yoko H a t a n a k a. t Initially, the
tabloids criticized Ms Hatanaka' s
emergence into porn as a desperate
attempt to cash-in on her name after
the singing career ran its course. But
the success of her previous film,
Love Daydream (also directed by
Koyu Ohara) assured Hatanaka a
place of distinction in the Nikkatsu
stables and gave her a new lease in
the entertainment field.
This film was a deliberate attempt
by the studio to create a "new type of
pink film" with a direct appeal to the
youth market. It's a gritty and realis
tic - but ultimately phony - docu
mentary exploiting the sexual activi
ties of a young gang of rebellious
girls. Critics were quick to notice the
similarities between this production
and the early non-porn Nikkatsu AII
eycat Rock films (1970-1971). But


Japanese Cinema Encyclopedia: The Sex Films

Yoko Hatanaka doesn't have the

charisma of Meiko Kaji (see separate


Yoko Hatanaka enjoyed a series of pop hits

70s . Ushiro Kara

Considered innocuously innocent upon it's 1974
release (similar to Western hits like Olivia New
ton-John's Physical), but it is obviously intend
ed to be "dirty" within the context of the pinku
eiga arena. When the hits were no longer hot,
Ms Hatanaka joined Nikkatsu as one of their ro
man porno starlets. Her first sex movie was
Love Daydream (1980).
throughout the early-to-mid

Mae Kara


was one of them, charting Top



[Orion No Satsui Yori:

Jouji No Houteishiki]
director: Kichitaro Negishi
Shogo Kano

Miyako Yamaguchi

Mutsuhiro Toura


and Tetsuaki Furukawa

A boy, Toshihiko (Shogo Kano),
hates his abusive father (Mutsuhiro
Toura) and blames him for mom
running away. The kid keeps a diary.
In it he writes about how much he
wants to kill the old man, even de
scribing various gruesome ways.
Time passes. His father takes a new
wife, Asako (Miyako Yamaguchi), a
woman who marries him only for his
money. One day while snooping
around she finds the boy's secret
journal and reads it. The nefarious
stepmother concocts a plan. Using
one of the schemes described in the
diary, she and her boyfriend kill her
husband, successfully pinning the
murder on his son.
Director Kichitaro Negishi's debut
is a clever erotic thriller loosely
based on the mythological legend of
Orion, written by bestselling man's
author Azusa Katsume. The young
filmmaker splashed on the scene with
this fresh, plot-driven Nikkatsu ro
man-porno at a time when the studio

was drifting aimlessly from one face

less production to the next (e.g., Wet
And Open, Female Teacher's Se
cret, Junko's B l i s s ,


Apartment, Woman's Bedroom [all

1978] ). The success of this film

caused the company to refocus their
direction and produce films with em
phasis on intrigue and story (e.g.,
Toshiya Fujita's So Soft So Cun
ning, Tatsumi Kumashiro's Woman
With Red Ha ir [both 1979] and
Takashi Ishii's Angel Guts series).
Meanwhile, 27 year old Negishi used
the pinku eiga genre to polish his
own style; he eventually became one
of Japan's most respected contempo
rary filmmakers. His next Nikkatsu
sex film would be High School Girl,
followed by Wet Weekend (1979).



[Shanhai Ijinshokan]
translation: Foreigner from
Shanghai Brothel

aka Story Of 0Continues

aka Story Of 03 (USA video title)
French: Les Fruits De La Passion
director: Shuji Terayama
Klaus Kinski

Isabelle IUiers

Arielle Dombasle
Keiko Niitaka

Miyuki Ono

Sayoko Yamaguchi

A Japanese-French co-production,
directed by Shuji Terayama, the no
torious underground poet/playwright
from the '50s who became filmmaker
Masahiro Shinoda's chief scripter
throughout the '60s. It's odd for
someone with such rigid credentials
to make a free-form, non-linear film
like this one. Although the movie is
supposed to be based on Pauline

Mimi Sawaki


Masumi Tachibana


Masayo Banri




popular TV star Yuuki Mizuhara

mainstream actress Yuki Sumida


Kei Mizutani

Jazz singer Kei Marimura

actress Yuka Ohnishi

mainstream actress
Keiko Matsusaka

her pink twin Yuki Kazamatsu

Pink girls who

became popular
because they
resembled a
well-known star

Mayumi Terashima, Seiko's clone

superstar singer
Seiko Matsuda

pop singer

Mai Inoue
Akiko Hyuga

Yuki Nohira, Komaki's double

_--u liOin.s.trea



Thomas Weisser And Yuko Mihara Weisser

Reage ' s sequel to The Story Of 0,

Return To Roissy" it actually isn't.

T h e t w o l e a d c h a r a c t e r s, S i r
Stephen and 0, are l i fted from the
erotic book but nothing comes with
them . This time, the locale is Hong
Kong c i rc a 1 9 3 0 and S i r Stephen
(Klaus Kinski) is the wealthy owner
of a Shanghai casino , while 0 (Is
abelle IHi ers ) i s his French slave,
choos ing to become a prostitute so
she can better demonstrate her uncon
ditional love ( " The others will only
make me love you that much more "
o tells Sir Stephen in the beginning
of the fil m [faulty philosophy , for
certain] ) .
o i s taken to The House O f Flowers
b rothel w h e r e s h e is t r a i n e d and
whipped a lot. Sir Stephen is her fust
cl ient (in a surprisingly graphic se
quence missing from most 72 minute
English Language prints ; the Japan
ese version runs 88 minutes) and then
he goes away , leaving 0 to entertain
the rest of Hong Kong . There ' s a side
plot dealing with Sir Stephen financ
ing a band of rebel coolies; plus an
o t h e r s e e m i n g l y u n c o n n e c t e d se
quence involv ing Stephen , his new
g i r l fr i e nd N a ta l i e ( Ari e l l e D o m
basle) , and 0 in a sadistic menage a

trois .
The relatively high ( * * *) rating is
based on the " look" of this film, not
necessarily on it ' s narrative . C i ne
matographer Tatsuo Suzuki has a
heyday capturing classic erotica with
in the seedy decadence of old Hong
Kong . Shuji Terayama' s story might
not win awards for coherence , but it
certainly is erotic . And to the voyeurs
in the crowd , watch for nude Miyuki
Ono (future star of Evil Dead Trap
[ 1 9 8 1 ]) as K a s e n , one of the H K
prostitutes. The film also stars homo
sexual transvestite Peter as one of the
girl s .


According t o Klaus Kinski ' s auto

b i o g raphy { Kinski Un c u t , Viking
Books} , this fIlm was actually shot as
a hardcore production, with on cam
era copulation in graphic detai l . If
that i s true , as of thi s w riting , no
such print have ever surfaced any
where in the world . The whole thing
may have been w ishful thinking by
philanderer Kinski .
see NUN ' S STORY:

[Zenkai Tokudashi Shimai]

aka Two Sisters : Stri ppers

director: Yukihiko Kondo
Yuko Katagiri Akirni Nijo
and Osamu Tsuruoka

* *1f2
Two sisters are strippers . One is a
good g i r l named M a r i ( p l ay e d b y
Yuko Katagiri , of course). B u t her
elder sister , Nami (Aki mi Nij o) , is
the bitch of the family , untrustworthy
and deceitful . At one point, Mari ' s
boyfriend i s seduced and stolen by
Nami. Poor M ari decides to deal with
her humiliation by " forgetting about
men and concentrating on business . "
She joins a national touring company .
A few years later, after the wounds
have healed , Mari accidentally bumps
into the ex-boyfriend (Osamu Tsu
ruoka). She forgives him for the infi
delity and - poooof! - they ' re back
together aga i n . M e a n w h i l e , s i s te r
Nami h a s taken the skid s . H e r strip
act has s p i r a l e d d o w n w ard i n to a
decadent geek-show featu ring s e x
with animals . Obviously, N a m i has
h i t r o c k - b o t t o m in the s h o w b i z
world . And the money i s growing
thin, too . She gets involved in a rob-


Japanese Cinema Encyclopedia : The Sex Films

b e r y s c h e m e w h i c h s e n d s h e r to
prison . The movie seems to be am
bling toward the typical "two paths
taken " c o n c l u s i o n w h e n M ari ' s
boyfriend once again dumps her. She
finds solace in her career and happily
returns to her adorning fans, albeit
with a tear in her eye .
Filmmaker Kondo is usually rele
gated to B - features ( i . e . , Female
S e c r e t R ep o r t
T e e n ag e rs ' S ex Jou r n a l [ b o t h
1975]) . But earlier in his career he
directed Yuko Katagiri in her debut
role , Coed R eport: Yuko 's White
Breasts (1971), still one of her better
movie s . For whatever reason , the
Kondo/Katagiri relationship sparked
a certain magic . The joint ventures
represent their best work . While this
movie isn't a masterwork, obviously
suffering from a hopelessly melodra
matic plotline , it does manage to be
both erotic and endearing . Two at
tributes missing from Ms Katagiri ' s
repertoire for quite awhile .
FUN (1966)

director: Osamu Yamashita
Kimiko Asuka Joji Nagaoka

A n early bitter-sweet film b y Osamu Yamas h i t a , a d i rector who
would l a t e r d r i ft i nto the darker
realm of S&M fare . For this one , a
maid (Kimiko Asuka) working at a
rustic country inn allows herself to be
seduced by one of the vacationing
guests (Joji Nagaoka) . After discov
ering that she ' s pregnant, maid Mit
suko journeys to his home in Tokyo.
She had believed the man was sincere
in his proposal of marriage . But the
girl soon learns a harsh lesson when
his address turns out to be bogus .


[Eden No Sono]
director: Yasuzo Masumura
Ronnie Valente Leonora Fani

Daiei International

Italian co-production
In 1981 , prominent director Yasuzo
Masumura (e. g . , Blind Beast, Red
Angel, et at) decided to follow the
example of Nagisa Oshima and Ma
suo Ikeda and produce this film out
side of Japan to avoid the strict cen
sorship policies of Eirin , the Nippon
rating board . As discussed elsewhere
in this book (see Spotlight Section :

Editing, Fogging and Censorship,

page 21), foreign films need not b e
rated b y Eirin for domestic distribu
tion, rather they must merely pass
through Customs and the Eirin stamp
of approval is v irtually automati c .
Traditionally , Customs concerned it
self only with the " depiction of pubic
hair and genitalia; " unlike Eirin, the
Customs officials were not interested
in the movie ' s narrative . S o , M a
sumura took advantage of this more
liberal censorship philosophy . He co
produced his movie in Italy , with an
Italian cast, and then " imported " it to
Japan .
Despite the scorching publicity sur
round ing the fi l m , i t ' s l i ttle more
than a Blue Lagoon (1980 ) clone .
Ronnie Valente and Leonora Fanni
play two youths who burst into pu
berty and become sexually aware of
each ot her ' s b o d i e s a ft e r b e i n g
stranded o n a deserted i s land . Ma
sumura ' s ploy of producing and di
recting a " fo r e i g n fi l m " to a v o i d
Eirin 's heavy scissors w a s successful .
Even though, Customs demanded the
fogging of a sex scene which flashed
gl impses of hair and genital i a , the
agency permitted a segment featuring
pubic hair { seen underwater} as the


Thomas Weisser And Yuko Mihara Weisser

young couple frolicked in the lagoon .

Apparent l y , Customs found pubic
hair in nature as acceptable .
Eirin was outraged by the decision.
The rating board publicly re-affirmed
its position against the " the public
display of obscenity " and they contin
ued to ban all shots of pubic hair or
genital i a . In fac t , in the years to
c o m e , Eirin w o u l d b e c o m e e v e n
more zealous in enforcing that dogma
until 1994 when the decision was re
versed .
. GATE OF FLESH (1964)

[Nikutai No Mon]
director: Seij un Suzuki
Jo Shishido Yumiko Nogawa

* * *Ih
Based on the bestselling novel by
Taijiro Tamura , this tale of turmoil
and p a s s i o n among p r o s t i tutes i n
American-occupied Japan at the close
of W W 2 r e m a i n s one of d i rector
Suzuki' s finest motion pictures.
It's essentially a remake , originally
adapted fo r M as ah i ro M a k i no ' s
1948 conservative production. How
ever, this time the sex and violence
associated with the turbulent lifestyle
is included , if not accentuated . I But
the film also manages to capture the
humanism , the incredibly strong will
to s u r v i v e in the m iddle o f over
whelming desperation .
Yumiko Nog awa is outstanding ,
with clothes or without . This movie
became k n o w n as the fir s t in her
Fl esh Trilogy, followed by Story Of
A P rostitute (1965 ) and C armen
F ro m K a w a c h i (1966 ) . Gate Of
Flesh would be remade two more
times , including a competent adapta
tion by Hideo Gosha in 1969 and a
NikkaJs u roman-porno version direct
ed by Shogoro Nishimura in 1 97 7 .
None received the acclaim bestowed
on this version.

IJn an exclusive interview with Seijin Sukzuki

published in Asian Cult Cinema #2 1 , the direc
tor claimed that Gate Of Flesh was the first
mainstream Japanese film which contained nudity.

GATE OF FLESH ( 1 977)

[Nikutai No Mon]
director: Shogoro Nishimura
Reiko Kayama Tokuko Watanabe
Miyako Yamaguchi Izumi Shima
and Junko Miyashita


"More skin but less erotic, the critics agreed . This remake couldn' t gen
erate the sexual tension found in ei
ther of the previous versions (Seijun
Suzuki ' s 1964 feature or the 1969 at
tempt by H ideo Gosha) . However ,
on the plus side , the film does benefit
from a competent c a s t , i n c l u d i n g
Nikkatsu ' s most accomp l i shed ac
tresses of the time . The problem w ith
the movie lies squarely on the shoul
ders of director Nishimura . In the
early ' 70s - during his Apartment
Wife days - he would ' ve tackled a
project like this with vigor . A quick
look at his Gypsy Rose or Red Light
Tobita Brothel (both 1 974) immedi
ately affirms his capabilities w ith the
"prostitution theme . " But , unfortu
nately , this venture more closely fol
l o w s h i s preced i n g u n i m a g i n a t i v e
productions {i. e. , Devil In The Flesh
and Midsu m m e r Nig h t ' s A ffa i r
[both 1 977] . The self-destruction o f
Shogoro Nis h imura i s , indeed , the
saddest casualty of N ikkatsu ' s p i nk
era .
Plotwise , it' s a tale of prostitutes in
American-occupied Japan following
the aftermath of WW2 , based on a
b e s t - s e l l i n g b o o k b y T a ij i ro
Tamura . This is the fourth version
of the same story . The original film,
d i rected by M as ah i ro Makino in
1948, was devoid of sex and violence
which had filled the novel . Seij in


Japanese Cinema Encyclopedia : The Sex Films

Suzuki corrected the omission with

his 1 964 production, emphasizing the

type of behavior usually associated
w ith that turbulent lifestyle . H ideo
Gosha' s version in 1 969 was less ex
ploitive, with more emphasis on the
drama in the lives of the city prosti
tutes . Of the four different Gates Of
Flesh, Suzuk i ' s remains the highest
rated .
GAY TOYBOX ( 1 993)

[Gay No Omocha-bako]
director: Ryuji Yamamoto
Hikaru Shibahara
Yutaka Ikej ima
Motomasa Ishii Yutaka Ikej ima
Ryuji Yamamoto. Hikaru Shibahara

* *1f2
An omnibus film directed by (and
starring) ENK ' s top three filmmak
ers . It begins with the spilling of a
toybox, followed by three cockeyed
gay-oriented stories. Yamamoto de
livers a darkly humorous tale of ume
quited lov e ; Shibahara ' s story i s
sty lish i f not trite ; and Ikej ima con
centrates on his forte , a surrealistic
mysterious fantasy .
GEISHA ( 1 967)

director: Koji Seki
Akihiko Kanbara Kaoru Miya
Juri Taniguchi Koji Satomi

Shin N ihon
S leazy j unk from hack filmmaker
Koji Seki (i. e. , Whore [ 1 967] , Ab
normal Sex Crimes ( 1 969) , Erotic
Cultu re Shock ( 1 969) , et a t ) as a
w icked gynecologist (Akihiko Kan
bara) demands bribes and sexual fa
vors in exchange for critical opera
tions . In this case , when a Geisha
(Kaoru Miya) wants an abortion, her
gangster s ister (Juri Taniguchi) is

forced to sleep with the good doctor.

This film is not to be confused w ith
Seiichi Fukuda ' s V icious Do cto r
( 1 967) which also starred Akihiko
Kanbara .

[Futago-za No Onna]
director: Sbingo Yamashiro
Yuki Igarashi Shoko Ariake
Koji Nanjo Akira Nakao

Nakazawa (Koji Nanjo) , the owner
of a trendy cafe bar, is a good samar
itan . He picks up a g i r l , M e g u m i
(Yuki Igarashi) , stranded in the rain.
They are immediately attracted to
each other and spend the evening in
bed . Since that night, Megumi won' t
leave Nakazawa alone ; s h e i s con
stantly bothering him {precursor to
Fatal Attraction [ 1 987] } . Soon she
becomes insanely jealous of his girl
fr i e nd , A k i k o ( S ho ko A r i a k e ) .
Megumi kills the adversary by ar
ranging a fire which burns the girl to
death . She then pretends to be Akiko ,
attempting to fool Nakazawa by cov
ering her face with bandages . It does
n't work .
Shingo Yamashiro helmed a simi
lar l o v e - t r i a n g l e th r i l l e r , Female
Cats [ 1 983] , but he ' s best known as
an actor . Western audiences will rec
ognize him as the lead for Kiyoshi
K u rosa wa ' s h o r r o r m o v i e Sw e e t
Home [ 1 989] { see Japanese Cinema
Encyclopedia: The Horror, Fantasy
And Science Fiction Films}.
FINGER PLAY ( 1 988)

[Honban Onanie : Shigi]

director: Akira Yoneda

Thomas Weisser And Yuko Mihara Weisser

Shiro Shimomoto Kyoko Hashimoto

and Yoko FtYita

This hackneyed plot finds Shiro
Shi mo moto ( t h e o n l y r e a s o n to
watch) trying to make up his mind
between two women . One is a " tradi
tional " Japanese lady , subservient
and quiet , while the other - to no
one ' s surprise - is the complete op
posite, a bundle of energy , cheerful
and out- g o i n g . A fter l o t s of s o u l
searching a n d some e r o t i c a w h i c h
emphasize d isparate bedroom tech
niques , Shiro decides on the conven
tional girl . But in a last minute twist,
the good girl had thought he went
away forever and she tries to commit
suicide . The ending is happy , howev
er, as Shiro returns before she can
actually do the deed .
Akira Yoneda was one of the sec
ond-string Nikkatsu directors . When
the Nikkatsu ship went down, Yoneda
took his negligible talents to Shinto
ho where he continued cranking out
unimpressive pink ftims . This one , as
weak as it may seem , is still probably
his best.


boundaries to new heights , but be

came bogged down while compensat
ing for the disj ointed plotl ine . Re
gardless of Konuma' s intentions , the
film itself is a maj o r fiasco which
wastes a lot of talent including his
own exquisite filmmaking style.
Despite the lurid title, the movie is
more a c c u r a t e l y a m y s te r y o r a
thriller . M itsuko (Nikkatsu queen
Junko Miyashita) has the sensation
of being watched . The feeling doesn ' t
pass. Then, one day , her husband, a
jewelry dealer played by Shinzo Hot
ta, invites his product-buyer (Akira
H anag am i ) h o m e fo r d i nn e r and
some drinks. Instantly , M itsuko real
izes this is the man who has been
spying on her . When the husband
gets drunk and dozes off, Mitsuko is
raped by this man . Later, the married
couple kill the rapist, hiding his body
under the floor. It seems there ' s more
going on than meets the eye because
after the man turns up missing , the
big boss of a yakuza ring decides to
take revenge against Shinzo and M it
suko . Meanwhile , the husband tries
to kill his wife by burying her alive.
Seemingly , he has the intention of
running away with his mistress, a di
amond trafficker .

see Spotlight Section: Hisayasu Sato



aka Raped
director: Masaru Konuma
Junko Miyashita. Maki Mizuno
Akira Hanagami Shinzo Hotta
It' s anybody ' s guess as to what director Ko nu m a w a s t r y i n g to do
here . But the result is a frustrating ,
irritatingly muddled tale of deception
and intrigue . Perhap s , he was at
tempting to stretch the pinku eiga

[Sei No Kaidan]
director: Giichi Nishihara
Maki Kirikawa Hiroshi Nishihara

Aoi Eiga
More gutter cinema from director
N is hi h a r a who made a career o f
sleazy pinku eiga . He ' s probably the
trashiest filmmaker of them all , with
twist plots delivered in an unnerving
matter-of-fact style.
For this one , a girl kills herself by
biting off her tongue during a vicious
rape . Her ghost then haunts the rapist

Japanese Cinema Encyclopedia : The Sex Films


as he continues to assault a parade of

v ictim s . Eventually, he can no longer
take the ghostly aggravation and he
jumps to his death from the top of an
office building .

[Jitsuroku Irogotoshi : The Gigolo]

director: Koyu Ohara
Ryoko Watanabe Naoki Fushimi
MlNlyoshi Takigawa Ryorna Mido

N ikkatsu
* 1/2
D i rector Koyu Ohara helmed a
number of Nikkatsu ' s most adventur
ous films , earning him the moniker
"King of Pop A rt Porn . But this
time he must ' v e phoned i n his in
structions . The film bears none of his
unique traits and could easily be mis
taken for any number of other face
less pink productions .
Nao ki Fus himi is the head of a
male escort business in Tokyo. Akira
(Masayoshi Takigawa) and Kenichi
(Ryoma Mido) are in training . They
look all over the city for women who
might be interested in their services .
A ft e r l a n d i n g an attractive c l ient
(newcomer Ryoko Watanabe) , they
advance to professional members of
the gigolo organization.



[Dan Oniroku
Shoujo Mokuba-zeme]
director: Fumihiko Kato
Selina NIShikawa

Kazuyo Ezaki

Asami Ogawa

Shiro Shimomoto

The debut by director Fu mihiko
Kato (no relation to Nikkatsu film
maker Akira Kato) finds high school
student Nami (Serina Nishikaw) pre
occupied with masochistic tendencies .

The girl is attacked and abused, on

the verge of being raped by a delin
quent gang , when teacher Muraki
(Shiro Shimomoto) rescues her . I n
the aftermath , h e notices that the girl
appears to have en joyed the assault .
For Nami, the near-rape triggered in
tense S&M hallucinations , brutal sce
n a r i o s between her and the g o o d
samaritan teacher . Soon she doesn't
know the difference between fantasy
and reality . Teacher Muraki is ac
cused of raping the girl and gets fired
from the school . Two years later Mu
raki runs into Nam i , now a performer
at an SM club . Anger bubbles inside
him. But the girl is finally happy be
cause he really wants to beat her . Un
fortunately , Muraki suffers from a
heart attack and dies on the spot. She
remains unfulfilled . Ultimately , that' s
the most satisfying emotion for a true
masoch i s t . "Eve rything must be a
dream, Nami muses as the film con
cludes .
Although it's credited to a book by
S&M guru Onirkou Dan , the movie
offers few of his ostensible traits .
Only the " fantasy scenes " bear the
standard Dan characteristics { i . e . ,
frenzied flogging , bondage using an
e x a g g e r ated a b u n d a n c e o f r o p e ,
forced urination, and - o f course the wooden horse torture promised
by the title } . The rest o f the fi l m
more c l o s e l y resembles t h e Angel
Guts s e r i e s (19 78-1995 ) , w h i c h
shouldn ' t come as a surprise . The
script is written by Angel Guts cre
ator/mentor Takashi Ishii. Charac
ters Nami and Muraki should have
been a clear hint . There ' s a Nami and
Muraki in every film scripted or di
rected by Ishii { except Scent Of A
Spell [1985]} . Takashi Ishii would
also script another SM p roduction,

Rope Sisters : Strange Fruit (1984 ) ,

with less impressive results .

Thomas Weisser And Yuko Mihara Weisser


[Gal Condom Asobi]

director: Seitaro Ogi
Ami Takatori Arisa Shindo
and Mari Matsumoto

* 1/2 (or * * )
Studio director Seitaro Ogi contin
ues down Tokatsu ' s " teenie " abusive
sex path { also see Revenge For Rape
[l983 ] } w ith this ugly motion pic
ture .
Two high school girls (Ami Taka
tori and Arisa Shindo) decide to play
the condom game . They compete
with each other to see who can have
the most sex partners during the span
of one night , keeping the used con
dom to validate their conquests . But
Arisa is killed by a pervert, thus end
ing the game prematurely .
G IRL HEL L : CAPTURED! ( 1 984)

[Shoujo J igoku : Kankin ! ]

director: Kaoru Umezawa
Kaoru Kaze Asuka Urano
and Reiko Katsura

M illion Films
At least Kaoru Umezawa enjoys a
larger budget here with Million Films
than he ever saw with his previous
grab-bag productions fo r Tokatsu
(e. g. , Violated Uniforms and Dance
Of Lust [both 1 983 ] ) . Yet, despite
the higher production standards, the
plot is stagnant, reminiscent of his
lurid ero-gro features o f the ' 60 s

(e. g . , Secret B rutality Of Female

Torture [ 1 969] ) .
Asuka Urano plays a dragon lady
madam of a popular nightclub who
becomes irrationally angry when her
lover (Kaoru Kaze) runs away with
one of the hostesses . Madam Asuka
uses her underworld connections , so
liciting help from the yakuza to find
the two lowlifes who betrayed her .


Of course , they a r e tracked down,

captured and returned to the Queen
Bitch . She and the gangsters torture
them mercilessly in the basement of
her club until Kaoru promises to nev
er be unfaithful again.

[Shoujo Joufu]
director: Banmei Takahashi

(sometimes Tomoaki Takahashi )

Cecile Goda Satoshi Miyata
and Shiro Shimomoto

Takahashi Productions
* **1/2
By the time Tomoaki Takahashi
made this award-winning motion pic
ture , with 31 movies under his belt,
he was already recognized as " one of
the three Pillars of Pink" (along with
M a mo ru W a t a n a b e a n d G e nj i
Nakamura) . Perhap s , Japanese cult
movie fans are quicker to associate
Takahashi with his subsequent horror
fi l m s , Doo r ( 1 9 8 8 ) a n d Doo r 2 :
Tokyo Diary ( 1 99 1 ) , but historically
he wiU always have a niche in Nip
pon Cinema for his intricate , highly
stylistic pinku eiga (not to mention
the first film to successfully challenge
the government ' s position of pubic
hair fogging , New World Of Love
[ 1 994] ) .
A t the same time , some critics insist
that Takahashi ' s major contribution
was his abil ity to rekindle an interest
in pink among college-age patrons ,
an audience which had drifted from
the genre after Nikkatsu ' s " Golden
Period " ended in 1 980.
This is a love story between a high
school girl (Cecile Goda) and an old
er yakuza gangster (Shiro Shimomo
to) . When Shiro gets arrested , the
girl turns to prostitution to buy his
way out of prison . As youthful Seru
walks the street looking for j ohns ,


Japanese Cinema Encyclopedia : The Sex Films

she uses the come-on line "[ lost my

purse, would you give me $5?" It

{Scandal : Etsuraku No Wana } (1979)

- received much notoriety . But it ' s
this motion p icture , Girl Mistress,
that confirmed h i s position in the

works like a charm , first by endear

ing her to the mark and then making
him cough up more bucks than usual : pinku eiga.
for a trick . One night while whoring ,
Takahashi dissolved his production
Seru runs into a boy , closer to her
studio when he joined the Director's
age (played by Satoshi Miyata) , and
Company in 1 9 8 2 , shortly after a
she discovers real love. However her
successful j o int venture w ith ATG
yakuza boyfriend eventually returns
(A rt Theater Guild) for Tattoo . Dur
from the slammer and discovers she ' s
ing the same time he married Nikkat
involved w i t h someone else . In h i s
su actress Keiko Sekine (from Love
heart, Shiro knows that the world of
Letter [ 1 98 1 ] ) changing her name to
a gangster isn't good for young Seru .
Keiko Takahashi. She would later
So, in an overblown ending - pur
star in numerous hits including his
posely designed to milk the melodra
own Door ( 1 988) .
matic - Shiro accentuates the solem
nity of the yakuza by walking out on
the girl , allowing her the opportunity
RED SHOES ( 1 984)
to lead a less complicated life .
[Shoujo Boko Jiken : Akai Kutsu]
director: Yasuaki (yasuro) Uegaki
Director Takahashi made his debut
Mai Inoue. Yuka Koizumi
in 1 972 with Escaped Rapist Crimi
nal { Fu jo Boko Dasso-han } , but a
Torn Nakane Kanako Shimazaki
post-production argument w ith his
producer caused him to leave the in
** '/2
Written by Rokuro Mochizuki , fudustry and reassess his career . A cou
ture award-winning director of An
p l e years late r , Takahashi j o i ned
other Lonely Hitman ( 1 995) and Fire
Tokatsu as a member of the produc
Within {Onibi } ( 1 997) , this one tells
tion crew and part-time edito r . I n
the story of two naive girls who be
1 975 , h e moved t o Wakamatsu Stu
comes rape victims in Tokyo's glitzy
dios w h e r e he b e c a m e a pink
underworld .
s c r i p t w r i te r . Koj i Wakam atsu
Director Ueg aki understands this
a g r e e d to p ro d u c e a T a k a h a s h i
genre well . Although his best produc
helmed project, Delinquent Record :
tion remains the Pink Curtain trilogy
Juvenile Prostitution {Riko Kiroku :
( 1 982- 1 983), he is no stranger to the
Shoujo Baishun} in 1 976. The direc
g r i t t i e r s i d e of s e x ( e . g . , R ap e
tor stayed with Wakamatsu, averag
woman : Dirty Sunday [ 1 98 1 ] , Fe
ing five films a year, until the forma
male Teac h e r : I n Fro nt Of The
t i o n of h i s o w n Takahashi
Students [ 1 982] , Love Beast [1 983] ,
Productions in 1 979.
et al ) . The Mochizuki! Uegaki part
During the Wakamatsu years , two
nership is a good one .
movies stand as his best, Raping The
Every weekend , high school student
Sisters {Shimai 0 Okasu } ( 1 977) and
Mami (Mai Inoue) goes to Ibaraki to
J ap an es e I nqu is it io n { Nihon No
visit her divorced father . There , she
Gomon } ( 1 97 8 ) . Under h i s Taka
has a v e r y g o o d fr iend , M e g u m i
hashi umbrella, two more films (Yuka Koizumi) . They make plans
Attacking G irls { Shou jo 0 Osou}
to vacation together in Tokyo during
( 1 979) and Scandal: Pleasure Trap

Thomas Weisser And Yuko Mihara Weisser

summer break . While in the big city ,

the g i r l s h a u n t the d i s c o t h e q u e s
where they get picked u p b y a hand
some loner who captures and rapes
them .
This is a chic-looking film, exquis
itely shot with a sense of urgency .
Plus Mochizuki ' s dialogue is clever
and hip , without being faddish. How
ever , the story is little more than yet
another variation on the urban para
noia theme popularized by many pink
films in the ' 60s, like Report On An
Abnormal Situ atio n : Virg in Rape

( 1 967) .

director: Hiroshi Mukai
Midori Hinoki Michiko Sakyo
Kemi Ichiboshi Yoko Shimura

S e x u a l fu n and g a m e s i n s i d e a
nurse ' s boarding school . Midori Hi
nos k i is a new student , M a s a ko ,
promptly seduced by a female resi
dent doctor (Michiko Sakyo ) and
then by the head nurse (Yoko Shimu
ra) . It' s light on story , but heavy on
titillating soft-core sex . The film em
phasizes lesbian activities, but there ' s
a l s o a fair share of straight sexual
coupling .
Michiko Sakyo is better known for
her roles in Kanto ' s sleazy horror
films , l ike Female Bodies Are Dis
appearing , Snake Lust and Vicious
Doctor (all 1 967) . She seems out of
place here in a comedy .
MAN HUNTING ( 1 977)

[Yokosuka Otoko-gari :
Shoujo Kairaku]
director: Toshiya Fujita
Kaori Ono Jun Nakagawa
Akira Takahashi Shigeru Yazaki


A woman gets attacked and raped
while her husband is forced to watch .
This horrendous ordeal destroys their
marriage. The wife ' s 17 year old sis
ter , Kikko (Kaori Ono ) , decides to
fi nd and take revenge against the
rapist . W ith her best friend M eiko
(Jun Nakagawa) , Kikko begins the
investigation . Within a short time ,
they locate the man (Akira Taka
hashi) and capture him. For the re
mainder of the film , the two girls tor
ture and whip him.
Regardless of the negligible plot,
this film offers something extremely
rare in Japanese S&M , a male as a
victim . Often, pink movies will show
a man being tortured psychologically
{i. e. , forced to watch as his wife is
raped , or threaten with the loss of his
company , or somehow stripped of his
self-respect } , but this was the first
film (for Nikkatsu, anyway) which
revels in a lengthy S&M session in
volving a masochistic male .
Equally unusual is Toshiya Fuj ita ' s
involvement in this project. The film
is, unequivocall y , not typical of his
style. This is an odd blemish in his
distinctive career (e. g. , August: Wet
Sand [ 1 97 1 ], Sweet Scent Of Eros
[ 1 97 3 ] , G i v e Me A S lo w Boo g i e
[ 1 98 1 ] et al) .
A WOMAN'S ROLL ( 1 972)

[Haresugata Onna Emaki]

director: Isao Hayashi
Setsuko Ogawa Hiroshi Gojo

Lecherous banker M inoya trains a
virgin (Setsuko Ogawa) in the tech
niques of lovemaking and offers her
as a sex toy to the M inister of Fi
nance in exchange for certain favors .

Japanese Cinema Encyclopedia : The Sex Films


But seemingly the girl has developed

a natural talent for the job; she has
become too good in the art of seduc
tion. The government official is be
witched by her . He ends up losing his
job, exposing M inoya's corrupt bank
i n t h e p r o c e s s . T h e o n l y one to
emerge a winner is the girl , who now
understands the j o y and power of
sex . She baths herself in the blissful
world of carnality .
Nikkatsu nonsense. A severe penal
ty for early withdrawal .
OF YOUm (1975)

[lku lku M ight Guy :

Seishun No Monmon]
' When referring to an orgasm, the Japanese
say "go" instead of "come. " I n the throes of
sexual ecstasy, the term I'm going" would be
used rather than the American slang I'm com
ing . " Thus, this title is designed as a double en

director: Kazuyuki Izutsu

Kan Mikami Moeko Ezawa
Yuko Akane Hirotsugu Suenaga

Shinei Club
B e fore d i rector Izutsu w o n h i s
awards for the mainstream hits Delin
quent Empire {Gaki Teikoku } (1981)
and K ishiwada De l inq uent Gang
{Kishiwada Shonen Gurentai} (1996) ,

h e made this entertaining youth ori

ented pinku eiga .
In a countryside farming communi
ty , three frustrated juvenile delin
q u e n t s - fo r e v e r i m i t a t i n g the
toughguy movie stars , while dream
ing of running away to Tokyo spend their days teasing the girls at
the textile factory . One day the boys
successful manage to pickup three hot
tarts for an evening of fun-n-games .
The film ends with Kan (Kan Mika-

mi) leaving his buddies and taking off

for the big city .

[Yuke , Yuke- Nidome No Shojo]

director: Koji Wakamatsu
Mimi Kozakura H atsuo Yamaya

Wakamatsu Productions
Two misfits become an unl ikely
couple in this controversial film from
Director Wakamatsu. The girl seems
to attract rapists like a magnet . Dur
ing the film she is sexually assaulted
three d i ffe rent t i m e s , gang-raped
twice . Her new boyfriend is an intro
verted wacko who has just killed his
parents and another couple after be
ing disgusted by their behavior dur
ing a Friday night swinger's orgy .
Together, this boy and girl sit on
the rooftop and discuss world prob
lems , teen loneliness and parental re
sponsibil ity . They also find time to
kill the four rapists and thei r girl
friends. Towards the end of the film,
the two fall asleep and dream (in the
o n l y c o l o r s e q u e n c e ) of R o m a n
Polanski and Sharo n Tate and the
Helter Skelter murders . After they
wake up , the two commit suicide by
walking off the top of the roof, hand
in hand .
If there ' s a message beyond the ob
vious , it' s lost on the author's of this
book . Wakamatsu remains an inter
esting director due to his obstinate
disregard for social standards . But
unfortunately , he doe s n ' t make the
alternative, cultural anarchy , seem
very appealing either . His next film
would be Orgasm of Angels (1970).

[Saraba Tomoyo]
director: Shuji Kataoka
Junichi Aoyama Shingo Kawasaki

Thomas Weisser And Yuko Mihara Weisser

and Ren Ohsugi

* * * 1/2
One of ENK ' s most ambitious productions , succeeding far beyond the
archetyp i c a l sub-genre roots of a
" gay film . " Shuji Kataoka helms the
project with a sly wink at the audi
ence (similar to his legendary Roper
From Hell series) . If there ' s a prob
lem with the film, it's the predomi
nately inexperienced cast . Only Ren
Ohsugi brings any kind of "seasoning
to t h e e l ab o r a t e t o n g u e - i n - c h e e k
This gay parody of Walter Hill' s
(uncredited) Streets O f Fire (1984 )
fmds Junichi Aoyama playing Diane
Lane ' s role. He ' s a pretty pop singer
who gets k i d napped by a gang of
sadistic bikers . Ren Ohsug i is the
hero , an ex-lover who reluctantly
agrees to rescue the boy in exchange
for a substantial reward .
Perhaps, the first pink Musical .

[Ohedo: Maruhi anna Isha Arashi]

director: Masaru Konuma
Yuko Katagiri Moeko Ezawa
Junko Miyashita Seiji Tanaka

During the historic Edo era, Osen
(Moeko Ezawa) is a female doctor
specializing i n abortions . Chokichi
(Seiji Tanaka) doubles as her assis
tant and - when the need should
arise - her occasional sex partner.
One day , while Dr Osen is away en
joy ing a hot springs vacation, a new
patient Ofuj i (Yuko Katagiri) comes
to the clinic in search of an instant
solution to her budding problem . In
tern C h o k i c h i is immediately ob
sessed with the girl and wants to bed


her . However, Ofuj i is more interest

ed in getting an abortion than knock
ing kneecaps with Chokichi . So, even
though he's never performed the op
eration before , Chokichi agrees to do
it right then and there . After all , he
had watched Dr Osen many times
and , besides , what a pe rfect oppo rtu
nit y to imp ress the girl. Chokichi
plays doctor; surprisingly, everything
goes wel l . That is, until the real doc
tor comes home early .
Madcap abortion fun ! Try to pull
this one off in the United States .

[Gendai Ryoki Sei Hanzai]

director: G iichi Nishihara
Keiko Sugi Kiyoshi Nakayama
and Yuri Izumi

Aoi Eiga
* (or * 112)
The film opens with a long , steamy
love session . But it' s not long enough
for Maki (Keiko Sug i) . She wants
more from her lover Seij i (Kiyoshi
Nakayama) and blames him for turn
ing her into a horny woman . B u t
there ' s a problem . Seij i ' s a married
man and he can ' t stick around for an
encore . He's got to get home to Yuki
(Yuri Izumi) .

For a goodly part of the m o v i e

Maki mopes around and whines alot .
Seij i convinces her that he does n ' t
love h i s wife and is going t o leave
her soon . One night Maki sneaks by
his house and fi nds h i m screwing
Yuki , whispering " I love you" in her
ear .
Enraged , Maki hires two yakuza
toughguys to kill the l ittle woman .
But they rape her instead . Maki de
cides the direct approach might be
best and she arranges a face-to-face
with Yuki . This explodes into a vi
cious catfight . Eventually, wife Yuki


Japanese Cinema Encyclopedia : The Sex Films

wins and , in graphic detail , dismem

bers Maki ' s body . The fi lm ends
with her husband coming home from
w o r k and making l o v e to h e r , as
body parts are decay ing under the
bed . He complains about the terrible
odor but Yuki changes the subject by
announcing that she ' s pregnant . She
does n ' t , however , tell him that the
baby might not be his.
T h i s i s p r o b a b l y d i re c t o r
Nishihara ' s best fi l m , but that' s like
choosing from ratbite fever, jungle
rot, or tick-borne typhus. They ' re all
pretty bad .

plot which accentuates female bond

ing , two rare qualities in Nikkatsu
roman-porno . Despite the most obvi
ous problem with the film - the in
complete storyline { for instance, Rie
never decides which man she'd rather
marry } - Suzuki has delivered a
project alive with feeling and a sense
of importance. Upon its release , the
movie received much praise . And
many critics predicted a bright future
for the young filmmaker.
Initially; he must have severely dis
appointed those critic s . Suzuki wal
lowed through a assortment of offen
sive pink exploitation {e. g . , Uniform


Flesh Slave [1985] , Women In Heat

Behind Bars [1986] , Erotic Fles h
Bondage [1987] , e t al l before h e fi

see Spotlight Section: Kazuhiro Sano


[Fuj in-ka Byoto : Yasashiku Monde]

director: Junichi Suzuki
Jtmko Asahina Yukiko Tacbibana
Asami Ogawa Kazunori Shinkawa

Stylist Rie (Junko Asahina) thinks
she ' s got a tough l i fe . Her biggest
problem is trying to decide which
man she 'd rather marry , an older di
vorced father or a younger photogra
pher from work . But when Rie is
confined to a hospital ward for a few
day s , she begins to realize how in
consequential her dilemma truly i s .
S h e i s s h a r i n g a r o o m w i th t w o
women , a prostitute a n d stripper .
And she ' s subjected to their tales of
sadness and despair. One is preparing
for an operation to remove her uterus
due to a infection caused by venereal
disease, and the other had attempted
suicide after getting dumped and beat
up by her boyfriend/pimp .
This is the debut by Junichi Suzuki
(no relation to Seijun Suzula). It ex
cels in strong characterization and a

nally helmed an " A " picture . In late

198 7 , the director won Nikkatsu ' s
Best F i l m award for A ng el Guts :
Red Rope. This notoriety caught the

attention of Shochiku Studios boss

Kazuyos hi Okuyama who offered
him a contract. Suzuki accepted and
changed his name from kan ji symbols
to hiragana { phonetic spelling } . Al
though it appears the same w h e n
translated t o English, the alteration
successfully distanced him from the
rough pink roots .
He did an about-face at Shochiku .
His first release was I Want To See
Marilyn (1988) , a hit about a lost
dog trying to find his owner . Suzuki
is fondly remembered for another
family smash , the comedy Robinson
On T h e S a nd { S u n a No Ue N o
Robinson} (1989) . In 1992 , h e pro
duced the A m e r i c a n fi l m In T h e
Soup , directed by Alexandre Rock
well and s t a r r i n g a y o u n g S t e v e
Buscemi .
A DOCU-DRAMA (1974 )

[Jitsuroku : Gypsy Rose]

Thomas Weisser And Yuko Mihara Weisser

director: Shogoro Nishimura

Maya Hiromi Nagatoshi Sakamoto
Akimi Nijo.'Hiroshi Gojo

* * * 1/2
She officially changed her name
from Rose M arie to Gypsy Rose in
1952 (presumably as a homage to the
fam o u s A m e r i c a n s t r i p p e r G y p s y
Rose Lee), This is the true story of
her short , tragic and explosive life .
She died in 1967 a t age 31 .
The docu-drama {jitsuroku, a word
popularized by Chusei Son e ' s Pro
fessional Sex Performers: A Docu
Drama in 1973} begins when Rose is

15 years old . With dreams of show

biz fogging her head , she runs away
from her home in the rural farming
community . In Tokyo the girl meets a
show director, Masakuni (Nagatoshi
Sakamoto ) , who immediately takes
r e s p o n s i b i l ity fo r h e r . U n d e r h i s
guidance , Rose becomes a n elegant
stripper, booked immediately into the
swank nightclubs of the city ' s enter
tainment district . Rose and Masakuni
also become romantically entwined .
But he ' s a selfish lover who can't sat
isfy the girl . Eventually , Rose turns
to alcohol for comfort, resulting in a
career nose dive . She loses both her
popularity and her boyfriend/manag
e r . Gypsy Rose fi nds herself per
forming in one lowrent grind house
after another until her liver fails and
she gives up the ghost in a s leazy
backstage dressing room .
This sad , uncompromising look at
Gypsy Rose is accentuated by some
stirring striptease numbers . Newcom
er Maya Hiromi proved herself an
exceptional talent i n the title rol e .
S h e became a b i g star immediately
upon the release of this film. Nikkat
su was not p repared for the over
whelming success story . The studio
pushed her into a collection of


mediocre fi l m s { e . g . , Season O f
Lust: A Trail Of Honey From An
18 year Old (1974 ), to R ed Light
District: Woman In The Honmoku
Brothel (1975 ), to Female Teacher:
Boy Hunt (1975 ) } until M s H iromi
did what no other actress had been
willing to do . She broke the contract,
declaring herself a free agent . Toei
immediately signed the starlet to a
nonbinding agreement. But they had
the same " p lacement " problem as
Nikkatsu . Instead of developing a
new p r oj e c t fo r the a c t re s s , they
stuck her in an Edo sex piece which
was already i n production , Concu
bine ' s Palace (1976 ) . Ms H i r o m i
was l o s t p l a y i n g second fidd l e to
Eiko Matsuda .
see ROPER FROM HELL series
HANZO THE BLADE (1972-1974 )
[Goyokiba] Three Episodes
aka Fangs Of The Detective
aka Razor
This series is easily the most outra
geous of all the chambara. Shintaro
Katsu plays Hanzo " Blade " Itami, a
master detective l i v ing during the
Edo Period who has a most peculiar
way of interrogating his female sus
pects . He tortures them w ith his pe
nis . Yes , Hanzo has been working
out for years , and his male member
is as strong as . . . wel l , as strong as a
blade . I n h i s p r i v at e g y m , w h i c h
looks a lot more like a torture cham
ber , he has a stone block with a penis
indenta t i o n . H a n z o p u t s h i s " b i g
business " in place and pounds on i t
with a hammer. This is only one o f
h i s many exercises - there ' s really no


Japanese Cinema Encyclopedia : The Sex Films

need to go into more . Suffice it to

say , Hanzo ' s dick is very strong .
And when he uses it for interroga
tion, he gets the answers he wants .
This Toho series is based on a geki
ga ( a n a d u l t - o r i e n t e d manga) by
Kazuo Ko ike , author of the Baby
Cart series. Despite the erotic , if not
misogynist, nature of these movies ,
they were not considered pink fIlms .
In fact, these flicks played to main
stream audiences throughout Japan .
A definite lesson in culture shock.
The first entry [Fangs Of The De
tective] deals with four criminals who
escape from an island jail and return
to Edo . The police are under pressure
to round up the convicts quickly . If
only somebody knew where they are
hiding- Hanzo " questions " Omino
(Yukiji Asaoka) , a girlfriend of the
bad guy s . She has no choice, the girl
talks . The criminals are hiding inside
the shogun' s palace where some po
l itical mischief is going on. Hanzo
sneaks into the castle, " interrogates "
a few concubines and gets t o the bot
tom of things.
# 2 [Hanzo 's Torture HelTJ is the
trashiest of the three entries . After he
" interviews " a suspected thief, Hanzo
believes wholesale corruption is go
ing on inside a Shinto shrine . If his
information is correct, evil nuns are
running an abortion clinic within the
walls of the temple, not to mention a
flesh trafficking racket. Of course ,
Hanzo investigates and interrogates
lots of bad woman .
I n the final epi sode [Hanzo th e
Devil, th e Flesh and Gold Coins] ,
Hanzo hears stories of a ghost who
appears in a swamp near Edo castle.
A ft e r " qu e s t i o n i n g " a s u s p e c t e d
shoplifter, h e believes the supernatur
al gibberish is a cover-up for some
thing much bigger, l ike a treasure
c h e s t o f s t o l e n c o i n s . He " pokes

around" and discovers the truth .

Here are the Hanzo films :
Fangs Of The Detective ( 1 972)
aka Sword Of Justice (USA)
director: Kenji Misumi

Shintaro Katsu Yukiji Asaoka

Mari Atsumi Ko Nishimura
Razor Hanzo 's
Torture Hell ( 1 973)
[Goyokiba: Kamisori Hanzo Jigoku-zeme]
aka The Snare (USA)

director: Yasuzo Masumura

Shintaro Katsu Ko Nishimura

Hosei Komatsu Masami Muneda
Hanzo the Devil,
the Flesh and Gold Coins ( 1 974)

[Goyokiba: Oni No Hanzo

Yawahada Koban]
aka Who 's Got The Gold (USA)
director: Yoshio Inoue

Shintaro Katsu Ko Nishimura

Mako Midori Daigo Kusano
all films listed above are Toho

see Spotlight Section: Hisayasu Sato



[Hard Les : Honban Zetsugi]

director: Yutaka Ikejirua
Cbisato Ariga Mako
and Satomi Shinozaki

Yutaka Ikejima joined Shuji Terayama' s stage theater as an actor in
the late ' 70s . He eventually moved to
motion pictures, premiering in Genji
Nakamura ' s Semi Do cu mentary :
H o us e w i fe

P ro s t i t u t io n


(1981 ) . During the next seven years,

Ikej ima appeared in more than 500
pink films , before turning his talents
to directing in 1 988 . Initially, he con
centrated on A V s {Adult Videos } . His
theatrical debut came in 1 99 1 with

Thomas Weisser And Yuko Mihara Weisser

The Mastu rbating L es bian { The

Onanie Les } . Ikej ima is married t o

Kyoko Godai (Hisayasu Sato ' s noto
rious scripte r ; see spotlight section
Four Kings Of Pink, page 463) who
also writes most of his films . Many
pinku eiga fans insist he will be the
genre ' s next big director.
Traditionally , lesbian movies are
" dishonest projects " made for a leer
ing male audiences , men who enjoy
seeing " two naked female bodies for
the price of one . " Howeve r , Ikej i
rna ' s l e z films break the stereotype .
He (and scriptwriting wife , Godai)
are more interested in character por
trayals , les mellos { lesbian melodra
mas or soap opera} , with gay women
l iving their lives in traditional male
roles (sometimes brandishing macho
emotions l i k e sexual j ealousy and
rage which result in murder) .
In this story , a straight nude model
(Chisato A rigo) becomes thoroughly
infatuated with a lesbian (Mako) af
ter a freakish seduction. The woman
falls madly in love w ith Mako , but
the experienced lesbian is notoriously
promiscuou s . After much heartache
and many tears , Chisato realizes that
the only way she can totally possess
her loved one is by killing her .
SEX DRIFfER (1980)

[Hard Scandal : Sei No Hyoryu-sha]

director: Noboru Tanaka
Ako Rie Kitahara
Yudo Yoshikawa Akinori Nozawa

* * '12
Director Tanaka spins a distressing
tale here , as he underscores three
generations and their inability to re
late to one another. It's a story of ut
ter madness, especially in its concept
of sex .
Junior high school student Yudo


(Yudo Yoshikawa) spends his nights

hanging out at the disco ; his parents
are more interested i n dealing w ith
their swapping partners than taking
care of their son . One evening , while
he ' s shop l i ft i n g , a y o u n g w o m a n
(Ako ) gives him a h a n d a n d helps
him pull off the snatch. Yudo, mes
merized by the woman, follows her
to find out where she lives . Then he
attacks and rapes her .
IN THE RAIN (1972)

[Arne No Headlights]
director: Masaru Konuma
Mari Tanaka Shusaku Muto

* * 1/2
Romantic melodrama . After Maki
( M a r i T a n a k a ) is b e t r a y e d a n d
dumped b y her fiance , she responds
emotionally to the consolatory over
tures from a truck driving friend Seij i
(Shusaku Muto ) . Soon their relation
ship blossoms into love {or at least
lust} . But the trucker is a family man
who feels guilty over his indiscretion .
And so Maki leaves h i m . Trucker
Seij i begins searching for her every
where , and when it appears they will
be r e u n i t e d ( t h e w o u l d - b e l o v e r
learns that Maki has taken refuge in a
nearby resort village) , he finds that
she was just killed in a car accident .
Attitud inally s i m i l a r to Jacques
Demy ' s Umbrellas o f C herbou rg
(1964 ) , without the songs, of course .
This is director Ko nu ma ' s second
movie for Nikkatsu , preceded by Call
Of The Pistil (1971) and followed by
the Female Teacher films in 1973.
But he will always be remember for
e l e v a t i n g S & M to an a r t fo r m i n
Wife To B e Sacrificed (1974 ) ,

[Dan Oniruko Bara Jigoku]


Japanese Cinema Encyclopedia : The Sex Films

Director: Shogoro Nishimura

Junko Mabuki Yuki Yoshizawa
Shu Wada Satoshi Ida


Sawamura (Shu Wada) , a second
rate photographer , is j ealous of his
apprentice (Satoshi Id a). The boy
has gotten engaged to Sawamura ' s
ex-mistress , pop-singer Keiko (Junko
Mabuki). The spurned bossman in
vites Keiko to his mountain vacation
house for " an important meeting . "
There , he captures and tortures her .
The sadistic activities are interrupted
by his infu riated wife who takes a
whip to the young girl . Sawamura is
angry with her for taking away his
fun. He attacks and tortures his wife
too . . . .
. . . Long ago , director Nishimura put
a gun to his head and blew his brains
out .

director: Jiro Komoro

Madoka Minazuki Arisa Shindo
and Megumi Kishimoto

HELL PIT ( 1 968)

[Anaj igoku]

aka Brothel In Hell

director: Kaoru Higashimoto
Nami Katsura Risa Minakami
Mari Nagisa Kohei Tsuzaki

* * 1/2
Better-than-usual production values
and a competent cast elevate this sto
ry (about an evening in a Japanese
whorehouse) to unexpected heights .
Nothing much by way of plot, but the
girls are diverse and , at times , en
dearing . However, the tale is darker
than usual ; some of the clients with
their sadistic fetishes take the fun out .
Risa Minakami and Mari Nagisa
often work together in Japanese sex
movies { see Sweet Wedding Night,
B lu e Mo v i e : Es timatio n , et al } .

They bring a distinct ive charm to

their projects .

[Uradori Honban H itozuma]

Director Jiro Komoro is one of the
s u r v i v o r s fro m t h e fi r s t w a v e o f

pinku eiga (e. g . , Rip O f The Flesh

[ 1 969] ) . Here he j oins three of the
neo-pink starlets from the ' 80s for an
interesting variation o n the house
wife-finds-illicit-sex tale .
Reiko ( M ado ka Minazu k i ) b e
comes a porno actress to h e l p h e r
husband pay off h i s debts t o a yakuza
loan shark . But then she winds up
falling in love w ith the college stu
dent who plays the romantic lead in
her movie .
Mado ka Minazuki started w ith
Nikkatsu for the instantly forgettable
Ko ichiro Uno 's Wet And Leering

(earlier in 1 983) . She became a pink

free agent afterward s ; her contract
was picked up by Shintoho Studios.
They gave her star treatment . Arisa
Shindo , on the other hand , left Shin
toho to join Nikkatsu in 1 985 when
she made Pink Physical Examina

see Spotlight Section: Hisayasu Sato


see Spotlight Section: Hisayasu Sato


[The Kokyu Baishun:

Jigoku No Kifuj in]
director: Shuji Kataoka
Kazuhiro Sano Saki Kurihara

Thomas Weisser And Yuko Mihara Weisser

and Shiro Shimomoto

Saki Kurihara p l a y s a m i stress
who becomes a call girl to pay off
her married lover ' s embezzlement
debt. At her new job, the manager
(Shiro Shimo mo to ) teachers Saki
everything she needs to know about
becoming the best little whore in the
business . The most important lesson
is that she must become an actress ,
pretending to be in love w ith all of
her clients, treating them all like they
mean something special to her . Saki
becomes a great prostitute . And soon,
even the manager has fallen under
her charm . He proposes marriage and
offers her a chance to get out of the
business . But, in an ironic bittersweet
conclusion, Saki turns him down ex
plaining that he too has become a vic
tim of her cold acting ability .
This erotic character-study is a ma
jor departure for director Kataoka
who spent the better part of his career
refining the Violent Pink arena into
something resembling art {e. g. , the
Roper From HeD films [1985-1986] ,
the Su b w a y S e r i a l R ap e s e r i e s
[1985-1988] , e t at } . This movie was
h e r a l d e d as a n e w d i r ect i o n fo r
Kataoka and company .

(Oshioki Haihiiru)
director: Takashi Kodama
Misuzu Saiki Manami Morimura
Minod Sonoda Tsutomu Hod

Shishi Productions
* * '/2
A wildly entertaining but ultimately
cheap-thrill production from former
Nikkats u p i n k d i re c t o r Kod a m a

(e. g. , Comfort Tutor [ 1982] ) .

Three waitress are secretly crime
fighters , of sorts . They are actually
enforcers for a revenge company .


M i streated and/or abused women

hire them to dish out brutal paybacks
to male bullies. Most of their activi
ties are directed at harming the geni
tal i a o f the male v ictims ( u s u a l l y
rap i sts) , whether i t be with impo
tence - i nd u c i n g i nj ec t i o n s o r w i t h
leather restraints and various torture
devices . Males in the audience may
be squirming in their seats , but it ' s
all done tongue-in-cheek.
Perhaps the oddest aspect of thi s
m o v i e i s t h e high-heeled punishers
themselves . Considering their pro
feminist occupation, they wear hardly
any clothe s . Decked out in leather
bustiers , T -Backs, garter belts , fish
net hose , and foot crunching high
heeled boot s , they fig h t the good
fi ght while g i v i ng the aud i e nce a
great view of their charm s . And then
- presumably because they work up
quite a sweat - d i rector Takas h i
Kodama includes a n overly generous
number of shower sequences .
The female freedom fighters are
real-life members of a Japanese pop
group known as the D-Cats . They
also perform the theme song to prove
it but , all-in-al l , they aren't bad ac
tresses, playing the roles with crack
owl seriousness . U ndoubtedl y , the
film is inspired by the highly success
ful Rapeman series (see separate list
i n g ) , but there are enough d i v e r
gences for the movie to stand on its

[Mahiru No Kirisaki-ma]
director: Yojiro Takita
Kaoru Orimoto Tom Nakane
and Shiro Shimomoto

* * '/2
A fter the s ucce s s o f h i s S e r i a l
Rape, a 1983 sexual thriller , Yojiro
Takita divided his filmmaking inter-


Japanese Cinema Encyclopedia : The Sex Films

ests . He continued helming the popu

lar M olester's Train comedy series
( 1 982- 1 986) , but he also began pro
ducing some fi l m s , l i k e this one ,
which explored the darker regions of
sexual v iolence . High Noon Ripper
is co-scripted by Shiro Yumeno who
later developed into a major screen
writer after his partnership with di
rector H isayasu Sato in 1 985 (e. g . ,
Sex Virgin Unit: Party O f Beasts) .

Takita has created a "pink psycho

horror film " enhanced by the loneli
ness of urban life . His film follows
the traditional thriller formula The
plot deals with an unidentified slasher
who strikes in the afternoon, killing
hookers after they service business
men on a lunch break . A young cam
era geek happens to snap a picture of
the Ripper during one of his vicious
slashing s . He s e l l s the photo to a
t ab l o i d w h e r e the e d i t o r ( T o ru
Nakano) decides to p l ay amateur
sleuth and reveal the killer ' s identity .
In an unexpected (and contrived) end
i ng , the H igh Noon Ripper is un
masked as a female feature writer
working for the same newspaper .

[Koko Emanuelle : Nureta Doyobi]

director: Nobuyuki Saito
Minako Mizushima Machiko Ohtani
Yuko Asuka Rei Okamoto

The only member o f the cast with
any real acting experience is Rei
Okamoto (she ' s been down this pu
bescent path before in Chusei Sone's
1 00 High School Girls : Secret Mo
tel Report [ 1 975] ) . But Ms Okamoto

has v irtual l y nothing to do in her

thinly written teacher rol e . The

teenagers are the center of focus i n

this youth-out-of-orbit story . Despite
the c u t s i e t i tl e , t h i s b l e a k m o v i e
should not b e confused with titillating
Ema n u elle fi l m s fr o m E u r op e .
High school student Akiko (Minako
Mizushima) is being tutored by up
per-class man Yuko (Yuko Asuka) .
The girl , however, pays more atten
tion to Yuko ' s handsome boyfriend
than to her studies . But the boyfriend
is more concerned with finding the
driver of a cherry red car, a man who
allegedly raped his old g i r l friend ,
thus causing her to commit suicide .
Yuko , on the other hand , doe s n ' t
care about her boyfriend o r his burn
ing crusade for vengeance . She ' s a
cocaine addict, more interested in tu
toring kids and turning tricks to sup
port her drug habit.
This is Nobuaki Saito ' s directorial
debut . He continued with Nikkatsu
through 1 98 1 , averaging one movie a
year {his next film would be Woman
Of The Afternoon: Incite!} , until he
resigned to follow a freelance pro
ducer/ scripter career. He returned to
Nikkatsu in 1 987 (under the pseudo
nym Mizumaru Saito) for Captured
Mother And Daughter : She-Beast

which the studio lauded as its best

film of the year . Following that solo
venture , Saito moved to a successful
string of T V dramas , c u l minating
with a televised version of the popu
lar XX series called XX : Graceful
B eas t

{XX: Sh inayakana Bi ju }

( 1 997) .

[Koko Erotopia : Akai Seifuku]

director: Shiichi Shiratori
Jun Takahashi Kanji Kume
Hiroshi Fujioo Etsuko Hara
and Moeko Ezawa

Thomas Weisser And Yuko Mihara Weisser

By the time director Shiratori hit
his stride , he was helming essentially
two type of films , the movies culled
from books by Ko ichiro Uno { see
listing under Uno} and prurient high
school sex comedies . This one , obvi
ously , falls into the latter category .
Three movie nerds quit the school
Film Club because they aren' t happy
with the " square activities . " They de
cide to start their own club which they procrastinate - will produce a
pink film for the High School Festi
val . The boys secure partime jobs to
fund the project, but the big problem
is they can ' t find any actresses will
ing to be in their movie . After lots of
scouting { arguably the most enter
taining section of the film} , they un
e a r t h o n l y a m i d d l e age w o m a n
(Moeko Ezawa) who agrees t o work
with them . The boys, however, never
g e t the i r p r oj e c t o ff the g r o u nd .
Rather, they dupe their actress into
thinking the movie is being made
while they eagerly take turns riding
her .
Moeko Ezawa, in a less than ele
g a n t ro l e , is the p e r e n n i a l o l d e r
woman with a horny streak . She has
p l a y e d a s i m i l a r p a r t s fo r many
years , commencing with director Shi
ratori ' s Crazy Season in 1 973 .

[Kokosei Geisha]
director: Taro Yuge
Masako Mizuki. Junko Yashiro
Mari Atsumi Yukiko Tsuyama

Here ' s another attempt by Daiei
Studios to infiltrate the budding sex
market , but remain a " respectable
company " at the same time (also see
Memoirs Of A Sex Doctor [ 1 968] ) .


Masako Mizuki continues t o take

advantage of her youthful appearance
(she was actually 22 when she made
this film, Teenage Sex Problems and
her o t h e r h igh school sexposes ) .
Here , she and her friends become
part-time geishas for extra money and
" valuable knowledge about life and
love . " Eventually the police get in
volved as they crack open a sex scan
dal that exposes lecherous members
of the High School PTA .

director: Kichitaro Negishi
Machiko Ohtani Yoko Kurita
Yususuke Koike Keiko Aikawa

This Japanese v e r s i o n of Adrian
Lyne ' s Foxes (also made in 1 980) ,
serves as director Neg is hi ' s follow
up to the blockbuster From Orion's
Testimony ( 1 978) . Unfortunatel y , it
pales by comparison .
Kyoko (Machiko Ohtani) and Yuki
(Yoko Kurita) are 16 year old high
school girl s . Both of them are still
virgins even though they are becom
ing very interested in the opposite
sex . One day , Kyoko meets a married
man and instantly falls in love . She
loses her innocence while learning a
valuable lesson in human nature at
the same time . M eanwhi l e , Yuki
can ' t stand living under her mom ' s
overly protective rule. The girl runs
away from home , finding shelter in
the home of a friend where she has a
close call with rape.
Kichitaro Negishi's next film would
by Wet Weekend (also 1 979) .

[Jokosei : Natsu H iraku Kuchibiru]

director: Akira Kato

Japanese Cinema Encyclopedia : The Sex Films


Ayako Ohta Nami Misaki

Hiroshi Fukami Hirokazu Inoue

* V2
Shoko (Ayako Ohta) is a country
girl , attending high school at night .
One evening , on her way home , she ' s
raped by a Akira (Hiroshi Fukami) ,
a trav e l ing salesman from Toky o .
Shoko considers this a " great oppor
tunity , " providing her with a way to
get out of her drab rural life . She fol
lows Akira to Tokyo, moving into his
apartment { " You raped me, now take
care of me! " } . In reality , Shoko has
ulterior motives for going to Tokyo.
She wants to see her Junior H i g h
School teacher, M a s a k i (H irokazu
Inoue) , the man who originally de
fl owered her when she was much
younger . Back at that time , after se
d u c i n g the g i r l , t e a c h e r M a s a k i
zipped off t o Tokyo with her sister.
Today , as Shoko discovers , they are
living a miserable life in a rundown
urban neighborhood . S o , she starts
thinking things a ren 't so bad with
Akira . And the beleaguered rap ist
tells her that he loves her . Everything
is right with the world .
G IR L ' S DIARY ( 1 98 1 )

[Jokosei Nise N ikki]

director: Nobuyoshi Araki
Rika Arai Yoko Morimura
Koshiro Asami Naomi Hagio

N ikkatsu
I n real life , Nobuyoshi Araki i s a
famous Japanese photographer who
specializes in particularly nasty poses
of nude females . He's known for his
ability to take a woman off the street
and turn her into a " wet sexpot . " On
paper - at least
Araki as a pink
director must've seemed like a great
idea . But his fans , expecting the out-

rageou s n e s s of h i s p h o t o b o o k s ,
walked away from the theater disap
pointed . The movie failed . Today it
is regarded as "Nikkatsu 's great un
derindulgence, " merely the whim of
a famous photographer.
The story is the visualization a high
school student' s daydream {or is it? }
which finds Rika (Rika Arai) chosen
as a centerfold for a man ' s magazine .
The opportunity introduces her to a
series of dazzling , hedonistic experi
ences . For example, when she goes
to the p h o t o g r a p h y s t u d i o , R i k a
walks into a room where a big orgy
is being filmed . Then the girl goes to
a hotel ; she ' s captured and her pubic
h a i r is shav ed . A fte r w a rd s , R i k a
waltzes t o a bar where she is licked
all over her body , then gang raped.
When Rika wakes up in her bed , nei
ther she nor the audience knows i f
everything was a dream or not.
SWOON! ( 1 985)

[Koko Kyoshi : Shisshin! ]

director: Fumihiko Kato
Rena Kuroki Mari Somei

MATURING ( 1 985)

[Koko Kyoshi: Seijuku]

director: Shogoro Nishimura
Rei Akasaka. Ryoko Watanabe

Kumi (Rena Kuroki) lost her virginity in a rape three years earlier .
Now , she ' s a h i g h school teacher
who must face the son of the rapist
when the boy becomes one of her
students . H i s presence sparks emo
tions which she thought had long ago
died . Poor Kumi can ' t control her
lust for this boy , the offspring of her
first "encounter. "

Thomas Weisser And Yuko Mihara Weisser

D i rector Fu mihiko Kato didn ' t

make many fi lms { l i mited t o G irl
And The Wood en Horse To rtu re
[ 1 9 8 2 ] and Exo tic M as k I n H e l l

[ 1 988] } , but - despite the exploitive

titles and contemptible scripts - they
are among the finest of Nikkatsu ' s
output i n the ' 80s .
On the other hand , the sequel to his
Swoo n ! i s typical sex-fi l m fodder
from shlock king Shogoro Nishimu
ra . In #2 (H ig h Schoo l Teacher:
Matu ring ) , the plot deals with a
randy teacher who can ' t keep her
hands off the students . The film was
promoted w ith a lurid catch phrase :

''I 'll give you what you want but do it

to me tenderly! "
SUICIDE ( 1 968)

[Nihon Sei Fuzokushi Murishinju]

director: Hiroshi Mukai
Kemi Ichiboshi Toshio Tanaka
Mari Nagisa Kiyoko Takeda

* * 1/2
Desp ite the low budget, this
Asakura Production i s a surprisingly
successful attempt at combining the
new sex genre with a more traditional
film narrative . I t ' s the story of two
young lovers , Yae (Kemi Ichiboshi)
and J intaro (Takashi Yajirua) , who
are discovered in illicit embrace by a
traditional i s t town father (Tos hio
Tanaka) , the head of the local fish
ing industry . The villagers force the
two teenagers to commit suicide , thus
p u r i fy i n g the i r v i o l ated s o u l s . A
somber look at Nippon traditions and
calloused morality .
During the first wave of Japanese
pink films ( 1 967- 1 97 1 ) , Kemi Ichi
boshi made a career of playing a vio
l ated innoc ent . H e r m o s t famous


movies are R ap ed V irg in's Diary

and Perverted Virgin (both 1 968) .
Meanwhile, Mari Nagisa seemed to
star in every i ndependent sex fil m
during the same period o f time . She
also worked w ith H iros hi Mu kai
numerous time s , most famously in
B lue Film : Estimatio n ( 1 969) and
Modern Female Ninj a : Flesh H ell

( 1 969) . The director ' s best known

venture i s Deep Throat In To kyo
( 1 975) . { See separate listings for all
the above mentioned titles . }
HOLE ( 1 967)


aka The Pit

director: Kensuke Sawa
Kaoru Miya Setsu Shimizu
Kemi Ichiboshi Kaori Aihara

Asia Film
* 1/2
This is an early film from Kensuke
Sawa who never actually became a
great (nor even good) director, but he
managed to develop his talents far be
yond this meager entry (as evidence
in 1 968 ' s Crazy For Lust) . Here ' s
the gimmic k : i t ' s supposed t o b e a
true documentary on lesbian sex in
Japan, but the segments are so obvi
ously staged and the camerawork is
so purposely inept that it doesn' t suc
ceed much past the industrial fil m
level .

[Furusato Porn : Kame-san Shaburi]

ITunie licking is a euphemism for oral sex .

director: Minoru Inao

Ami Takatori Usagi Aso
and Asuka Urano

Toei Central Film

Minoru Inao remains a competent
i n d e p e nd e n t d i re c t o r w ho ' s b e s t
known for Shintoh o ' s Mo les t e r ' s


Japanese Cinema Encyclopedia : The Sex Films

Train episodes which ran in tandem

Katsura) and Akemi (Naomi Oka)

are bar hostesses {as well as part
time prostitutes } . They make lots of
money . The two women invite their
younger sister Yuri (Rei Okamoto)
to leave the country s i d e and v i s i t
them in Toky o , which s h e doe s . I t
doesn't take long for Y u r i t o learn
the tricks of the trade . Soon , the
three s isters are pulling i n the big
bucks together. Then , one day , the
sisters overhear the bar madam dis
cussing a scheme to snatch the night
club from the owner. They immedi
ately go to the big boss and snitch on
the devious manager . The owner is
very pleased with them . He replaces
the madam , putting them in charge .

to Yojiro Takita ' s popular series

( 19 82- 1 9 85 ) . H e specializes in sex
comedies , usually dealing with mar
ried couples ( e . g . , Mastu rbatio n
Lesson [ 1983]), rather than the more
fashionable youth-oriented films .
This one is like an episode of Li'l
Abner gone w i l d , as a mayor and
municipal administrator go out hunt
ing for sexual adventures in a rural
to w n . The h o rn e - s p u n comedy i s
punctuated b y a n abundance o f back
woods beauties , including bountiful
Usagi Aso .

see Spotlight Section: Hisa yasu Sato

HOT CRIME ( 1969)


[Atsui Hanko]

[Hostess loho : Shiofuki Sanshimai]

director: Chusei Sone
Rei Okamoto Naomi Oka
Tamaki Katsura Reiko Akitsu

* 1h
Perhaps the big question i s how did
Chusei Sone manage to keep his rep
utation as a "class director" after de
livering a large number of cheesy in
glorious films like this one {and the
others , Overly Ripe Breasts [ 1973],
Modern Prostitution: Lust Under A
Unifo rm [ 1974] , 100 H igh Schoo l
Girls : Secret Motel Report [ 1975 ] et

al} . And maybe the bigger question

is how did he wade through this junk
w ithout los ing his perspective , his
ability to create such legendary mas
terp ieces as Showa Women: Naked
Rashomon [ 1972], Professional Sex
Performers : A Docu-Drama [ 1973]
o r A n g e l G u ts : R ed C l ass room
[ 1979 ] . To say Chusei Sone has en
j oyed a " varied career " is quite an
In this story , sisters Fumie (Tamaki

director: Moto Sasaki

Noriko Tatsumi Mineko Maruhira

Nihon Cinema
More cheaply made junk from Ni
hon Cinema . Two lovers decide to
pull a jewelry heist w ith disastrous
results .
Although it was promoted as a sex
film, there ' s very little pink stuff.

[Onsen Geisha] 4 Episodes Toei

In 196 8, Toei followed the lead of
the other studios and j umped deci
sively into the sex/exploitation mar
ket with two major productions , Joys
Of Tortu re ( 1 96 8- 1 973) and Hot
Springs Geisha ( 196 8- 1 972), both
helmed by staff fi lmmaker Teruo
Ishii . After establishing the tone for
both movies , director Ishii decided to
concentrate on the Torture series ,
passing the sequel responsibilities of
Geisha to S ad ao N a k aj im a a n d
Noribumi Suzuki . The Geisha series
- while delegated to a ridiculously


Thomas Weisser And Yuko Mihara Weisser

simplistic formula - became enor

m o u s l y p o pu l a r , r e s p o n s i b l e fo r
launching the careers of both Miki
Sugimoto and Reiko Ike .
Controversy surrounded the fourth
e p i s o d e , w h e n a c t r e s s R e i ko an
nounced to the media that she was
" u nder-age , " claiming that she had
lied about her age to the Toei execu
tives and that she was, in fact, six
teen years old . Even though Japan
has no law against teens performing
in sex movie s , the stud ios share a
gentleman 's agreement of hiring only
p e o p l e o v e r the age of e i g hte e n .
Reiko ' s confession caused a media
frenzy . But Toei laughed all the way
to the bank . The publicity had turned
this series into one of their biggest
hits of the ' 70s .
Hot Springs Geisha ( 1 968)
[Onsen Anma Geisha]
director: Teruo Ishii
Teruo Yoshida Yoko Mihara
Masmni Tachibana Yuriko Mishima

This one isn't much o f a pinku eiga,
but rather , it's a big-budget, full col
or sex comedy . Teruo Ishii , the in
d u s t r y ' s p r e m i e re b a d - b o y { b e s t
known for his Joys O f Torture se
ries } , washes away his darkly sardon
ic c inematic style in favor of this
light and fr i v o l o u s " ma i n s t ream "
comedy about geisha masseuses oper
ating ins ide a hotsprings resort .
Teruo Yoshid a plays the put-upon
teacher, Master Yoshioka , with six
teen girls under his care . The success
of the film spawned three very pink
sequels .
Hot Springs
Konnyaku Geisha ( 1 970)

[Onsen Konnyaku Geisha]

director: Sadao Nakaj ima
Miwako Onaya Taiji Tonoyama

Ichiro Araki

Asao Koike

* * 1/2
" Geisha ' s with great vaginas " are
challenged b y m e n , arrogant w ith
mascul ine virility , who believe they
can control their orgasm when con
fronted with a perfect anatomy . The
story focuses on a particular girl (Mi
wako Onaya) , adopted by a Kon
nayaku l { yam potato} processor, who
later becomes a high class prostitute
at the popular hot springs resort .
I The joke here lies in the word Konnayaku
which means yam potato . This is a Japanese
food with a smooth rubbery consistency, similar
10 an ul tra-fi rm jello. I t ' s suggested that the
Konnayaku is a perfect masturbation aid. Over
the years, the word has become slang for vagi

Hot Springs
Suppon Geisha ( 1 97 1 )

[Onsen Suppon Geisha]

director: Noribumi Suzuki
Miki Sugimoto Yoko Mihara
Emi Jo Sbingo Yamashiro

Because she h a s very strong muscles in her vagina (similar to the Sup
pon { s napping } turtle) , M iki (Miki
Sugimoto) becomes a very popular
gei sha/prostitute . M any male chal
lengers visit the Hot Springs resort to
give her a try .
Hot Springs Mimizu Geisha ( 1 972)

[Onsen Mimizu Geisha]

director: Noribumi Suzuki
Reiko Ike Miki Sugimoto

Reiko (Reiko Ike) has a vagina with
q u i v e r i n g w a l l s { th e sensation of
worms wiggling about }, thus Reiko is
k n o w a s a Mimizu ( e a r t h w o r m )
Geisha . Like the preceding entries i n
this series, many challengers visit the


Japanese Cinema Encyclopedia : The Sex Films

hot springs resort to try her own for

size .
The success of these films pushed
fo r m e r action d i rector No ribumi
Su zu k i ( e . g . , Red Peony s e r i e s ,
Killing Machine, Truck Guy, Roar
ing Fire, et a l ) into the sex arena .
Next he would helm Modern Porno

[Shufu No Taiken Report :

Shin Onna No Yo-jo-han]
director: Kazunari Takada
Junko Miyashita Tamaki Katsura
Kyoko Naito Taiji Tonoyama

Here are three compl d slice-of-life
tales by filmmaker Ta*d a , a com
pletely unexpected venture from the
same director who dropped two cata
clysmic bombs during his previous
attempts in 1 973 , Season Of Lust:

Tale: Inherited Sex Mania ( 1 972 ) ,

but he ' s best known for the NikkaJsu

feature Star Of Dave: Beauty Hunt
ing ( 1 979 ) .

Trail Of Honey From An 18 Year

Old and Lessons In The Art Of Sex.



Perhaps his year leave-of-absence in

'74 did some good , because Takeda
returned to the director ' s chair with
fresh ideas and a poignant se:fconfi
dence which had been missing since
his debut project Secret Chronicles :


see Spotlight Section: Hisayasu Sato


Opening The Doors To The Sacred

Altar in 1 972 .

( 1 975 )

[Shufu No Taiken Report :

Onna No Yo-jo-han]
director: Kazunari Takeda
Akane Kawasaki Junko Miyashita
Taiji Tonoyama Kiyoyasu Adachi

N ikkatsu



THE SEQUEL ( 1 975 )

[Shufu No Taiken Report:

Zoku Onna No Yo-jo-han]
director: Kazunari Takeda
Junko Miyashita Taij i Tonoyama
Kimihiro Hiraizumi Kan Mikarni
and Nagatoshi Sakamoto

N ikkatsu
APARTMENT ( 1 975 )
aka Tenement Apartment Saga:
The Lighter Touch
aka Sex And Tenement Apartments

# 1 deals with a proud woman,

Noyuri (Akane Kawasaki) , who en
joys running a low-income apartment
complex for her father, an absentee
landlord . Her tenants have become
not only her friends , but her entire
world . When dad returns with h i s
new fiancee who claims t o o w n the
property and has plans of building a
modern office building , Noyuri i s
suddenly p u t into a position where
she will have to close the doors , oust
ing all the residents onto the street .
However this wraparound is light
w e i g h t c o m p a r e d to the d r a m a s
seething inside the tenements . One o f
these stories is particularly haunting .
I t fi n d s an e x - p r o s t i tu t e (Ju n ko
Miyashita) in love with a college stu
dent . But when she realizes the rela
tionship is hurting his stud ies , she
sends him away . Later, Junko learns
the boy had been madly in love with
her and has comm itted suic ide . I n
mourning , she goes t o the crematori-

Thomas Weisser And Yuko Mihara Weisser

urn, swipes the remaining bones from

his ashes and inserts them lovingly
into her vagina. The scene is effec
tive as both shocking and tender, cer
tainly the essence of Nikkatsu ' s cut
ting edge cinema .
For #2 , M ina (Junko Miyashita)
runs a small neighborhood bar in a
poor Tokyo district. She lives with
her boyfriend , a struggling comedian
M ichio
( N ag atos h i
Sakamoto ) , in a tiny broken-down
apartment . One day his mentor unex
pectedly comes to visit, forcing Mina
to sneak out the window rather than
face humiliation for " l iving in sin . "
During her escape from shame , Mina
is i nj u r e d a n d r e s c u e d by b a k e r
Koichi w h o i s immediately smitten
with her charms .
This simplistic parody of Fukeizu,
the classic Japanese motion picture ,
met with extremely positive reviews .
The movie has also been praised for
art direction, especially regarding the
authentic reproduction of post-war
Japan . The true s ignificance of the
fi l m may be lost on most Western
viewers .
In #3 , M iyako (once again Junko
Miyashita) owns a small downtown
eatery , while living in an old adjoin
ing apartment . She ' s an incurable ro
mantic who easily falls in love and
finds herself in constant trouble as a
result. She thinks nothing of using
her sexuality to make friends. For ex
ample, she helps her next door neigh
bar, a man who lost his wife because
he had troubl e maintaining an erec
tion . M iyako also knows how to sat
isfy her dirty-minded landlord . But
then one day he dies on top of her
while collecting the rent.
This entry is much lighter than the
previous two , with sex depicted in a
fun (if not frivolous) manne r . The
trilogy is a marked departure from

20 1

Nikkatsu ' s preoccupation with i t s

Best SM line in 1975 . It's one of the

stud i o ' s few n o n - s ad o p r oj e c t s to
make money that year .
L i k e m a n y o t h e r roman p o rn o
films , the title {Housewife's Experi
ence: A Tenement Apartment} has
nothing to do with the story itself, es
pecially regard i n g the second and
third installments . Rather, it's merely
a catch phrase used " to sell product . "
This time , Nikkatsu is attempting to
t i e t h i s fi l m to i t s e v e r p o p u l a r
Apartment Wife series which also
starred Junko Miyashita .

[Ueta Joyoku]
director: Kaoru Umezawa
Hachiro Tsuruoka Noriko Tatsumi
Yuichi Minato Setsu Shimizu

Nihon Cinema / Shishi

A ihara (H achiro Tsu ruo ka) has
g r o w n t i r e d o f h i s w i fe , K e i k o
(No riko Tatsumi) , and h e is com
p l e t e l y i n fa t u a t e d w i t h h i s b e s t
fr i e n d ' s m a t e , R e i k o ( S etsu
Shimizu) . A lurid affair leads to un
expected complications when Reiko ' s
husband discovers the infidelity and
rapes Keiko for revenge.
Director Umezawa originally came
from the Koj i Wakamatsu fam i l y
where h e acted a s a second-unit di
rector until getting fired for "disre
spect " by the master. He became a
studio director for Hiroshi Mukai ' s
Shishi Productions where h e made
numerous films, including this one .
In 1969 , U mezawa approached the
subject of w i fe swapping - albeit
more sedately - i n the p i nk opus
S w a p p ing B etween Cou p l es . He
changed his name to Kaoru Tomoto
in 1974 and got out of the pink busi
ness . However, he would return (as
Kaoru Umezawa) to Nikkatsu with


Japanese Cinema Encyclopedia : The Sex Films

Captured White Uniform, then to

Tokatsu for Dance Of Lust and Vio
lated Uniform (both 1 983) .

see Spotlight Section: Hisayasu Sato

ing her the opportunity to act. But,

unfortunately, the plot is a hopelessly
familiar tale of a woman' s " blossom
ing " through promiscuity .
Ms Watanabe plays a young wife ,
bored t o death in a happy marriage,
who joins a prostitution syndicate for
afternoon fun-n-games . The endless
succession of sexual antics awakens
passion inside of her.


[Chibusa No Mitsuryoh]
director: Kensuke Sawa
Minoru Sawada Kohei Tsuzaki
Kazuko Shirakawa. Mari Iwai

Sawa Productions
Big breasted Minoru Sawada tried
to g rab success and notoriety w ith
this overly simplistic sex flick . She
formed the production company with
her director husband , Kensuke Sawa
(Sawa Films) and co-wrote the flimsy
plot about a horny handyman and his
quest for the perfect pair of tits . The
movie failed to fmd an audience , al
though it has since become a cult hit.
Kazuko Shirakawa, one of the co
stars , can be thankful only a handful
of people saw this feature . It enabled
her to make the most of the " innocent
virgin reputation" she nurtured while
premiering in Nikkatsu ' s Apartment
Wife series. Ms Shirakawa went on
t o b e c a m e the fi r s t m e g a - s t a r o f
Nikkatsu ' s lucrative pinku eiga peri
od in the ' 70s .

director: Hidehiro Ito
Ryoko Watanabe Mizuho Nakagawa

This is the first film after Ryoko
Watanabe' s less than impressive de
but in Gigolo : A Docu-Drama . It's a
much better endeavor, this time giv-

I AM AROUSED ( 1 976)

[Kanj irundesu]
director: Shinichi Shiratori
Jun Izumi Yu Mizuki
Katsuhisa Shinoda Moeko Ezawa

Nikkatsu traditionally used the "virgin deflowering tale " as a way of in
troducing its new starlets . These roles
were less demanding than the more
c o mp l i c ated roman p o rn p e r fo r
mances and the studio enj oyed the
opportunity of " testing " an actress
before making a big investment . In
this instance, the film is the debut for
Jun Izumi who eventually graduated
to meatier parts (best known for Mo
moe's Lips : Love Beast [ 1 980] and
Angel Guts : Red Porno [ 1 98 1 ] ) .
Jun (Jun Izumi) i s a 2 0 year old
student at a Fashion-Arts School, ma
joring in dress design . She ' s still a
virgin, even though her friends have
been sexually active for quite awhile .
Over the years , Jun has had ample
opportunities for the horizontal-bop
but she hasn't taken the plunge . Fi
nally, she decides to make it with her
high school sweetheart . Lucky him .
OF A MISTRESS ( 1 976)

[Watashi Wa 1 8-sai :
Maruhi Nigo Seikatsu]
director: Akihiko Yamaki

Thomas Weisser And Yuko Mihara Weisser

Mami Yuki

Tatsuya Hamaguchi

A married sailor U rata (Tatsuya
H amaguchi , from numerous Apart
ment Wife episodes) has an adulter
ous one-night-stand with a young girl
(Mami Yuki) , thinking she ' s a pros
t i tute . A fter a romp in the s ac k ,
sailor U rata discovers that h e has just
made love to a struggling teenager on
the lam from her parents . He feels
responsible , promising to support her
if she agrees to go back to school .
However, Mami is a proud girl who
rejects his offer, but she remains sex
ually attracted to this free-spirited

see Spotlight Section: Toshiki Sato

1 9 YEAR OLD'S DIARY ( 1 967)

[Aru 19 Sai No Nikki

Agete Yokatta]
director: Yuji Tanno
Keiko Nishi Tomoko Hamakawa
Koji Wada. Michiko Sasamori


After a number of successful teen

oriented actioners (most of which
were directed b y Seijun Su zuki) ,
heartthrob Koji Wada hit rock bot
tom w ith this turgid office melodra
ma. He had become too old to a play
roller skating instructor (e. g . , Reck
less Boss [ 1 96 1 ] ) or the many tai
lored James Dean -ish roles (i. e. , Go
To H el l, You t h G a ngs ! [ 1 9 6 0 ] ,
Tokyo Knights [ 1 96 1 ] , et aT) , so by
1 967 he found himself 9th billed in
this throwaway B-film about a nine
teen year office girl (Keiko Nishi)
who loses her virginity to the boss .
The same year Koji Wada made the


equally disastrous Monster From A

Prehistoric Planet .
WEDDING NIGH T ! ( 1 968)

[Shoya Ga Nikui ! ]
director: Takashi Chiba
Tamaki Katori Takashi Ichimura
Masayoshi Nogami Mariko 19awa

Aoi Eiga
* '/2
Yet another mean-spirited produc
tion from Aoi Eiga, the comp any
usually associated w ith G iichi Nishi
hara' s cinematic excesse s . This one
also stars Nishihara regular Tamaki
Katori (from Ripped Virgin and Se
duction Of The Flesh [both 1 968])
in the main role. She ' s v irgin bride
Miwa who dreads the thought of con
jugal love and is petrified of her wed
ding night . Groom Tsutomu
(Takashi Ichimura) does little t o in
spire confidence as he flirts with any
thing in skirts and then beds the hotel
maid to teach M i wa a " l e s s o n i n
love . "

[Bakku Ga Daisuki]
director: Koyu Ohara
Junko Asahina Yumi H ayakawa
Mari Kishida Kazuhiko Ishida

* '/2
Regardl e s s of the titl e , this g i r l
seems t o have n o real preference. She
likes it from any direction. At any
time . Anywhere . Junko Asahina is a
CEO groupie . She ' s a pretty office
worker who is sexually turned-on by
corporate executives . Just as music
groupies used to prove the authentici
ty of their conquests by making plas
ter casts of their superstar' s genitals ,
this sexy secretary h a s a j ournal o f
special penis ink pressings .


Japanese Cinema Encyclopedia : The Sex Films


AND ABUSED ( 1 990)

[La Valuse :
Watashi Bokosaremashita]
director: Akio Jissoji
Keiko Kaga Takashi Terade
and Ryuji Yamamoto

This one w a s originally produced
a n d m a r k e t e d as an A V { A dult
Video} . But, very quickly, Excess re
alized they had a hit and pulled the
film from release , rescheduling it for
a theatrical run .
The fi l m , r e m i n i s c e n t of Bigus
Luna ' s international smash Ages Of
Lulu (also 1 990) , centers on the sto
ry of a girl (Keiko Kaga) who [mds
herself in one bad affair after anoth
er . She is "unlucky in love " to the
point of self-humiliation . There ' s lots
of S&M , some of it more v i c ious
than usual for director Jissoji , even
more j arring due to the expensive
look of the film . Akio Jissoji is best
known to genre fans for his SciFi
epics Retu rn Of Ultraman ( 1 979)
and Ultra Q : The Movie ( 1 990) , but
he did more than dabble in the pinku
eiga market.
Some critics have interpreted this
m o v i e as a modern adaptat i o n o f
Rashomon. T h e g i r l claims t o b e a
rape v ictim but her attacker swears
h i s i nnocence . When h i s attorney
looks into the facts, the man discov
ers lots of contradictions on both
sides. He also finds the tools neces
sary to win the case and destroy the
g i rl ' s reputation in the process even though his client appears to be
g U i l t y . J i s soj i ' s u l ti m ate message
seems to be "what is truth and what

is its significance anyway?"

Sayuri Ichijo 's Wet Lust
director: Tatsumi Kumashiro
Sayuri Ichijo Hiroko Isayama
Kazuko Shirakawa Akira Takahashi

* * *1/2
"If I can shoot what I like without
the pressure of how it will turn out, I
am motivated , " said d i rector Ku
mashiro when he accepted awards
from Kinema Ju npo [ C i nema B i
w e e k l y ] fo r b e s t d i r e c t o r / b e s t
scriptwriter in 1 972.
Essentially , his quote hit the nail on
the head . Many directors gravitated
to Nikkatsu Studios during the ' 70s
because of the artistic latitude offered
by the company . Unlike the rigid by
the-book environment found at other
studios during the same time period ,
Nikkatsu gave their d irectors free
dom , even encouraging the filmmak
ers to " do something different " and
" take chances . " The only thing cor
porate bosses cared about was T-n-A .
I f the d i rector i n c l u d e d generous
amounts of tits-and-ass { officially , a
min imum of fou r such scenes per
hour } , he could make any k i nd of
movie .
Director Kumashiro thrived in this
environment . He became known as
the King of Nikkatsu Porn , the most
consi stently successful d i rector i n
Japan ' s cinematic history . And this
film, the story of a talented stripper
and her slug of a manager, is gener
ally considered one of the best in the
studio ' s first wave of Roman-Porn
(Romantic Pornography) . An even
more successful " sequel , " also di
rected by Kumashiro was released in
1 974 . { See separate l isting for Wet

ICmJO' S WET LUST ( 1 972)

Lust: Twenty One Strippers .}

If Tatsumi Kumashiro is the king ,
then Sayuri Ichijo is the queen -

[Ichijo Sayuri : Nureta Yokujo]

not the queen of the Pink Film (that

Thomas Weisser And Yuko Mihara Weisser

honor most assuredly goes to costar

Kazu ko Shirakawa) , but certainly

she ' s the undi sputed queen o f the

Japanese striptease. In her live acts ,
she was arrested frequently for re
vealing more than the government
censors would allow , adopting a
" love me , love my pussy " slogan .
She delivers a another delightful per
formance here , especially in the high
ly erotic striptease numbers which in
candle-wax S&M , bondage and per
verse sexuality . . . but no pubic hair .
A BOUND G IRL (1980)

[Dan Oniroku Shoujo Shibari Ezu]

director: Masaru Konuma
Kumiko Hayano Hide Ezumi
Yuko Asuka Akira Takahashi
and Mayumi Minato

University professor Keisuke (Hide
Ezumi) is a master of Ukiyo-e . I Se
cretly , he ' s into S&M and enjoys a
private collection of sadistic chimi
dore-e. Often, after classes, he hides
away in his back office and becomes
immersed in the rare art . Late one
n i g h t , w h i l e head i ng home to h i s
wife , professor Keisuke sees a young
girl ( Kumiko H ayano) who is at
tempting suicide . He saves her and
they go to his favorite bar for a night
cap . There , the bar manager (Akira
Takahashi) and his lover (Mayumi
Minato) kidnap the girl . Along with
Keisuke , they tie up Kurniko and haul
her to a isolated section of the profes
sor ' s mansion for some vicious S&M
game s . Meanwhile , Keisuke ' s wife
( Yu ko Asu ka ) , a c o n s e r v a t i v e
woman who doesn ' t want t o risk the
chance of a bad reputation, tries to
free the girl - attempting to pay her
off and send her away . But it's too


late . Kumiko has already become an

a s s e n t i n g p l a y e r in t h e s a d i s t i c
games. S o , i n turn, she captures the
w i fe and , a l o n g w i t h P r o fe s s o r
Keisuke , they abuse the woman .
Arguably , this is a return in form to
the early Masaru KonumalOniroku
Dan films (e. g . , Wife To Be Sacri
ficed [1974] , No ble L ad y : Bou nd
Vase [1977] , et ai) , but the movie

sorely lacks the participation o f a

quality actress like Naomi Tani {she
retired from the screen after Rope
And Skin in 1979, see separate list
ing } . Neither Kumiko H ayano nor
Yu ko Asu ka m u s t e r the inherent
qualities to elevate the story beyond
the rudimentary exploitive script .
However, Hideaki Ezumi gives his
b e s t p e r fo r m a n c e s i n c e that of
Kichizo in the award winning Sada
Abe: A Docu-Drama (1975 ) . His in
ner tension becomes an important ele
ment of the movie . In the beginning ,
when Professor Keisuke is forced to
hide in the shadow s of h i s l ibrary
w h i l e p e r u s i n g h i s c o l l e c t i o n of
chimidore-e, he is an alienated man
- at odds w i th society . But as he
slips into the S&M lifestyle, he be
come more c o m fortab l e , more at
ease , with his environment . Director
Ko nu m a c l e v e r l y a c c e n t u a t e s
K e i s u k e ' s p s y c h o l o g i c a l g e ne s i s
through set design and camera tech
nique . For example, the first S&M
session i s held i n the ruins o f the
mansion { a dark ravaged place, sym
b o l i c of K e i s u k e ' s o w n s e n s e o f
guilt} , but a s the professor begins to
feel affection for Kumiko , the activi
ties are moved to more elegant sur
roundings .
Obviously , Nikkatsu p roduced a
l a r g e n u m b e r o f p i n k S M fi l m s .
Some of them , especially those di
rected by the more exploitive film
makers {i. e. , Katsuhiko Fujii} , are


Japanese Cinema Encyclopedia : The Sex Films

mindless jaunts into misogyny . But

even the most restrained critic can ' t
deny the artistic styling of Masaru
Konuma. His S&M remains the stu
dio ' s most elegant .
I Ukiyo-e are woodcut paintings from the Edo
period (mid- 1 800s), considered the "art for the
people, " usually depicting scenes from the the
ater, but sometimes historical and fictional
themes . Ukiyo-e which portrayed nudity and
sexual situations are called shunga, while draw
ings of S&M and ultra-violence are chimidore-e.


[Immoral : M idarana Kankei]

director: Tatsumi Kumashiro
Yurei Yanagi Koki Igarashi
Airi Yanagi Yuki Ishida

ShishilBeam Entertainment

rating withheld

T h i s i s d i r e c t o r T a tsu m i Ku
mashiro ' s last film , but it's a mess.
The legendary filmmaker died during
the shoot, leaving rolls of unmatched
footage and incomplete scenes to be
spliced together. Shishi Productions
attempted to make some sense of it,
editing bits and pieces in a less-than
comprehensible fashion. The movie
by-passed a theatrical release , Beam
Entertainment premiered it on video .
C o l l ege student Takeshi (Yurei
Yanagi) has a one night stand with a
stranger Etsuko (Aid Yanag i ) . A
few years later she shows up as the
fiancee of his younger brother Toshi
(Koki Igarashi) . Takeshi and Etsuko
begin a secret liaison, but eventually
Toshi fmds out and jumps off a cliff
to his apparent death . Once the vil
lage begins gossiping , Etsuko leaves
t o w n . A fe w d a y s l a t e r , w h i l e
Takeshi is fishing , his younger broth
er shows up . All is forgiven .
OF KAMAKURA ( 1 98 3)

[Into Kamakura Fuj in]

director: Kensuke Sawa

Mari Kojima Niina Naruse

and Asuka Vrano

Director Kensuke Sawa, a pioneer
of the pinku eiga genre {i. e. , respon
sible for one of the first Japanese sex
movies , Lustful Valley , in 1 966 } , is
still cranking ' em out i n the ' 80s .
Now as a studio director for Okura,
he continues that company ' s predilec
tion for low-budget grind fiLms .
M a d Koj i m a p l a y s S u m a k o , a
woman recently married to a wealthy
older man . And now she ' s got access
to a ton of money and has way too
m u c h s p a r e t i m e on h e r h a n d s .
Sumako isn ' t sexually satisfied be
cause her husband is more involved
in managing his corporations than ca
ressing his wife . As the title suggests ,
Sumako becomes the immoral woman
of Kamakura by going out and fmd
ing gigolos to populate her dreary af
ternoons .
IMPOTENT ( 1 966)

director: Satoru Kobayashi
Suiri Nakakoji Yasuko Matsui

Tokyo Kokuei
The ads screamed : " The first film
dealing with the modern illness ! But
how can a movie about impotence be
a successful pinku eiga? Perhaps as a
television documentary it could find
an audience . Or even as a big-budget,
major studio soap-opera . But this one
didn ' t stand a chance with the pink
film raincoat crowd .
After directing this socially impor
tant bomb , Ko bayashi returned to
the basics with Dishevelled H air and
Pleasure Of A Bitch (both 1 967) .

Thomas Weisser And Yuko Mihara Weisser

[Mesu-Osu No Honno]
director: Kinya Ogawa
Koji Satomi Naomi Tani

Okura Eiga
A con-man named Keisuke ( Koji
Satomi) masquerades as a millionaire
on the lookout for a wife . He tries to
attract a rich woman by advertising in
the newspaper, but Keisuke only suc
ceeds in snag g i ng another fortune
hunter (Naomi Tani) . Intended as a
comedy , but the joke is on the audi
ence .
THE ENEMY ( 1 976)

[Kunoichi Ninpo : Kannon B iraki]

translation: Magic Female Ninjas :

Open Altar Doors

aka Female Ninjas :

In Bed With The Enemy
director: Takayuki Miyagawa
Maki Tachibana Megumi Hori
Keiko Kinugasa Jirou Okazaki

A convoy is robbed while transporting gold to the emperor's castle . The
government d ispatches three female
ninj as to investigate . Soon, they find
themselves i n a bloody scrimmage
with enemy spies . The ninja girls go
undercover (and sometimes under
bed c o v e r s ) t o e l i m i nate the bad
guy s . Eventually they discover the
entire caper had been orchestrated by
their own corrupt leader. The females
turn the tables w i th their unusual
brand of magical fighting , especially
the deadly Open Thighs ninja trick.
The most striking thing about this
female ninj a spectacle is it ' s bawdi
ness. While the Japanese have never
avoided adult themes in their samurai
films, it's rare to find Chauceresque
vignettes and wordplay . This film is
riddled with cuckoldry , double-enten-


dres, and coquettish sexual ity . In a

nutshell , it ' s dirty . But intelligently
dirty . It's also a tight action-oriented
adventure . The female ninj as defeat
the enemy with various tricks includ
i n g v a g i n a c l a sp s , b o d y - c l o n i n g ,
aphrod i s i ac s , and of course , good
old-fashioned swordplay . The lead
ninj a (Maki Tachibana) even finds
time to fall in love with a mysterious
" scholar " who ends up getting cap
tured and crucified by the villains .
Incidentally , one of the bad guys is
played by Jirou Okazaki , Japan ' s
first transsexual actress (actor? ) . She
turns in a wickedly effective perfor
mance .
This movie directly inspired a series
in the ' 90s , Female Ninjas : Magic
Chronicles { see separate review } .
Director Miyagawa has one previous
film to his name , B iker's Race To
Hell ( 1 973); unfortunately , he got out
of the business in 1 976.

OF SENSES ( 1 976)
[Ai No Koriida]

aka Empire Of Senses

director: Nagisa Oshima
Eiko Matsuda Tatsuya Fuji
Aoi Nakajima Taiji Tonoyama

OF PASSION ( 1 978)

[Ai No Borei]

aka Empire Of Passion

director: Nagisa Oshima
Takahiro Tamura. Tatsuya Fuji
Kazuko Yoshiyuki Tatsuya Kimura
* * '12
Director Nagisa Oshima will b e remembered for many reasons . Cer
tainly, he has a long list of impres
sive fi lms s ince his fir s t in 1 95 9 ,


Japanese Cinema Encyclopedia : The Sex Films

Town Of Love And Hope. He was

the leader of the Japanese Nouvelle

Vague (New Wave film) movement
and has also become one of the coun
t ry ' s t o p a c t i v i s t s fo r W o m e n ' s
Rights .
He is also the first ! and (as of this
w r iting) the only fil mmaker in the
world to incorporate hardcore [XXX]
sex scenes in an otherwise commer
c i a l l y mainstream production . 2 As
such, In The Realm Of The Senses
remains a landmark motion picture .
It's based on a true story from the
1 930s dealing with hotel maid Sada
Abe (Eiko Matsuda) , who begins a
sexual liaison with the married own
er, Kichizo (Tatsuya Fuji) . As their
love-making intensifies , the man no
tices that she is abnormally excited
while gripping his neck in a strangle
hold . Frustrated by the clandestine
affair, he gives Sada permission to
k i l l him during their next session.
And she does . The woman then cuts
off his penis and carries it around
town in her purse . When Sada is ar
rested , the townfolks come to her res
cue praising lady as a folk heroine .
Despite the hard core sex and sev
ered male-organs, this film has be
come popular with women audiences .
Many critics suggest that Oshima has
made a decidedly female motion pic
ture camouflaged in male garb , ar
guably one of a kind .
D u r i n g the fou r years prior to
shooting , director Oshima hosted a
daily Japanese TV program aimed at
the women audience . He invited fe
male guests to come on the show and
share their personal stories of abuse
and mistreatment at the hands of hus
bands or boyfriend s . The program
was praised for raising the collective
consciousness of the female ' s plight
in contemporary Japan . He claims
this gave him the necessary experi-

ence to make Senses and its compan

ion piece In The Realm Of Passion
( 1 978) .
At the risk of tarnishing Oshima' s
vision, i t must b e mentioned that the
same story was made into a success
ful film one year previou s . Noboru
Tanaka d irected Sad a Abe Sto ry
( 1 975) with tremendous boxoffice re
sults { see separate review } , forcing
Oshima to break his version in the
I n t e r n a t i o n a l m a r k e t p l a c e b e fo r e
opening i t i n Japan .
For those people who were hoping
Oshima would take his hardcore vi
sion even further in the sequel , Pas
sion was a disappointment . The sex
scenes are decidedly non-erotic and
very soft core . Basically , it' s a 1 9th
Century ghost story . A woman and
her young lover kill the husband and
dump his body in the wel l . They be
come worried when local citizens re
p o r t s t r a n g e s u p e r na t u r a l o c c u r
rences . T h e t w o a r e caught when
they move the body to a d i fferent
resting place .
, European director Jesus Franco produced a
version of B a r e B re a s t e d C o u n t e s s [ L a
Comtesse Noire I with hardcore inserts i n 1 97 3 ,
although i t w a s not intended for mainstream the
atrical release;
2 Penthouse publisher Bob Guccione inserted
hardcore footage into Tonio Brass ' 1 980 film
Caligula, but it wasn't originally shot as a xxx
movie .


[Seito Ai No Koriida]
director: Masaru Konuma
Asami Ogawa. Natsuko Yashiro
Naomi Tani Hirotaro Honda
Nagatoshi Sakamoto Yuko Katagiri
and Erina Miyai

** '/2
A broad parody of the Office Lady
series ( 1 972- 1 977) - and Nikkatsu
roman-porn in general - by director
Konuma , a man seldom associated
with humorous ventures .

Thomas Weisser And Yuko Mihara Weisser

The film is a series of unrelated vi

gnette s , each dealing with extreme
occurrences in the lives of various of
fice workers . For example, Shizue
(As a m i Og a w a ) l i v e s w i th A k i r a
(Hirotaro Hond a) i n an highly un
usual sleeping arrangement, after she
suffers from multiple dream-induced
suicide attempts . In another story ,
Nozomi (Natsuko Yashiro) is "cap
tured for sex " by the security guard
at an aquarium .
Naomi Tani plays herself. She is
stalked by a perverted middle-aged
man ( N ag atos h i S akamo to ) who
begs her to be a v ictim in a private
S&M session. She refuses, but turns
the tables by tying him up and tortur
ing him . Yuko Katagiri , also playing
herself, shows up in a coed uniform,
obviously poking fun at her perenni
ally adolescent image .

[Waisetsu Kazoku :
Haha to MusumeJ
director: Hiroyuki Nasu
Izumi Shima Koko Morimura
Akira Shioji Kai Ato

* * '/2
An older man , Ohgawara (Akira
Shioj i) , is a wealthy bachelor living
alone in an elegant man s i o n . One
evening , at a nightclub , he meets
A i k o ( Ko ko Mo r i mu r a ) , a g i r l
whom he invites home for a night of
sex . A few days later, Aiko and her
mother (Izumi Shima) move into the
h o u s e . O h g a w a r a b u c k l e s to t h e
mom ' s pressure { "So you enjoyed the
fruits of my daughter ?"} and marries
the young girl . Soon, two more rela-


tives make themselves at home in the

mansion. And eventually, everything
is controlled by mom and her daugh
ter .
An odd , surrea l i s t i c atmosphere
permeates H iro yu ki Nasu ' s debut
film, as written by his wife Machiko
Nasu . It ' s constructed similarly to a
theatrical play , consisting of only five
characters , all operating within the
confines of the mansion . Mesmeriz
ing camera angles and overt sexual
antics keep the curio level high.
The two women are especially fas
cinating characters , aggressive with
out being threatening . As such , Izu
mi Shima and Koko Morimura are
jointly responsible for the vitality of
the movie . Director Hiroyuki Nasu
would go on to helm To ei' s Be Bop
High School series ( 1 985- 1 988) , but
not before slipping through Nikkat
su ' s Lesbians In Unifo rms ( 1 98 3 )
{ see separate listing } .

[Midareta KankeiJ
director: G iichi Nishihara
Tamaki Katori Koji Satomi
and Setsu Shimizu

Aoi Eiga
* '/2
More back-alley j unk from sleazem e i s t e r G i i c h i N is h i h a r a . M i s a
(Tamaki Katori) tries t o help her
boyfriend with a gambling debt. She
takes a job as a nightclub hostess .
Misa works for cruel boss , Madame
Yuki (Setsu Shimizu ) , but puts up
w i th i t b e c a u s e she l o v e s S a b u r o
(Koji Satomi) . However, love be
comes hate when she discovers he ' s
banging the club owne r . Misa con
firms the old adage 'there 's no wrath
like a woman scorn ' by killing both
her boyfriend and the dragon-lady
boss .


Japanese Cinema Encyclopedia : The Sex Films


see Spotlight Section: Takahisa Zeze


director: Hiroshi Mukai
Shinji Kubo Mari Nagisa
and Misa Takarai

Mukai Studios
* 1/2
H e re ' s a m i sleading title for an
equally muddled film. It's really the
story of an indecent man , Fumio
(Shinji Kubo ) , who cheats on his fi
ancee with an office girl named Kiyo
(Misa Takarai) .

A typical sex-quickie from director

Mukai who learned his craft during
years of cranking out two-reelers for
Kanto Films . This movie was one of
the first produced for his own Mukai
Studios ; Hiroshi Mukai later joined
Toei where he vacillated between a
diet of action and sex movies (e. g. ,
Deep Throat In Tokyo [ 1 975] being
h i s m o s t p o p u l a r ) . A c t r e s s Mari
Nagisa, playing the spurned fiancee
here , is one of the most famous of
the early sex starlets , best known for
her innocent bitch roles (i. e. , Blue
Film , Hell Pit , and Abnormal Sex
Crimes [all 1 968] ) .
FIRST LOVE ( 1 968)

[Hatsukoi Jigokuhen]
director: Susumu Hani
Akio Takahashi Kuniko Ishii
Koj i Mitsui Kazuko Fukuda

ATG Films
This modern day fairy tale was directed by Susumu Hani , a filmmaker
best known for h i s series of semi
documentaries dealing with juvenile
delinquency (i. e. , Children In The
C lass roo m [ 1 95 5 ] , et al) and per-

forming arts (i. e. , Japanese Classic

Dance [ 1 960] ) . In the mid-60s , he
began directing Youth Sex Films for
A TG Films ; Inferno Of First Love
is his most famous . Written by Shuj i
Terayama , 1 this is the story of two
adolescents who fall in love , but have
a difficult time consummating their
relationship . S he ' s a prostitute , so
sex isn 't particularly complicated for
her. But he ' s a virgin with potency
problems. There are some surprising
ly rough sequences , in particular an
SM session involving Kumiko and
some yakuza gangsters .
In 1 9 7 1 , D i rector H ani made a
F r e n c h fi l m c a l l e d Po em O f A
Nymp h , a surreal istic fantasy star
ring his very homely daughter, Mio
H a n i , and s e x y European s t a r l e t
Brigitte Fossey . He then wandered
back to the more famil iar documen
tary territory with true-life adventures
like African Story ( 1 980) .
'Shuji Terayama is the notorious underground
poet/playwright from the '50s who drifted into
fil mmaking with Throw Away Your Books
And Go Out in 1 9 7 1 and found international
fame with F r u i t s Of Pass i o n : Story Of 0
( 1 98 1 ) .



[Koya No Dacchi Waifu] l

director: Atsushi Yamatoya
Noriko Tatsumi Yuichi Minato
Akaji Maro Shohei Yamamoto

Those who thought Seijun Suzuki ' s
Branded To Kill w a s unintelligible
junk (as claimed by Nikkatsu presi
dent Kyusaku Hori when he fi red
filmmaker Suzuki in 1 967) need not
apply . This j ourney into surrealism
w a s w r i t ten and d i r e c t e d b y t h e
Branded To Kill scripter, A tsus hi
Yamatoya . And i t ' s even more ec
centric .
But i t ' s not r e a l l y a p i n k fi l m .
While the movie does feature a num-

Thomas Weisser And Yuko Mihara Weisser

ber of highly erotic segments , the

emphasis is on the hard-boiled narra
tive and not pink exploitation. How
ever , the authors of this book decided
to include this title because many
s u b s e q u e n t fi l m s - e s p e c i a l l y
N ikkatsu roman porno of the ' 70s
l ike Sweet Scent Of Eros and Sex
Doll Report (also written by director
Atsus hi Yamatoya) - are tied di
rectly to this feature .
A rich businessman hires a private
detective ( Yuichi Minato ) to fi nd
four men who raped and kil led his
g i r l friend (Noriko Tatsu mi) . The
punks had also filmed the assault and
they mailed a copy to him . While he
and the PI are watching the home
made snuff movie, the man bemoans
the girl ' s death (while criticizing the
sloppy c i nematog raphy) . Once the
detective is on the case , he discovers
she isn ' t dead after all . However , the
private dick doesn ' t inform his em
p l o y e r of t h i s because he ' s doing
some dicking of h i s own with the
girl . Then , the four thugs show up
and " kill " her again. The detective
doesn ' t know which way is up , nor
down for that matter. His investiga
t i o n t a k e s h i m to a s h a c k in the
wastelands where he discovers a stash
of mannequins that resemble the girl .
BAM ! A gunshot . The scene switches
to the detective and the businessman
shooting at targets in the desert . The
man asks the PI if he ' s available to
handle a "delicate case . " And every
thing starts all over again.
Sho h ei Y a m a mo to and actre s s
Noriko Tatsumi also starred together
in Love's Milky Drops ( 1 967) which
was shot during Inflatable Sex Doll' s
downtime . In fact, the same sets were
used for both projects . Atsushi Yam
atoya later discovered screenwriting
more rewarding than d irecting . He
became a scripter for Nikkatsu , writ-


ing many of their roman porno flicks

of the ' 70s, usually for his friend , di
rector C husei So ne ( e . g . , Sho w a
Woman : Naked Rashomon [ 1 972] ,
the Foreigners ' Mistress Oman se
ries [ 1 972- 1 973] , et at)
' The title translates l iterally to Dutch Wife
In The Desert. In Japan. any
kind of artific ial female substitute, such as a
blow-up sex-doll, is called a Dutch W ife .
[Dacchi Waifu]


[Hana 0 Kuu Mushi]

director: Shogoro Nishimura
Hideaki Nitani Kiwako Taiji
Eij i Go Kotobuki Hananomoto

A big-budget soap opera with sexy
overtones from a pre-Roman Porn
Nikkatsu Studios, based on a best
selling novel by Jugo Kuroiwa , but
sloppily adapted for the screen by
Takehiro Nakaj ima . The film is am
bitious to a faul t with far too much
time spent on pretentious incidentals
and not enough on true characteriza
tion . The sex is also fleeting ; with the
exception of a hot sequence at the
fi l m ' s conclusion , it ' s remarkably
tame . Perhaps the only reason to in
clude the film in this book is because
of director Shogoro Nishimura . He
l a t e r b e c a m e a m aj o r p l a y e r i n
Nikkatsu ' s pink eiga line, from it ' s
inception i n 1 97 1 until the demise in
the mid ' 80s1
Hideaki Nitani is Masaki Komoto ,
a pretty girl who knows how to ex
p l o i t her body for fu n and profi t .
Men are obsessed with her , but she
never takes any relationship serious
ly. Masaki toys with her suitors and
eventually soaks them for their mon
ey before callously discarding them.
' Shogoro N ishimura w a s responsible for the
. ,
very first Nikkatsu pink film, Apartment WIfe
in 1 97 1 , as well as Affair At Twilight ( 1 972)


Japanese Cinema Encyclopedia : The Sex Films

and entries in the Female Teacber series, el 01.

But he also made some of the later Nikkalsu
j u n k l i ke W h i t e U n iform S t o r y : V i o l a t e d
( 1 984), Nurses Journal: Nasty File ( 1 980) and
Uniform Girls: Tbe Fruit Is Ripe ( 1 9 8 1 ) . He
was the company ' s most prolific director.

Wo man O f I I I R ep u t e (1968) t o
Kinya Oga wa ' s Conceptio n A nd
Venereal Disease (1968) . These type
of pink films became known as urban
paranoia tales .



[Nippon Konchuki]

translation: Insect Tale

director: Shohei Imamura
Sachiko Hidari Kazuo Kitamura
Jitsuko Yoshimura Hiroyuki Nagato
An early masterpiece from director
Imamura telling the story of country
girl Tome (Sachiko Hidad) who re
jects her " insect" existence of servi
tude and sexual m i streatment . She
journeys with her illegitimate daugh
ter to postwar Tokyo to make a new
life for herself. In the big city , Tome
becomes a whore , working for a cru
el madame . Later, she organizes her
own prostitution ring and drives the
old woman out of busines s . In an
ironic twist of fate , Tome ' s daughter
then betrays mom by stealing her
boyfriend and convincing him to fi
nance her own bordel l o . Karma
comes fu l l circle when the daughter
leaves Tume ' s lover - after sucking
out all his money - and returns to the
countryside .
D i rector Imamura was obsessed
with putting as much realism as pos
sible into this film . In fact he even
" w ired " a professional prostitute and
recorded brothel sounds which he
then used in the soundtrack. But this
fi l m cannot truly be cons idered a
pinku eiga since it shares few of the
exploitive e lements associated with
that genre . However , the authors of
this book decided inclusion was nec
essary due to its major influence on
many subsequent sex films , from Jiro
MatsubaralKinya Oga wa ' s Loos e
Wo men (1966 ) to Kan Yanas e ' s

[Kokusai-sen Stewardress :
Kanno Hiko]
director: Katsuhiko Fujii
Kumi Taguchi. Yuri Yamashina
Masayuki Yamamoto Addis Abeba

* * '/2
An attractive a i r l i n e steward e s s
named Y u m i ( Toky o Ema n uelle
Kumi Taguchi) is offered a " l iaison
p o s i t i o n " b e t w e e n the M a r u h a n a
Trading Company and the Minister of
Oil in Polnesia . She realizes this post
is merely a euphemism for a prostitu
tion gig and flatly turns down the of
fer . But shortly afterwards she starts
experiencing strange and terrify i ng
daydreams . Apparently , in an attempt
to force her into the position , the
Maruhana Company used hypnosis
during the interview . She finally suc
cumbs to the persuasive impulses and
agrees to the assignment . Yumi soon
becomes the fourth wife of the high
ranking Oil Minister (played by Ad
dis Abeb a , an obvious pseudonym
derived from the capital of Ethiopia,

Addisababa) .
The clever script is written by cult
director Atsushi Yamatoya.

[Tomeiningen Erohakase]
director: Koji Seki
Jun Kitamura Lilie Kagawa
Kako Tachibana Reiko Akikawa

Shin Nihon
A badly executed low-budget film
that can ' t decide if it wants to be a

Thomas Weisser And Yuko Mihara Weisser

horror movie or a pinku eiga . Char

acter actor Jun Kitamura is Military
Doctor Ohgari who discovers the se
cret of transparency . The first thing
he does is take the opportunity to
peep on pretty Lilie Kagawa, a spy
stationed in the complex, while she ' s
getting naked for her bath . The next
thing , good ole Dr Eros does is make
a pact with Rila (Kako Tachibana) ,
a master cat burglar . The two pull a
heist but the spy , Lilie, gets wise and
blows the whistle on them .
INVIsmLE MAN: RAPE! ( 1 978)

[Tomei Ningen: Okase ! ]

director: Isao H ayashi
Izumi Shima Erina Miyai
Maria Mari Teruaki Sato

Isao Hayashi is such a n apathetic
director, he even makes goofy pro
jects like this seem lethargic. Propo
nents have always insisted that his
meticulous work on the Eros Sched
ule Book series ( 1 97 1 - 1 974) caused
his by-the-numbers filmmaking tech
n i q u e . T h i s may e x p l a i n why h i s
movies are s o laboriou s , but it still
doesn't forgive him for the offense .
On the other hand , Invisible Man :
Rape! is probably Hayashi's most ac
cessible production, aided by a strong
c a s t of Nikkatsu ' s most beautiful
starlets and a very quirky " transpar
ent man" theme .
The story begins when student Ippei
(Teruaki Sato ) , working at the Uni
versity laboratory , discovers a chemi
cal which transforms him into an in
v i s i b l e m a n . Of c o u r s e , he
immediately dashes off to the house
of a girl he ' d been goggling on the
campu s . After sneaking inside her
bedroom , i n v i s ible Ippei discovers
that she ' s already boffing some an
other boy . He smacks the humping


lover on his head, knocking him un

conscious . Then Ippei quickly as
sumes the position . After some unre
m a r k a b l e " t r a n s p a re n t " s e x u a l
h ij i n k s , h e s n e a k s o v e r t o t h e
women ' s p u b l i c b a t h h o u s e fo r an
eyeful and then onto a variety of oth
er adventures before getting caught
and scolded by his professor .

[Nippon Kanraku-chitai
Toruko Sanshimai]
director: Koyu Ohara
Yuko Katagiri Akimi Nijo
Keiko Aikawa Kyuoko Kano

* 1/2

What you see is what you get. The

title says it all in this Nikkatsu sex
farce as three sisters decide to make
money by working at a turkish bath
house. At first they are unaware that
the " he a l th s p a " e s t ab l i shment i s
merely a front for a soap-suds broth
el, but soon they get into the swing of
things . After all , the money is great .
And as Akimi Nijo say s : " if you ' ve
got to be a prostitute , nothing ' s better
than being a clean one . "
This film i s generally considered a
minor setback fo r d i rector Ohara
who had scored brilliantly with Pas
s ionate : Ohichi's Love Song and
Colleg e G irls : Sex Equ ation (both
1 9 7 2 ) . On the o t h e r hand , Yu ko
Katag iri continues to do what she
does best - look young .

[Nihon Seihanzaishi: Torima]

director: Osamu Yamashita


Japanese Cinema Encyclopedia : The Sex Films

A middle aged couple - Reiko

N aomi Kaga Reiko Ohtsuki

Shohei Yamamoto Hitomi Isoka

(Reiko Ohshida) and her husband

Yosuke (Yosuke N atsuki) - is en

joying a motorcycle jaunt of Hokkai
* 1J2
There ' s a history of rape in Yoshi ' s
do . During their tre k , they meet a
family . Her mother was sexually vio
young biker couple ( Hiroaki Mu
lated near a cliff behind their country
rakami and Hitomi Takahashi) and
home . And , years before , her grand
decide to swap partners . In a few
mother was also raped at the same
day s , they ' l l meet at a hotel and
place . Now , a curious Yoshi decides
everything will switch back to nor
to examine the rocky terrain on her
mal . After a lot of sexual escapades
own . As it turns out, she too is vio
and some pangs of jealous, the first
lated in the same way by an unknown
two people { Yosuke and Hitomi} are
assailant .
waiting at the hotel , but their partners
Is this some demented coming of : don't show up . They begin worrying
age film? Or is it a thriller? Could : { " What if they 're staying together
the husband (Shohei Yamamoto) be
and not coming back ?"} . Then in a
guilty of all three rapes? Sometimes
TV broadcast , it ' s announced that
there ' s a message beyond the obvi
Reiko and H itomi were killed in a
ous . And sometimes i t ' s better left
traffic accident .
buried . Director Yamashita' s nasty
Director Higashi continued making
edged terror tale is so simplistic , so
fi l m s , although c o n s i d e r a b l y l e s s
flagrant in its own excess , that the
erotic. H e won numerous awards for
audience is left with a nagging suspi
Village Of Dreams (aka My Village
cion that there ' s more to this story
In The Picture) in 1 996 .
than what meets the eye . But perhaps
its a rock better left unturned .
[Furin No Tanoshimi]
director: Moto Sasaki
[Jealousy Game]
Yuichi Minato Michiyo Mako
director: Yoichi [Azuma] Higashi
and Akiko Kozuki
Reiko Ohshida Yosuke N atsuki
Nihon Cinema
Hiroaki Murakami Kenj i Shiitani
More sludge from Nihon Cinema .
and Hitomi Takahashi
Togawa (Yuichi Minato) tries to
Nikkatsu / Gentosha
keep his wife happy while he con
** 1/2
Mainstream director Higashi steps
ducts an elaborate affair with his girl
away from his stately dramas {e.g. ,
friend , Yuka (Akiko Kozuki) . Studio
Mou How e Wa Tsukanai ( 1 979) ,
director Moto Sas aki made lots of
Manon ( 1 98 1 ) , et at } to direct this
equally worthless fi l m s fo r Nih on
erotic swapping caper . The film is
(i. e. , Hot Crime ( 1 969) , Red Plea
generally considered Nikkatsu roman
sure ( 1 968) , et at) .
porno although it was co-produced by
Gentosha, a mainstream movie studio
with ties to the Art Theater Guild. A
series ( 1 968-73)
similar venture transpired the previ
[collection offilms by Teruo Ishii]
ous year with Higashi ' s Love Let
Director Ishii ' s cold , no-nonsense
ters { see separate listing} .
approach to sadistic behavior makes

Thomas Weisser And Yuko Mihara Weisser

these movies seem all the more aber

rant ; in fact , these proj ects became
known as Ero- Gro (Erotic Grotes
que) , a term still used today in Japan
to describe the most perverse of the
S & M g e n r e . T h e Is hii To rture
mov ies are still the best-made , ri
valed only by certain Koji Wakamat
su productions { especially Torture
Chronicles : 1 00 Years [ 1 97 5 ] } , a
fe w fro m Masaru Kon u m a { i . e
Wife To Be Sacri ficed and Flower
A n d Snake [both 1 9 7 4 ] } and Go
ljuin ' s Captured For Sex 2 ( 1 986) .
By comparison , the "Joys of Tor
ture " series are intricately detai led ,
well-photographed , competently act
ed historical dramas, but l ike the oth
ers , they do have decidedly misogy
nist theme s . There ' s lots of k i nky
stuff including whipping , stretching ,
strapping piercing , beating , thrash
ing , (etc. ) and various stages of sus
p e n s i o n , b o nd a g e , inc ar cera t i o n ,
bastinado (etc. ) for any number o f
reasons , b u t usually because the fe
males are either traitors or criminal s ,
rebels o r zealots .
The reason for the torture isn't as
important as the puni shment itself.
Most of the films deal preciously lit
tle with character development since
they are structured in a confining om
n i b u s st y l e . R a t h e r , t h e s e a r e
poignant short-story renderings based
on " h i s torical fac t s " w h i c h range
from a sadistic lord looking for the
perfect masoch istic mate (Tokugawa
Women Genealogy) to an artist ob
sessed with capturing the most ex
pressive d e p i c t i o n of p a i n ( Toku
. ,

Punishment) .



O f the eight Torture entries, only

one concentrates o n men i n fl i c t i ng
pain to other men . Yakuza Torture
H istory : Lynching is an ultra-violent
production with lots of macho guys


loosing fingers and hands, arms , and

eyeballs while doing singularly gang
ster-l ike things. There are three sto
ries, only the first is historical (tak
ing p l ace in the Edo period) . The
second is set in the 1 920s , while the
third one is contemporary .
Grotesque Cases Of Cruelty By
Women also has a more modern set

ting than the other episodes in the se

ries . The three stories depict inquisi
tion-type tortures from " true cases"
in 1 890 (during the Meij i Era) , 1 9 1 5
(Taisho) and 1 925 (Showa) .
Tokugawa Tattoo History: Tor
ture Hell , is the only movie to fea

ture a single story . It opens and clos

es w i th m U l t i p l e c r u c i fi x i o n s and
graphic tortures . Sandwiched in-be
tween, there ' s a plot deal ing with en
s l aved p r o s t i t u t e s l i v i n g i n E d o ' s
Yoshiwara district . Besides turning
the occasional trick, they are preoc
cupied with their tattoos and an up
c o m i n g c o n t e s t to d e c i d e w h i c h
brothel has the best . This episode ,
while decadent, is not as vicious nor
mean-spirited as the others .
Tokugawa History Of
Women Punishment ( 1 968)

[ Tokugawa anna Keibatsushi ]

aka Criminal Women
director: Teruo Ishii

Masumi Tachibana Teruo Yoshida

Fumio Watanabe Asao Koike
Women Genealogy ( 1 968)

[Tokugawa anna Keizu]

director: Teruo Ishii

Teruo Yoshida Masayo Banri

Asao Koike Mieko Fujimoto
Tokugawa Tattoo History :
Torture Hell ( 1 969)

[ Tokygawa Irezumi
Shi Seme Jigoku ]
director: Teruo Ishii


Japanese Cinema Encyclopedia : The Sex Films

Teruo Yoshida Asao Koike

Yumiko Katayama Mieko Fujimoto
Decadent Edo

Women Genealogy:
Abnormal And
Abusive Brutality ( 1 969)

[Genroku Onna Keizu :

Zankoku , Ijo,
Gyakutai Monogatari]
aka Orgies Of Edo
director: Teruo Ishii

Teruo Yoshida
Yukie Kagawa

Masumi Tachibana
Akira Ishihama

Shameless : Abnormal

And Abusive Love ( 1 969)

[Ijo Seiai Kiroku Harenchi]
director: Teruo Ishii

Teruo Yoshida Masumi Tachibana

Mieko Fujimoto Yukie Kagawa
Meiji, Taisho, and Showa Era:

Grotesque Cases Of
Cruelty By Woman ( 1 969)

[Meij ilTaisho/Showa:
Ryoki Onna Hanzaishi]
director: Teruo Ishii

Teruo Yoshida Yukie Kagawa

Eiji Wakasugi Asao Koike
Yakuza Torture History:

Lynching ! (69)
[Yakuza Keibatsushi : Rinchi ! ]
director: Teruo Ishii

Ryutaro Ohtomo Bunta Sugawara

Masumi Tachibana Renji Ishibashi

director: Kazunari Takeda

Junko Miyashita Taiji Tonoyama
Moeko Ezawa Seiji Endo

** 1/2
In 1 97 8 , Junko Miyashita is still
the reigning Nikkatsu queen, churn
ing out p i nk fi lms for her adoring
fans . This time , despite the title, she
plays Miyako a lonely woman who
can ' t shake the memory of her ex
boyfriend , Tatsukichi (Seij i Endo) .
She lives i n a small tenement apart
ment (of course) , supported by her
sexual patro n , an older man , Taij i
(Taij i Tonoyama) . But M iyako has
lots of free time and decides to search
for her former lover . Before long ,
she discovers he ' s working as a chef
in a l o c a l s u s h i b a r . S h e r o a m s
around the neighborhood , hesitant to
see him, but then final ly swallows
her pride and enters the restaurant.
The flame of love { lust} is ignited .
A fter m a k i n g l o v e , s h e b i d s h i m
goodbye and leaves h i s bed forever.
She is now convinced that she can
forget the boy and lead a normal life .
Director Takeda has made a career
with Junko Miyashita mov ies , re
sponsible for a wide range of films ,
from the well-received Housewife's
Experience : Tenement Apartment
trilogy ( 1 975) to the dreadful Com
petition: Married Couple's Secret
Techniques ( 1 976) . This one is cer

tainly better than most of her post

prime flicks .
Porno Samurai Theater:

Bohachi Code of Honor ( 1 973)

[Porno Jidai-Geki :
Bohachi Bushido]
director: Teruo Ishii

Tetsuro Tanba Coro Ibuki

Shiro Kuno Ruriko /kejima
JUNKO'S BLISS ( 1 978)

[Junko Wananaku]


director: Shinichi Shiratori
Etsuko Hara Nami Misaki
Sbingo Yamamoto. Moeko Ezawa
and Kazuko Yoshiyuki

* 1/2
Etsuko (Etsuko Hara) is a hard-

Thomas Weisser And Yuko Mihara Weisser

working postal employee , recently

married to Shingo (Shingo Yamamo
to) , a private detective who makes
more money blackmailing his cl ients
than solving case s , that i s , until he
gets fired from the agency . S i nce
then , he ' s gone berserk and begins an
affair with one of Etsuko ' s co-work
ers , Yuriko (Nami Masaki) . Mean
while, financial responsibilities of the
marriage fal l on the young w i fe ' s
shoulder s , plus she ' s strapped with
settlement fines from one of her hus
band ' s botched detective cases . To
make ends meet , Etsuko takes on a
part-time job as a bar hostess . before
long she starts wondering why she ' s
working herself t o death . She gets di
vorced and is happy to living by her
What the hel l is Kazuko Yoshiyuki
doing in a movie l ike this? The re
spected actress (playing Etsuko ' s su
pervisor here) has made films with
e v e r y b o d y fr o m Seiju n Suzuki
{ Beastly Sleep [ 1 960] } to Nagisa Os
hima { I n The R ealm Of Passion
[ 1 9 7 8 ] } . And now s he ' s w o r k i n g
w i th B - d i rector Shinichi Shirato !
Even Rumi Tama refused to work
with him back in '75 for an install
ment of the Apartment Wife series .
Shirato ' s negligible di stinction re
mains a collection of fi lms adapted
from Koichiro Uno books , like Yum
my A nd Meaty ( 1 9 7 7 ) , Up A nd
Do wn ( 1 97 7 ) and Wet A nd Open
( 1 978) . Despite his dubious cinematic
reputat i o n , actre s s Ets u ko H a ra
made numerous fil m s with Shirato
throughout her caree r . In fact, she
fo l l o w e d t h i s o n e w i th C l i m a x !
Raped Bride (also 1 980) .
PERVERT WAR ( 1 983)

[Kanda-gawa Inran Senso]

director: Kiyoshi Kurosawa


Usagi Aso Makoto Yoshino

Tatsuya Mori Masayuki Suoh

A female c o l l e g e student (Usagi
Aso) shares an apartment near Kanda
River with an office g i r l (Makoto
Yos h i no ) . T h e y b e c o m e c u r i o u s
about a mom and her high-school son
l i v i ng in the tenement a c r o s s the
street, seemingly involved in an in
cestuous relationship . The girls de
c i d e to r e s c u e the b o y ( T atsu y a
Mori) from the perversion and intro
duce h i m to a " healthy sex l i fe . "
They map out war plans , " invade the
stronghold , " and eventually " pene
trate the subject. "
Kiyoshi Kurosawa ' s directorial de
but for Nikkatsu i s a p leasant sur
prise, filled with witty dialogue and
very likable characters . He preceded
this project with a light, experimental
youth-comedy called School Days in
1 979, and followed it with a collec
tion of impressive thrillers including
Sweet H o m e ( 1 9 8 9 ) and C u r e
( 1 997) .
C o - s t a r M as a yu k i Suo h a l s o
worked a s the assistant director for
this movie. He would later develop
into one of Japan ' s most celebrated
fi m m a ke r s , b e s t r e m e m b e r e d fo r
helming Shall We Dance? in 1 996 .
SEX UNIT ( 1 973)

[Bankaku : Kanto Sex Gundan]

director: Keiichi Ozawa
Noriko Igarashi Michi Aoyama
Shoji Ohki Masumi Jun

* * if2
A sequel of sorts to True Story Of
Sex And V i o l e n c e In A F e m a l e
High School (also 1 973 , see separate

l i sting) . The heroine i s sukeban

Omon (Noriko Igarashi, who played


Japanese Cinema Encyclopedia : The Sex Films

the " bad" girl in the first film) . She

meets Jo (Shoj i Ohki) , a rebell ious
boy with an expertise in brood ing .
They fal l in love . Omon soon discov
ers he ' s a sworn enemy of the Ogin
gang and she agrees to help him in a
war against the girl gang even though
she k n o w s it w i l l m o s t a ss uredl y
cause problems with a yakuza group
that control s the neighborhood . But
that ' s all right because Jo hates the
yakuza gang too . Seeming l y , they
had kil led his younger brother in a
bad-news trafficking scheme . A rum
b l e e n s u e s w h i c h r e s u l t s in J o ' s
death . A heartbroken Omon takes re
venge against everybody in a slam
bam action finale .
Keiichi Ozawa also directed the ju
venile del inquency film Sanctuary In
The Night (earlier in '73). He had a
flare for the genre . Masumi Jun is
no stranger to the girl-gang films ei
the r . She also starred in Sukeban
Sex Violence and Sukeban Flesh Vi
olence (both 1 973 , see separate list
ing) .
A DOCU-DRAMA ( 1 974)

[Jitsuroku Kiri Kaoru :

N ipponichi No Lesbian]
director: Katsnhiko Fujii
Kaoru Kiri Tomi Kasuga

* 1/2
The star of a lesbian strip show ,
Kaoru K i ri (unabashedly played by
K a o r u Kiri , a rea l - l i fe s e l f- p r o
claimed lesbian) , i s infatuated w i th
bar hostess Michi (Tomi Kasuga) at
a nightc lub in Kyoto . She takes the
girl back to her hotel . where M ichi is
introduced to the ecstasy of lesbos .
The madam of the club is alerted to
their sexual liaison and gets jealous ,
then mad .

During his twenty years with

Nikkatsu 1 5 years , d i rector Fuj i i
cranked out a continuous stream o f
sequels and mean-spirited B-features

(e. g. , Seduction Of The White An

gel [ 1 972] ) . This one , obviously in
spired by the 's uccess of the studio ' s
previous litsuroku Eiga {docu-dra
mas } , Professional Sex Performers:
A Docu-Drama and Gypsy Rose, A
Docu-Drama, is on the lower end of
the entertainment spectrum .
THE BIRTH ( 1 99 1 )

[ Kekko Kamen : Eiga]

director: Torno Akiyama
Hajime Tsukumo Kei Yanaguchi
Akira Ooizumi Mayumi Takahashi

** 1/2
KEKO MASK ( 1 993)

[Kekko Kamen]
director : Torno Akiyama
Hajime Tsukumo Rei Nakano
Akira Ooizumi Risa Kondo

* * * 112

[Kekko Kamen Koi : 3 J

aka Keko Mask

director: Tomo Akiyama

Hajime Tsukumo Asami Katsuragi
Mayumi Yoshioka Akira Ooizumi

The pri ncipal ( H ajime Tsukumo)
of Spartan School is a sadist who be
l i eves that d i s c i p l i ne i s the corner
stone or educat ion . The students are
systematically tnrtured and mistreated
by the teachers . but they also have a
guard ian superhero who rescues them

Thomas Weisser And Yuko Mihara Weisser

when things get out of hand . That

hero i s a fe m a l e c r u s a d e r named
Keko Mask [Kekko Kamen} , com
pletely naked except for her cape and
mask . She eliminates the bad guys by
stunning them with a glance at her
genitalia before snapping their necks
in various ninj a leg locks . " The most
beau t i fu l v a g i n a I ' v e ever see n , "
gasps one of the v ictims before he
dies .
The plot for all three centers around
Keko ' s secret identity (the principal
believes she is one of the students)
and the band of miscreant mercenar
ies he hires to expose and capture
her . Throughout the series new boun
ty hunters arrive and fumble around
as they try to figure out who the su
perhero really is. Writer Go Nagai !
even has some of his other characters
(i. e. , Cutie Honey , Mazinga Z, etc)
stop by and join in the hunt , not to
mention The Blu es Broth ers (yes ,
those Blues Brothers , Japanese looka
likes nonetheless) .
While it ' s difficult to ignore the vi
cious attitude of the film, especially
its d i srespect fo r women , U n ited
States audiences must remember po
litical correctness remains a domestic
philosophy not necessarily shared by
Japan. And director Akiyama seems
very comfortable thumbing his nose
at the concept.
I nteresti ngl y , most of the humor
stems from " domination" and bully
i n g , w i t h the p r i nc i p a l b e l i t t l i ng
teachers , teachers m i s treating stu
dents , and students picking on other
students . Of course , it ' s mean-spirit
ed . But the series is also outrageously
hip . With lots of humorous j abs at
contemporary Japanese morals , lam
pooning everything from the political
school system to optical censoring of
films, this movie is a brazen example
of the c l iched superhero mystique


gone haywire . U l timately , irrever

ence is the foundation of satire . And
lines of dialogue l i ke : " Screaming

girls and Wagner Music go well to

gether" are legitimately funny .
Each entry stars Haj ime Tsukumo
as the principal , dressed in a harle
quin outfit. His vice-principal is Aki
ra Ooizumi , a Russian theater actor
who immigrated to Japan in the late
' 60s . Keko Mask ' s true identity is
never revealed . The credits read :

Keko Mask: Unknown .

Originally, this was not intended to
become series, rather it was planned
as a one-shot version of a popular
manga (comic book) . Success begot
the sequels. #1 is a nice introduction
to the characters , #2 is the best film,
and # 3 has the most heart .
I Writer Go Nagai is the author of many Japan
ese ani me features . He also created another live
action film, similar to Keko Mask, called Leg
endary Panty Mask { see separate review } .

KEY ( 1 959)


aka Odd Obsession (USA title)

director: Kon Ichikawa
Machiko Kyo Junko Kano
Tatsuya Nakadai Ganjiro Nakamura

KEY ( 1 974)

director: Tatsumi Kumashiro
Hideo Kanze Yuki Aresa
Tokuko Watanabe Ken Kawarasaki

* t/2
KEY ( 1 983)

director: Akitaka Kimata
with Koji Wakamatsu
Kayo Matsuo Masumi Okada
Yoshio Taguchi Shingo Egami

Toei Central Films



Japanese Cinema Encyclopedia : The Sex Films

KEY ( 1 997)

director: Toshiharu Ikeda
Naomi Kawashima Akira Emoto

Based o n a black humor novel by
Junichiro Tanizaki , these are very
difficult movies to like . There are
virtually no redeeming characters , al
though the audience eventually sym
pathizes with the plight of the sexual
ly frustrated professor and the naivete
of his younger wife (that' s especially
the c a s e in the fo urth remake by
Toshiharu Ikeda . )

The story deals with a n elderly col

lege professor (Ganjiro Nakamura,
in the original version) who is con
cerned about introducing the joys of
sex to his wife (Machiko Kyo) , inno
cent of carnal pl easure . fie learns
that jealousy accentuates his ability to
perform in the sack , and so he bribes
his son-in-law into sneaking an affair
with his wife . At the same time, the
professor writes about his sexual fan
tasies in a j ournal which he keeps
locked in a drawer. The key to the
drawer is left where his wife will see
it, and - hopefully - use it to se
cure and read the diary . Everything
happens as planned . Through reading
the journal , the woman slowly awak
ens to sex. Unfortunately , all the ex
citement causes too much stimulation
for the old man who keels over from
a heart attack . When the daughter
(Junko Kano) discovers the cuckold,
she is upset about sharing her hus
band . She tries to poison her step
mother. The maid , sick of the entire
family , poisons them all .
While Kon Ichikawa' s film cannot
be considered a pinku eiga, it was re
garded as scandalous upon its release
in 1 959. The motion picture is even

bold by today ' s standards . But , un

like the later sex movies , this is es
sentially an erotic drama generated
by strong c h a r a c te r i z a t i o n s fr o m
Machiko Kyo and Ganj iro Naka
mura, two of the industry ' s top per
formers .
Originally , Nikkatsu had hoped to
follow the same path . They wanted to
s i g n m a i n s tream actre s s Michiko
Saga for the title role . Director Ku
mashiro personally made overtures
to M s Saga amid a flurry of media
pUblicity . But she eventually turned
down the offe r . Frustrated and be
hind schedule, the studio tapped an
unknown actress, Yuki Aresa , for the
part . As it turned out, Nikkatsu was
concerned - rightfully - that Aresa
didn' t have the experience for such a
complex role , so they shifted much of
the action to the daughter (played by
Tokuko Watanabe) . For this ver
sion, the professor ' s daughter is the
one who snatches the key and reads
the steamy journal . Obviously , this
plot variance creates enormous prob
lems within the script. Inexplicably ,
director Kumashiro chose to ignore
the d i screpancies ; perhaps he had
hoped nobody would notice that the
fi l m loses its meaning if the w i fe
doesn ' t read the d iary . Within the
context of the story , she can 't trans
form into a sexual being if the stimu
lus is missing . Ironically , the studio ' s
attempt t o " save " the film w a s the
very thing which ended up sinking it.
The third remake by Koj i Waka
matsu ' s production company is a re
turn to the basics . Essentially, it's a
fa ithfu l adaptat i o n to I c h i k a w a ' s
1 959 version with little regard for the
Tanizaki novel . Critics were quick to
note t h e i m p r o v e m e n t o v e r t h e
Nikkatsu production b u t ultimately
they took the "who-needs-it" attitude .
Whereas the first Kagi ends with the

Thomas Weisser And Yuko Mihara Weisser

maid poisoning everybody , nobody

tries to kill anybody in the second
and fourth versions . In all films , the
professor dies from a heart attack,
caused by over stimulation in the sex
ual arena . In the 1 997 Ikeda remake ,
this death is not sad , but rather, a bit
ter sweet denouement . After the wife
has become a perfect woman for the
professor, he dies . Perhaps it' s a fit
t i n g end fo r h i m . He has accom
plished his life ' s task and is content .
The Ikeda version is the most com
plex of the four productions . Even
the son-in-law has a more important
role here . As he cooperates in the
professor ' s sex game s , he ' s real ly
j oc k e y i n g fo r p o s i t i o n i n the old
man ' s will . Another difference - al
though ultimately insignificant - the
daughter is actually the professor ' s
step - daughter ( n o b l ood relation)
from a previous marriage .
After all the smoke has cleared ,
perhaps the most significant thing
about the 1 997 version is it ' s the first
Japanese mainstream production to
feature non-fogged full-frontal nudi
ty . I It will probably be better remem
b e r e d m o r e fo r t h a t t h a n N a o m i
Kawashi m a ' s i m p r e s s i v e p e r for
mance or the artistic stretch for film
maker Toshiharu Ikeda (notorious
director of Evil Dead Trap [ 1 988]
{ see listing in Japanese Cinema En
cyclopedia: Th e Horror, Fantasy
And Science Fiction Films} ) .
I Initial l y , government reslrictions regarding
the " fogging of pubic hair and genitalia" relaxed
in 1 994 with the release of the French film La
Belle Noiseuse in August . The official stance,
as defined by Eirin {Japan' s self-governing ral
ing board } , read : " if hair is narurally part of the
fil m ' s expression then il is considered accepl
able . " The print media was firsl to exploil the
new l iberal i nterpretation of the law . F u l l
frontal nudity immediately became common
place in everything from tabloids to weekly
news magazines. The film market took a longer
time to react. The first official non-fogged Nip
pon movie is Tomoaki Takahashi's New World
Of Love [ 1 994] . This was followed by a glut of

22 1

AV's {adult videos } including Shin/oho's X X X

[ 1 995] . (For more information on
Japanese censorship see Spotlight Section: Fog
Hard Porno

ging, Editing And Censorship, pg 2 1 . )

WITHOUT A KEY ( 1 983)

[Ana Ni Kagi Ga Nai]

director: Shirnei Yo
Rie Hazuki Risa Kayama
and Ai Ohhashi

Keyhole Without A Key is a double
entendre - refe r r i n g to both u n
locked apartment doors and a female
in bed alone - in this sleazy entry
from low-rent Tokatsu Studios . It's a
no-nonsense tale about a man, just re
leased from jail , who sneaks into un
locked apartments and rapes the
women inside . He rationalizes the ac
tion by convincing himself that the
victims " asked for the attention " by
leaving their doors unlocked .
It's anybody ' s guess who the actor
playing the rapist is. Male names are
m i s s i n g fro m the c r e d i t s . M a y b e
Tokatsu believes o n l y female per
fo rmers are i m portant i n a pinku
eiga . Or maybe , the actor was smart
and pulled his name before the re
lease .

[Kobayashi H itomi
Ougi Kaikan : Tsuya]

aka Secret Pleasure: Amorous

director : Kenichi Ikeda
Hitomi Kobayashi Yuka Ohtomo


[Kobayashi H itomi
No Reijo Monogatari]
director: Kenichi Ikeda


Japanese Cinema Encyclopedia : The Sex Films

Hitomi Kobayashi

Mizuho Nakagawa



[Hard Petting]
director: Toshiyuki Mizutani
Hitomi Kobayashi Kiyomi Okada

Nikkatsu / Roman X
* 1/2
If anything vividly depicts the fall
of Nikkatsu
the glaring mistakes
of the once strong pink company - it
would have to be these three films .
Now , after years of publicly com
plaining about " the scourge of A V
{ a dult videos } , Nikkatsu t u r n s
around and hires the A V Queen Hito
mi Kobayashi , putting the girl in her
own collection of movies.
The term " movie" is used lightly.
#1 [Kobayashi 's Secret Pleasure] is
little more than a Playboy or Pent
house l ingerie special . Realistical ly,
the only di scernible difference be
tween these films (especially the first
entry) and any one of her A V pro
ductions is . . . Nikkatsu shoots on film
instead of video tape .
At least, #2 [ Young Girl 's Story]
has the pretense of a plot . M s
Kobayashi plays a poor girl mas
querading as a daughter of a wealthy
bus i nessman . She is captured by a
man who plans to retrieve a healthy
ransom. When he discovers the scam ,
she turns the tables by capturing him
with her charms (i. e. , sexual dexteri
ty) .
#3 [Heavy Petting] is similar to # 1
with ample shots o f nude Kobayashi
as she craves sexual satisfaction. The
biggest difference between this one
and the others is it ' s part of a new
Nikkatsu line which was advertised
as Roman X. Supposedly, it's "hard
er" (more explicit) than the average

pinku eiga , but Japan' s archaic " gen

tile-fogging " laws render it a moot
point. Director Mizutani left Nikkat
su a short time later and entered TV
produ c t i o n fo r a w h i l e . H e r e
emerged as a fi l m director w i th a
moderately successful horror movie,
Human Chair in 1 997 .

[Kurobara Fuj in]

aka Madam Black Rose

director: Shogoro Nishimura
Naomi Tani Haruka Tajima
Keijiro Shiga Tetsuaki Furukawa

When wealthy Saori (Naomi Tani)
returns from abroad , her husband ' s
assistant Tsumura i s at the airport to
pick her up . However, instead of dri
ving her home , Tsumura takes her to
a condo where news photographer ,
Tayama (Keij iro Shiga) is waiting .
Lady Saori is tied up and tortured
while the camera snaps a series of
embarrassing pictures. The whole op
eration was masterminded by her
husband \\ 00 is trying to get control
of the family estate . Saori is then tak
en to her mansion where she ' s con
fined to the basement and kept in an
steel cage . Typical of most Naomi
Tani films, she transmutes into the
perfect masochist, tortured day and
night .
This is director Nishimura ' s first
attempt at the S&M genre . And he
certainly copes much better with this
torture fest than with many of h i s
previous roman porno entries from
the same period {e. g . , like Devil In
The Flesh , Lusty Wife, or the Gates
Of Flesh remake [all 1 976-77] } . He
would be back for more of the same
with Naomi Tani in Rope Cosmetol
ogy ( 1 9 7 8 ) and R o p e A n d S k i n
( 1 979) , her farewell project .

Thomas Weisser And Yuko Mihara Weisser

T h e b i g g e s t p r o b l e m w i th t h i s
movie i s Oniroku Dan ' s rudimentary
story . It ' s too barren for the exquisite
l o o k of the p r o d u c t i o n . D i re c t o r
Nishimura stretches far beyond the
basic minimum requirements for this
kind of mean-spirited mayhem. His
visuals are , in a word , breathtaking .
Perhaps there is no other SM film in
Nikkatsu ' s library which so lovingly
depicts the art of torture .
Both condemned and praised as " the
ultimate woman-as-an-object" fi l m ,
this motion picture features two ma
jor scenes which are always tapped to
epitomize the genre . CD the famous
funneL segmen t . " People still talk
about t h e ' s t o m a c h e x p a n d i n g '
scene, " Naomi Tani said in an inter
view for Asian Cult Cin ema #1 9 ,
" The sadist forces m e t o drink jugs
of water through a funnel . You can
see my belly growing larger and larg
er. But, there was no mystery or SFX
trick . I was simply good at sucking
my belly into a small ball and then
expanding with a large exhale . Worst
was when I was hung ups ide-down
and tortured with my legs apart . " @
the brandy scene. For this one , M s
Tani is tortured b y having gallons of
brandy forced into her vagina, fol
lowed by a lengthy closeup showing
her body transform from porcelain
white to a flushed drunken red .
IN TOKYO ( 1 98 1 )

[Tokyo Caligula Fuj inJ

director: Koyu Ohara
Maiko Kazama Asami Ogawa
Tsutomu Akashi Ryoichi Sato

Saori (Maiko Kazama) , s i c k of her
husband ' s promiscu ity , runs a w a y
from home . S h e bumps into a n old
g i r l friend , Asami (Asami Ogawa)


who is surprised to find that Saori is

ignorant to the "joy of sex and sub
mission. Asami escorts the girl to a
secret mansion where she is educated
by the strictest discipl inary methods .
After weeks o f rough sex and castiga
tion , the instructions end . Saor i , a
prized student , is invited to a " man
sion of pleasure " for a big masquer
ade party . Naked , wearing nothing
but a bird mask , she is paraded for
the affluent guests . Saori finally finds
happiness when she meets a rich man
who wants to take possession of her.
Obviously , despite the titl e , th i s
movie has nothing t o d o with Caligu
La o r , m o r e s p e c i fi c a l l y , " L a d y
Caligula. " The title is a n obvious at
tempt by Nikkatsu to capitalize on
the Tinto Brass/Bob Guccione inter
national hit, Caligula ( 1 980) . Even
t h o u g h t the s c r i p t is c r e d i t e d to
Shoichi Ikeda , it ' s really Paulin e
Reage ' s Story Of O. Director Ohara
manages to make it seem fresh.

IN TOKYO ( 1 977)

[Tokyo Chatterly Fuj inJ

aka A New Chatterley Story

director: Katsuhiko Fujii
Izumi Shima Hiromitsu Maya
Kenji Shiitani Yoko Azusa

Mio (Izumi Shima) marries a mult i - m i l l ionaire ' s son ( H i romitsu
Maya) . She is happy , living a n idyl
lic life in the countryside , until her
husband gets paralyzed in a traffic
accident . He is no longer capable of
having sex with her; she , of course ,
becomes uncontro l l ably horny and
their relat ionship falls apart . Mio en
ters into an affair w i t h one of the em
ployees ( Kenj i Shi l l <lIli) . But when
the husband fi nds ( J . I l , he banishes
her from the estate .


Japanese Cinema Encyclopedia : The Sex Films

Despite the Lady Chatterley title,

very l ittle of D. H. Lawrence ' s origi
nal 1 928 novel remains in this insipid
rendering . Obviously , some of the
maj o r differences weaken the very
structure of the story . Orig inal ly ,
Constance Chatterley didn't marry a
millionaire ' s son, but rather a poor
but aristocratic mine owner . He was
not injured in a traffic accident, but
was paralyzed from a gunshot wound
while he was off fighting in the war .
M rs Chatterley never loses affection
for her husband , but instead she sup
plements her physical needs with a
virile lover , the son of a mine work
e r . W h e n she b e c o m e s p r e g nant ,
Constance wants to leave her hus
band, primarily because of the shame
her pregnancy would cause him, and
r u n a w ay w i t h h e r l o v e r . D. H.
Lawrence was especially preoccupied
with " illicit relationships between the
classes " in his controversial book.
That same concern i s the crux of
Marc A llegret ' s screen version
{L 'Amant D e Lady Chatterley} in
1 955 .
But all human interest is missing
from director Fuj ii ' s banal version.
I nstead , he merely offers a superficial
adulterous story with little or no rela
tionship to Lawrence ' s characters . In
terestingly , the film did not fair well
with the typical Nikkatsu fan. How
ever, it had been promoted as a "love
story starring Iz u m i Shima,
Nikkatsu 's most beautiful new ac
tress. And special care was taken
with the cinematography to embellish
M i s s S h i ma ' s debut performanc e .
Perhaps, the studio lost its target au
dience , but they did manage to attract
staunch supporters from females who
traditionally avoided pinku eiga . This
k i nd of " succ e s s " had previously
eluded Nikkatsu for many years .


[Monzetsu Fuj in : Kairaku No Oku]

aka Housewife In Prison

aka Madame Ecstasy
director: Shogoro Nishimura
Rumi Tama Rei Okamoto
* 1/2
Keiko (Rumi Tama) plays an assis
tant professor at a prestigious univer
sity (quite a stretch from her Apart
ment Wife roles) . Her homelife is a
mess. After she physically attacks her
husband , Keiko is sentenced to a sev
en year prison term . Apparently the
young teacher had resorted to vio
lence when she could no longer toler
ate her husband ' s harassment, espe
cially the disrespect of flaunting his
mistress in public . She spends a few
years in the slammer and is then re
leased on paro l e . K e i ko becomes
roommates with an old friend , Rei
(Rei Okamoto) , and moves into her
apartment . Keiko promptly begins a
sexual maratho n , dating a parade
men. Apparently , the woman is " ob
sessed with lust " because she hopes
to become a sexual beast. Revenge is
real ly the motive . Keiko wants to
master the " tricks of passion" so she
can successfully seduce the lover of
her ex-husband ' s girlfriend .
Director Nishimura was a big fan
of Rumi Tama . He had been instru
mental in her move to Nikkatsu , of
fe r i n g to d i re c t h e r s t u d i o d e b u t
Apartment Wife : Prostitution I n
Building # 1 3 in 1 974 . But, unfortu

nately fo r everyone i n v o l v e d , h i s
Tama p r o d u c t i o n s a r e s t r i k i n g l y
weak . This one leaves much t o b e de
sired .

Thomas Weisser And Yuko Mihara Weisser



ther. Both Hayashi and M iyashita had

better days ahead .

[Kamakura Fuj in : Dotei Club]

director: Isao Hayashi
Junko Miyashita Akiko Yoshii
and Tatsuya Hamaguchi

N ikkatsu
Satoko (Junko Miyashita, the 3 0
year old Nikkatsu Queen now rele
gated to " older " parts) is a married
woman forced to live alone while her
husband works overseas . Because of
his absence, Satoko realizes that she
must find other avenues for her car
nal anxieties , but she must also take
care to maintain her good reputation.
So, the woman starts frequenting a
Buddhist temple in Kamakura , where
she makes herself available sexually
to the priests and monks . Satoko es
pecially gets involved with a young
s e m i nary student (Tatsuya H a m
an affa i r which begins
frivolously but develops into a seri
ous relationship after his deflower
ing . The film escalates to a crescendo
when Satoko ' s husband suddenly re
t u r n s h o m e fr o m a b r o a d and the
madame must choose between the
two men .
Filmmaker Hayashi gets no respect.
Even though he was one of the origi
nal pinku eiga Nikkatsu directors , re
sponsible for Eros Schedule Book in
1 97 1 (the studio ' s first venture into
roman porn) , Isao Hayashi was nev
er given major projects after his pro
pitious debut . Instead , he was rele
gated to a string of sequels (for both
Eros Schedule Book and Apartment
Wife [ 1 972- 1 9 7 5 ] ) and B-features .
The studio tried to change his bear
ings with this project, hoping to cre
ate a n e w e r i m a g e fo r J u n k o
Miyashita at the same time . While
the film wasn ' t a failure , it didn ' t
cause any reason for celebration ei-


[Karuizawa Fuj in]

director: Masaru Konuma
Miwa Takada Takayuki Godai
Yumi Yoshikawa Yoshio Tsuchiya

Whenever a m a i n s tream actre s s
drifts t o porn, it' s new s . In this in
stance , w h e n M i w a T a k a d a d i s
played h e r breasts and engaged i n
torrid sex scenes w ith a very young
Takayuki Godai , it was scandalous .
Miwa had etched out a successful ca
reer , starring in a variety of action
films and thrillers including Hundred
Monsters ( 1 969) and Maj in ( 1 966) .
She comes from a celebrated family
of actors , her father i s the famous
t h e a t r i c a l p e r fo r m e r K o k i c h i
Takada . It was quite a surprise when
she agreed to star in a pinku eiga for
Nikkatsu .
Miwa plays a snooty , m iddle-aged
woman who takes on a young lover
after learning her husband has been
unfaithful . The young guy later gets
i n v o l v e d w i th n i e c e A y a ( Y u m i
Yoshikawa) , and things heat up
when h e r boyfriend i s found dead .
Essentially , it ' s a remake of Rene
Clement ' s Plein Soleil [ 1 960] (Pur
ple Sun , U S A title) wh ich starred
Alain Delon .
Director Konuma was expecting

notoriety due to the film ' s parentage

and well-written script, but he had a
difficult time making the relationship
between the older woman and the
young stud seem believable . The crit
ics were not kind . However, the film
plays better today than it initially did.
Konuma was no stranger to the im
modest autumn/spring romance (i. e. ,
Afternoon Affair [ 1 97 3 ] ) . But de-


Japanese Cinema Encyclopedia : The Sex Films

spite the weak characterizations this

time around , the fi lms looks better
and is more plot-driven than most of
h i s i nterchangeable S & M proj ects
from the ' 80s .
ADVENTURE ( 1 980)

[Momoko Fujin No Boken]

director: Koyu Ohara
Akiko Hyuga Aki Togo
Masahiro Yoshiwara Hisashi Imai

* * '12
Koyu Ohara , bounc ing back from

one of Nikkatsu ' s ugliest films , Zoom

Up: Rape Site ( 1 979) , once again
demonstrates his amaz ing dexterity .
It's little wonder why he gained the
reputation as the studio ' s most versa
tile director, in light of this pop-art,
sci-fi pinku eiga .
Lady Momoko (Akiko Hyuga) has
been frozen in deep cryogenics sleep
for the past 17 years in America, as
per her husband ' s request. But now ,
after amassing his fortune , husband
Masahiro (Masahiro Yoshiwara) de
cides it's time for her to be thawed
out . Soon, she is whi sked bac k to
Japan as a vibrant young beauty . But
apparently , the deep-freeze experi
ment had a sl ightly negative effect .
By day , she ' s a l i b i d i nous woman
hunting and bedding a w ide variety o f
men ; while, at night, Mrs Momoko is
a faithful wife . However , there ' s a
twist at the end , she not really Lady
M at al l ! This beautiful sex maniac is
really a cyborg programmed for love .
A fter s h e s e d u c e s her d a u g h te r ' s
boyfr i e n d , M r s M o moko c o m m i t s
suicide .

Naomi Tani Erina Miyai

Osamu Tsuruoka Tokuko Watanabe

Following some mildly interesting
tangents (e. g . , International Stew
ardess : Erotic Flight and Secret
Wish [both earlier in 1 976] ) , director
Fuj i returns to h i s more notorious
SM roots with this film, another ven
ture written by Oniroku Dan , star
ring top cinematic masochist' Naomi
Tani .

A student named Kizaki (Osamu

Tsuruoka) is madly in love w i th
Y u m ej i ( N a o m i T a n i ) , a flo w e r

queen , the artistic head of a flower

arrangement c l a n . But t h i s c l a s s y
lady doesn ' t know h e exists . Coinci
dently , Kizak i ' s college roommate
has a new girlfriend , Yuriko (Erina
M i y a i ) , w h o h a p p e n s to be t h e
y o u n g e r s i ster o f " u n o b t a i n ab l e "
Yumej i . K izaki formulates a plot to
k idnap the younger s i ster and w i n
Yumej i i n a ransom trade-off. So he
captures Yuri ko, rapes her and tor
tures her, w h i l e photog raphi ng the
entire ordeal . The pictures are sent to
s i ster Yumej i w i th a blackmail de
mand . Kizaki threatens to expose the
girl ' s S&M session to the medi a i f
Yumeji doesn ' t come t o visit h i m im
mediately . She responds accordingly
and spends the rest of the movie be
ing tortured and raped until she man
ages to escape the boy ' s clutches.
A variation on this theme was em
ployed , more successfully , a year lat
er i n Koy u Ohara ' s F a i r y In A
Cage , also written by Oniroku Dan ,
starring Naomi Tani .


see Spotlight Section: Hisayasu Smo

[Yugao Fuj i n j
aka Flower O f The Night
director: Katsuhiko Fuj ii

LADY'S TRIANGLE ' ( 1 983)

I Ojosan No Matagura]


Thomas Weisser And Yuko Mihara Weisser

director: Atsushi Fujiura
Kate Asabuki

and Junko
'In this case

Akio Kaneda



is a double entendre

referring to both a 3-way romance and the patch

of pubic hair between a woman's legs.

Director Fujiura, who cut his teeth

on NikkaJsu screwball comedies like
Deadly Obstacles [1963] before the
studio went pink in ' 71, helms his
first " serious " sex film. He is better
known for his female diver series (see
Nasty Diver). But Fuj iura is clearly
out of his element here , simply going
through the motions for a paycheck .
Mina (Kate Asabuki) is a mistress
to a middle-aged married man who
offers her a comfortable, if not excit
ing , life . But she breaks up with him
{"There must be more to life than
this!"} and walks out . Before long ,

M ina becomes friends with a young

taxi driver, Ryota (Akio Kaneda).
They seem to be perfect for each oth
er and begin living together. Howev
er, their youth soon gets in the way ;
M ina and Ryota start arguing all the
time . In the end , M ina real izes her
romance with an older man wasn't
such a bad thing . She leaves her taxi
driving beau to become the mistress
of a library curator.
A c t re s s Keito (Ka t e) Asabuki
made numerous movies w ith fi lm
maker F u j i ura. Some refe r e nce
b o o k s sug g e s t they were secretly
married . Their next project would be
the more successful Dancer Of Izu
(1984) in the Koichiro Uno series.


[Last Cabaret]
director: Shusuku Kaneko
Miyuki Kato

and Ko

Yasuo Daichi


A requiem for Nikkatsu itself. In

1988 , the powerful studio - realizing
that it could no longer compete with
the onslaught of AVs { Adult Videos}
- decided to halt pink production .
Th e Last Cabaret was written and
produced as a metaphorical self-por
trait, as at least one critic put it: "an
homage to their own relevance . "
Due to the voracious appetite of a
land develope r , a popular cabaret
{think Nikkatsu here } is forced to
close its doors . The owner's daugh
ter, melancholy over the foreclosure,
goes looking for her father's leg
endary girlfriends { think Nikkatsu
starlets } to reminisce over the good
ole days.
Nikkatsu would produce only one
more pink fil m , Bed Partner (see
separate l isting) . D irector Kaneko
left the sex arena for a brief flirtation
w ith the " art fi l m circu i t " {e.g.,
Summer Vacation 1999 (1988)} . In
the ' 90s, he found a permanent home
in the horror-cult market, responsible
for My Soul Is Slashed (1991) and
the Gamera remakes (1995 + ) .
MARCH 31, 1958 (1974)
[Akasen Saigo No H i :
Showa 33-nen 31-nichi]

aka The Last


director: Shinichi Shiratori

Junko Miyashita
Meika Seri

Aoi Nakajima

Morio Kazama

Prostitution was legal in Japan until
March 31, 195 8 when the govern
ment finally buckled to the " social
pressures" from the United States and
other world Coalition group s . As of
that day , the red l ights would be
turned off and the brothel s closed ,
forcing the oldest profession to go


Japanese Cinema Encyclopedia: The Sex Films

underground, giving total control of

the flesh business to the yakuza. This
is the story of the last hours in the
life of Chidori Salon, an independent
whorehouse in Osaka's skin district.
The girls of Chidori are ready for
the final day of business before the
new law shuts them down. The film
is a series of vignettes delineating the
activ ities of three popular whores .
Aoi Nakajima (best remembered as
the accountant thief from Offi ce
Lady Journal: Wet Bundle [early
1 974]) is probably the standout . She
plays a single mom who needs money
to raise her chi l d . As thi s woman
comes to work with her baby , the
film manages to capture both her
motherly qualities and her profession
alism as a prostitute, without dipping
into sentimental ity . The r e i g n i ng
Queen of Nikkatsu, Junko Miyashi
ta, has the headlining role but, com
pared to the rest of the cast, her per
formance is disappointingly pale . She
plays a prostitute who is concerned
about her future , torn between l ife
w ith a poor student who loves her
and a pimp . There doesn't seem to be
any contest . Meika Sed, fresh from
two highly successful Noboru Tana
ka f i l m s (Secret Chronicle: She
B e a s t Market and W e s t Lust:
Twenty One Strippers [both also
1 974] ) plays a no-nonsense prosti
tute , try i ng to fit as many men as
physically possible into her crowded
schedule . At the end of the day when the clock strikes midnight - all
the girls sing Auld Lang Syne. Sur
p r i s i ng l y , it w o r k s - n o t in a
maudlin way - but rather as a mes
sage of determination and unity in an
unfair world .


Memoirs Of A College Virgin

director: Kazunari Takeda

Takako Kitagawa

( 1 976)
[Campus Erotica : Urete Hiraku]


Tokuko Watanabe

Haruka Tajima

and Morihira Murakuni

Here's another film which proves
conclusively that director Takeda's
extraordinary Housewife 's Experi
ence series ( 1 974- 1 975) was merely a
fluke . This one is remarkably ineffec
tive as a sex movie, as a comedy, or
as entertainment in general . It's on
par with Season O f Lust: Trail Of
Honey Fro m An 18 Y ea r Old

( 1 973) and his other similar fare .

Takako Kitagawa from Secret
Wish [also 1 976] , seemingly an ac
tress incapable of playing anything
besides randy virgin roles , is a col
lege sophomore named Atsuko . She
is - of course - through no fault of
her own, still a virgin. Atsuko finally
snags a potential boyfriend , Teraya
rna (Hiroshi Yamamura), from a
prestigious neighboring university
and they begin living together. But,
alas , when the boy learns his room
mate is s t i l l a shojo { v i rg i n } , he
treats her "with respect" and sensitiv
ity . In other words, Terayama won't
have sex with her . So Atsuko con
cludes she has to make it with some
body else first. She and her girlfriend
(Tokuko Watanabe) take a weekend
j aunt and attend a kompa.' Atsuko
manages to get laid and she returns
home anxiously anticipating some
sexual antics with Terayama . But he
still doesn't want to do it with her
(Terayama is Nikkatsu ' s first homo
sexual character) , and so the new lib
erated Atsuko dumps him.


HiroW Yamamura

is a Japanization, derived from the

Eng l i s h word


The word means "a

party w h i c h mixes s t u d e n t s from d i ff e r e n t

schools o r different w a l k s o f l ife. "

Thomas Weisser And Yuko Mihara Weisser


see Spotlight Section: Toshiki Sato


( 1 983)

[Kyokon Densetsu :
Utsukushiki Nazo]
director: Genji Nakamura
Tatsuya Nagatomo

Ren Ohsugi

Masayoshi Nogami

Kei Shuto

ENK Productions
One of the first widely-distributed,
fav o r ab l y - re v i e w e d Japanese s e x
fi l m s w i t h a h o m o s e x u a l t heme
(called Bara-zoku Eiga { Rose films} .
It's helmed b y exploitation auteur
Genji Nakamura who started film
making in 1 9 72 w ith Sad Nymph
{Kanashiki Yosei}, a B-feature picked
up by Nikkatsu for the bottom part of
a double bill . He made 64 movies be
fore h i s fi r s t award-w i nn i ng Wet
Lips: Sleek And Hot in 1 980.
In the ' 80s, Nakamura was general
ly considered one of the Three Pillars
of Pink (along with Tomoaki Taka
hashi and Mamoru Watanabe), re
spected for elevating the sex movie
far beyond its meager roots . Early in
' 8 3 , he o fficially j o i ned Nikkatsu
with the misogynistic opus Beauty In
Rope Hell { see separate l is t i ng } .
Nakamura followed that mean-spirit
ed torture fest w ith this gay movie
for ENK Produ ction s ( Nikkatsu ' s
s ister studio i n Osaka) . I t was fol
lowed by Bathhouse Documentary:
Golden Lips.

In 1 984, Genj i switched from the

pink market into the youth-oriented
act i o n arena w i t h the cult h i t V
Madonna: The Great War about a
group of female bikers who protect a
school from an attack by the vicious
Yagui motorcycle gang . Nakamura


returned to Nikkatsu in 1 985 under a

p s eu d o n y m Go /ju in, w h i ch h e
shared with friends Ryuichi Hiroki
and Hitoshi Ishikawa. Together they
made some legendary roughies , Sac
rifice ( 1 9 8 5 ) , The Sexual Abuse
(19 8 5 ) and Captured For Sex 2
( 1 986) { see separate listings for all ti
tie s } . Legen d Of Th e Big Penis:
Beautiful Mystery is not Genj i Naka
mura's only gay film. Years before ,
he d i rected Perfe c t H o m o sexual
Love [ 1 972]. But this is certainly one
of his most famous movies.
It features - among others - Ren
Ohsugi, the future star of XX: Beau
tiful Prey and Bani-bi. He's Makio
M itani (a parody of real-life Yukio
M i shima) , the leader of a m i l itant
right-winged group organizing terror
ist activities which will culminate in a
mass hara-kiri .! He also has a male
l o v e r , h i s s ec o n d - i n - c o m m a n d
(played b y Masayohi Nogami), who
has told all the members of Mitani's
big peni s . After weeks of training ,
the militants gather for a " last sup
per , " {a dinner and pep-talk} . Fol
lowing a good deal of male posturing
and tough talk, all the men become
affectionate towards each other in a
group orgy .
The two newest members, Shino
hara and Takizawa (Kei Shuto and
Tatsuya Nagatomo), are mesmerized
by leader M itani and his ostentatious
diatribe {"The young officers in the
1936 revolution had no desires, made
no proclamations - and died without
accomplishing anything. In return,
they became the beautiful mystery. If
there's anybody I envy, it's them. "} .

These two recru its eventually fal l

asleep - after satisfy ing their own
carnal passions - amid dreams of
M i t a n i ' s rheto r i c . But t h e s e t w o
rebels end up sleeping through the
next day's dissident activities . When


Japanese Cinema Encyclopedia: The Sex Films

they wake up at noon, the coupe d'e

tat is over . Their leader is dead . The
boys unsuccessfully attempt hara-kiri
before realizing they weren't attract
ed to the bravado anyway ; rather ,
they were drawn to the group because
of the male bonding . They happily
accept their homosexual tendencies
and forgo the politics . The film clos
es with the disclaimer: "Leader Mi
tani shines brilliantly in history while
Takizawa and Shinohara jaded like
seaweed to the bottom oj a neon sea.
Nobody knows what happened to
them. But in an epilogue , the audi

ence is privy to the rest of the story .

Two years later, Shinohara and Tak
izawa have become transvestite host
esses in a gay bar fittingly called
Days OJ Wine And Roses.

The studio insists it's an honest por

trayal " stressing the friendship and
love between men . " Critics called the
fi lm a satire and embraced it as "a
campish attack against pol itical ex
tremists . " Whichever is correct, right
wing fanatics didn't appreciate the
fi lm's sentiment . M i l itant groups
demonstrated . They boycotted the
theaters and menaced the studio with
bomb threats , cau s i ng even more
publicity for the film.
Interestingly , the participation of
Masayohi Nogami and Ren Ohsugi
does not seem to be accidental. They
a l s o went on to star in other gay
films . Ren Ohsugi made Our Season
later in 1 98 3 , while Masayohi Noga
mi carried Mansion Of Roses: Pas
sion Of Men the same year. Prior to
this film, Noigami had made a career
of tough heterosexual rapist roles for
more than a decade , ranging from Se
duction Of The Flesh ( 1 968) to Of
fice Lady Rope Slave ( 1 981) .
'The real Yukio Mishima headed a similar rad
ical group. He also committed hara-kiri during a

rally in 1969. His death was the last "sanc

tioned" suicide in Japan.


( 1 973)
[Ohedo Seito-den Onnagiri]


director: Katsuhiko Fujii

Setsuko Ogawa
Hitomi Kozue

Hideaki Ezumi

Junko Miyashita

Katsuhiko Fujii

is a second-string

Nikkatsu director who made a lot of

B-features and SM erotica for that

company throughout the ' 70s . He's
also the only director who had the
opportunity of working with all four
of the first wave Nikkatsu idols (e.g.,
Kazuko Sh iraka wa in Apartment
Wife: Mid-Afternoon Love Affair

[1972] , Yuko Katagiri in Seduction

[also ' 72] ,
Naomi Tani in Cruelty: Black Rose
Torture [ 1 975] , and Setsuko Ogawa
in the Eros Schedule Book sequels
and , of course, this film) .
Here's another Edo period piece .
This time a desperate ronin {master
less samurai} Shinj iro (Hideaki Ezu
mi), with the intention of steal ing a
legendary treasure , breaks into the
home of a wealthy warrior named
Managawa. But Shinj iro is shocked
to find a masked gang already ran
sacking the place and holding wife
Aya (Setsuko Ogawa) hostage . After
Shinjiro rescues the beautiful woman,
they escape the scene . Of course the
two fall in love , which soon escalates
into an expected s e x scene . Then
shockingl y , Shinj i ro di scovers that
Aya is a virgin. After the deflower
ing , she asks him to kill her husband,
a "mean and impotent bastard . " They
decide to do the deed together , but
then learn that Lord M anagawa is
also trying to kill Aya. Seemingly ,
the masked gang of robbers was un
der the direction of Managawa him
s e l f - and they are very s e r i o u s
about their orders t o eliminate her .
Of The W h ite Angel


3 Pillars Of Pink
Genji Nakamura, Banmei Takahashi and Mamoru Watanabe
became the most influential Japanese pinku eiga directors of the '80s.
They are respectfully called The Three Pillars OJ Pink.
In the ' 60 s , Genji Nakamura attended the
prestigious private college Keio Gijuku in Tokyo,
majoring in literature. He then continued his edu
cation at Sago Film Institute and began working
as an assistant director for Koji Wakamatsu in
197 0 . At age 2 5 , Nakamura became Japan's
youngest pinku eiga director when he helmed
Sad Nymph in 1972 . He made 64 movies before
his first award-winning feature , Wet Lips: Sleek
And Hot in 1 980 {see review in text portion}.
When Nakamura officially joined Nikkatsu in
1 983 with Beauty In Rope HeU, he already had
passed the 100 movie mark, an impressive list of
groundbreaking films including a notorious gay
picture called Legend Of The Big Penis and
Bathhouse Documentary: Golden Lips for pil
lar M amoru Watanabe's production company
{see text listings for both elltries}. In 1984,
Nakamura switched from pink to the youth action
market with the cult hit V-Madonna: The Great
War, but he returned to Nikkatsu the following
year under a pseudonym, Go Ijuin, which he
s h a red w i th R y u i c h i Hi r o k i and Hi t o s h i
Ishikawa. As a triumvirate they helmed numer
o u s leg e ndary S&M
roughies , (e.g., Cap
tured For Sex 2
[ 1 9 8 6 ] ) befo re split
ting their partnership
i n '8 7 . S i nce that
time, Nakamura has
helmed only two films
- both non-pink






Sad Nymph

(Kanashiki Yosei)
Homosexual Love

(Kanzennaru Doseiai)
Scarlet Nymph

( Akai Yosei)
WIld Woman
( Yasei No Onna)
An Exhibitionist
Trap Of Lust

(Chijo No Onna)
Lustful Family

( Yokujo Kazoku)
Orgasm Game

(Kokotsu No Asobi)
The College Girl
Studies Sex

(Joshi Gakusei
Sei-ka Nyugaku)
Lust Of White Angel
(Shiroi Tenshi
No Yokujo)
Porn GYN Doctor

(Porn Sanfl\iin-ka)
A Woma n Who Can't
Wait Until Dark

( yorumade
Matenai Onna)
Swapping: ex Drops

(flex Koukan:
Amai flhi zuku)

Filthy Petals

Schoolgirl Sex Report:

(Yogoreta Kaben)

Hands-On Intern

Exchanging Love

Sex Report:
Jicchi Kenkyu)

(Ai No Kokan)
Lustful Trap

(Shikiyoku No Wana)

High School
Drop Out Girl

(Hiko Jokousei)
Blonde Hunting


(Semi Document:

Ecstasy Apartment:

(Kokotsu Apart:
Campus Of Lust

(Mouretsu Porn Retto)

(Chijo Gakuen)

Charming The Woman

( Onna Torokashi)
Night Blooming

( Yoruhiraku

(Chikan Shoujo)
Perverted Girl

Woman In A Blue Film


(Blue Film No Onna)

Violent Brutal Sex:
Sexual Harassment

(Zunkoko Sex:


Pangs Of Young Sex

VIrgin's Obscene

(Seishun No Umeki)


Sex Trucker:

(Semi Document:
Shojo Chitai)

Porn Night Express

(Truck Sex Yarou:

Porn Shinya-bin)

(ldo-Love Hotel)
Molester Girl

Fainting VIrgin

(Chikan-sei Igaku-bu)

(Aoi Sukeban:
Nureta Seifuku)

Wet Soaking

(Semi Document:
Mesu-inu Gushonure)


Perverted Med School

Fresh Delinquent Girl:


Hentai Musume)

(Semi Document:
Shojo Shisshin)

Filthy Flower

This Hole, That Hole

(Pachinko Yaro:
Ano Ana Kono Ana)

Mobile Love Hotel

Days Of Frustration

Mad Porn Islands

Pachinko Gambler:

A Female's
Perverted Orgasm

(Chijo Shoten)

Peeping On The
Promiscuous WIfe

(Semi Document:
o Nozoku)
Perverted Sex Shooter

(Ijo Sex Ransha-Ma)

Runaway Sex Gang

(Semi Document:
Boso Sex Shudan)
Sex Trucker: One Shot

(Truck Sex Yarou:

Ippatsu Shobu)
School Girl: Playing
With Men's Balls

(Joshigakusei: Kokotsu
No Tama-Korogasiti)
Dirty Peep Gentleman

Nozoki Shinshi)


High School Girl:

Dirty Beautician

(Koushoku Biyoshi)
Pimp Con Team

(Sukekomashi Gundan)
Serial Brutal Rapes

Renzoku Boko)
Office Lady's
Perverted Sisters:
Upper Lips
Lower Lips

(OL Chijo Shimai:



(Jokosei: Kaikan)
Career Girl: Attacking
The Weak Spot

(Career Girl:
School Girl
Playing Doctor

( Joshigakusei:
Oish-san Gokko)
Frenzied Ripe
College Girl

(Rar\iuku Joshidaisei)

Finger Play
Violent Sex Gang:
(Bosei-zoku: Osou!)
In Heat: Prostitution
Housewife Racket
(Baishun Group:
Yokujosuru Hitozuma)
Powerful Spell
Of The Woman
(Cho Inryoku
Pet Girl
( Aigan Shoujo)
Porn Documentary:
Afternoon Climax
(Porn Document:
Hirusagari No Zeccho)
School Girl:
Dangerous Play
Kikenna Yuugi)

Encyclopedia Of Sex:
Pink Shell Thief
(Y obai Hyakka:
Sakura-gai Dorobo)
Midnight Train
(Hentai Yako Ressha)
College Girl: Playful
Aida No Tawamure)
Runaway WIfe: Sobbing
Susuri Naki)
Wet Lips: Sleek & Hot
( Nureta Kuchibiru:
Shinayakani Atsuku)
Young WIfe:
Playful Bondage
Shibari No Tawamure)
Molester License
(Chikan Karimenkyo)

Housewife Office
Lady. School Girl:
Target For Attack
(Hitozuma. OL
Neratte Osou)
Secret Potion
Superman: The Bed
Gets Wet
(Maruhi Kyosei-zai:
Bed Ga Nureru)
Secret Tapping Device:
Lick And Cry
(Maruhi Tochoki:

A Woman Who Wants

To Fuck,
A Woman Who
Wants To Be Fucked
( DakitaiOnna,
Intensive Training
To Build A Vagina
(Semi Document:
Tokkun! Meiki-zukuri)
Scarlet Prostitute:
( Akai Shofu: Tsukisei)
Housewife And
College Girl:
Both At Once
(Hitozuma, Joshidaisei:
Futari Ichido Ni)
Sex Maniac
(Semi Document:
Molester's Train:
Okay To Shoot
(Chikan Densha:
Hassha All Right)
Woman's Spare Key:
Wet And Open

(Onna No Aikagi:
Nurete Hiraite)
Sex Documentary:
(Sex Document:
Soaking Wet Captive
( Nure Nure Kankin)
Prostitution Team
(Semi Document:
Hitozuma Baishun
No Teguchi)
High School Girl:
Offer Myself
Watashi 0 Ageru)

Documentary Porn:
Bathhouse Inquest
( Document Porn:
Toruko Tokkyubin)
Housewife Torture
Hitozuma Gomon)
Weekend Shuffie *
( Weekend Shuffle)
Documentary: Stroking
The Fatal Spot
(Jitsuroku Mantoru:
Kyusho Ijiri)

Girl Bondage Doll

(Shoujo Nawa-Ningyo)
Golden Lips
(Toruko Document:
Ohgon No Kuchibiru)

Legend Of Big Penis:

(Nakamura continued:)
Beautiful Mystery

(Kyokon Densedtsu:
Utsukushiki Nazo)


{as Go /juin:}

Banmei Takahashi made his directorial debut

in 1 972 with Escaped Rapist Criminal, but a
post-production argument w i th his producer
forced him to abandon the project and temporari
ly leave the industry . A couple years later, Taka
hashi joined Tokatsu as a member of the produc
tion crew and part-time editor. In 1 975, he moved
to Wakamats u Studios w h e r e he became a
scriptwriter. Koji Wakamatsu agreed to produce
a Takahashi helmed project, Delinquent File: Ju
venile Prostitution in 1 976 . The director stayed
with Wakamatsu, averaging five films a year, un
til the formation of his own Takahashi Produc
tions in 197 9 .
A few years later, he dissolved the operation
after the success of his mainstream film, Tattoo
( 1 982), joining the prestigious Director 's Compa
ny. During the same time, he married Nikkatsu
actre s s Keiko Sekine ch anging her name to
Keiko Takahashi . She would later star in numer
ous movies including the director's own cult hit


Door ( 1 988) .

23 Serial Rape Murder

(Renzoku 23-nin
Beauty In Rope Hell

( Dan Oniroku:
Bijo Nawa-jigoku)

Lower Body Syndrome

(Kahanshin Shokogun)
Prostitution Bathhouse

48 Hours

(Toruko No 48-jikan)
Meow Meow Girl

( Nyan Nyan-musume)

(V-Madonna: Dai Senso)

(Za Sacrifice)

Sexual Abuse

(Za Sekkan)

{as Go Ijuin:}
Captured For Sex 2

(Kankin Sei No Dorei:

Ikenie 2)

A Lot Of Murders

(Satsujin Ga Ippai)

Sadistic Song

(Sadistic Song)
* indicates a nULiru;lream the

atrical production

Aside from his important, ground-breaking sex

movies like Girl Mistress ( 1 980) and Attacked
Woman ( 1 98 1 ) { see separate listings in the text
portion of this book } , film critics insist that Taka
hashi's major contribution was h i s ability to
rekindle an interest in pink among college-age pa
trons, an audience which had drifted from the
genre after Nikkatsu's "Golden Period" ended in
1980. But histori cally, he w i l l alway s have a
niche in Nippon Cinema as the first Japanese di
rector to s ucce s s fu l l y
ch a l l enge t h e gove rn
ment ' s censorship laws
regarding the " fogging
of genitalia. " In 1 994 ,
he produced and direct
ed New Wo rld Of
L o v e, the first pinku
eiga which featured un
censored full-frontal nu


Affair With Bondage

( Kinbaku No Joji)

Escaped Rapist

( Fujo Boko Dasso-han)

Delinquent File:
Juvenile Prostitution

( Hiko Kiroku:
Shoujo Baishun)

Red Sex:
Sexual Battery Case

( Akai Sei: Boko Shogai)

Kill The Flower Bud!

(Tsubomi 0 Yaru!)
Seduce The Sisters

(Shimai 0 Okasu)

Sex Maniac
In The Daylight

(Semi Document:
Hakuchu No
Attacking The Girls

(Shoujo 0 Osou)
Too Wet Pussycat

( Nuresugita Mesuneko)

(Monzetsu Hiko:
Niku Shin
Shouji Kinbaku)
Woman: Deceiving
And Manipulative

( Onna: Tarashikomi)
Female Prison:
Tight Bondage

(Sukemusho: Kinbaku)
Brutal! Rape Case

(Ryoki! Boko Jiken)

Girl Mistress

Female Prison: Pervert

(Shoujo Jofu)

(Suke-musho: Hentai)

Lustful Woman:

Scandal: Pleasure Skin

Expert In Tongue

Kairaku No Hada)

(Shikijo Onna:
Kyoretsu Shitazawari)

Bondage Sex Maniac

Perverted Fingers: Stop

(Kinbaku Ijo-ma)

( Ijona Yubi: Yamete!)

Filthy Pussycat

( Into Mesuneko)

Bizarre Bondage WIfe


(Kinbaku Ryoki-zuma)

Bondage Sacrifice
Tight Bondage

( Aru Onna Kyoshi:

Japanese Torture

( Nihon No Gomon)
Profound Experience:
Sucking The Pussycat

( Oku No Taiken:
Suitsuku Mesuneko)
Female Prison: Lynch

(Suke-musho: Lynch)
Bondage Female Coed


(Kinbaku Ikenie)
Setsuko's Confession:
Sleep With Me

(Setsuko No Kokuhaku:
Watashi 0 Daite)
Juvenile WIfe

(Baishun Osana-zuma)
Rampage For
The Sexual Assault

Woman In The Rumor:
Sleep With Me
Until Morning

(Uwasa No Onna:
Asamade Daite)

Torturing The

Fake GYN Doctor


(Semi Document:
Nise Fujin-ka-i)

Ecstasy Fight:

Whip & Tight Bondage

(Muchi To Kinbaku)

(Hitozuma Gomon)
Fleshy Lips
Girl Bondage

Bondage And Cage

(Shibari To Ol'i)
Japanese Lynch

( Nihon No Lynch)
Perverted Pleasure:
Forbidden Lips

( Ijona Kairaku:
Lower Body Report:
"I Feel Hot"

(Kahanshin Report:
Atsuku Kanjiru)
Female Prison: Rape!

(Suke-musho: Okasu!)
18 Years Old:
Deep Bliss

(i8-sai: Hageshii Aegi)

Orgy Roommates:
Rape In Turn

(Ranko Dosei: Mawasu)

Documentary Porn:
Cry For The Tongue

( Document Porn:
Zetsugi Ni Naku)

Sex Crime:
Blackmail And Rape

Kyohaku Boko)
Female Teacher:
Chain And Bondage

( Onna Kyoshi:
Kusari To Kinbaku)
Documentary Porn:
Compulsive Rapist

( Document Porn:
Chikan Joshusha)
Office Lady Experience
- Pregnancy

( OL Hatsutaiken:
Tying The
Newlywed Wife

( Niizuma 0 Shibaru)
Victimized Woman

Rope For A Uniform

(Kingaku Nawa
No Seifuku)


Death Of

( Ohkami)

[End Of]

( Yarareta Onna)
Craving Pleasure:
Attack A VIrgin

(Yorokobi No Aegi:
Shojo O Osou)
Strip The
Female Teacher

( Onna Kyoshi 0 Hagu)


No Saigo)


Human Intersection:


Green Season Wmd

( Aoi Kisetsu-fu)

(Kinbaku Gokusha)


Emperor Of Evil

(Seien Dorei Shojo)



(Shura No Teioh)

( Door)

New World Of Love

Slave VIrgin Eros


( Ningen Kousaten:

Bondage Cell

The Lion Kings


(Ai No Shinsekai)



Bedtime Story:
Go Back

(Serafimu No Yoru)

( Abunai Hanashi
Anohi: Ni

Heavy Thunder:
Ransom Of
The Big Boss

Summer Of The
Lion Kings

Night Of Serafimu

I Want To

No Natsu)

(Jinrai: Kumicho
No Minoshirokin)
* indicates a mainstream the

atrical production

Mamoru Watanabe is an actor-turned-director
who initially graduated with honors from the
prestigious Waseda University, majoring in dra
ma . While working as a scripter for a Japanese
television network in 1 965, young Watanabe en
gaged in a fistfight with director Michiyoshi Doi
which resulted in him getting blackballed from
TV work . Watanabe found a new home as a as
sistant director for Shintoho ' s spinoff pinku eiga
company, Tokyo Geijutsu. Over the next few
years he perfected his craft by helming projects
for a variety of independent studios , including
Koei, Mutsukuni Eiga, Million Films and , of
course , Shintoho. Soon, critics recognized the
expertise of the filmmaker, citing his unusually
intricate plots {e.g., Slave Wi dow [ 1 968] } and
keen eye for talent (i.e., Watanabe is credited
with giving Naomi Tani her first starring role in
the mm Bed Of Violent Desires [ 1 967]) .
In the early ' 80s, Watanabe formed the Film
Workers Production Company with his partner
C husei S o n e . H i s fi rst mains tream feature
would be Cold Blood in 1 984. But before that
endeavor, Watanabe del ivered a couple bits to
Nikkatsu with Dark Hair Velvet Soul and Uni
form Virgin Pain (both 1 982) It was during this
time be befriended renegade screenwriter (and
future director) Kazuo "Gaira" Komizu and ac
tor Kazuhiro Sano, the man who went on to be
come an influential pink filmmakers of the '90s .
Critics insist Watanabe was instrument to the ca
reers of both men. The director continued work
ing pinku eiga cinema
throughout his career ,
pausing momentarily
i n 1 99 3 to helm the


( Abazure)
Red Pot

Wet Bare Skin

( Nureta Suhada
Girl's Confused Feast

(anna No Kyoen)
Stone Girl

( Ishionna)
Cruelty To VIrgins

(Shojo Zakura)
Slave Widow

( Dorei Mibojin)
Bed Of Violent Desires

(Boyoku NoShikibuton)
Ten Years Of Evil

( Akudoma Junen)
Contract Of Flesh

( Nikutai No Keiyakusho)
Crimson-Haired Girl

(Makka Na Ubuge)
The First Futon

Secret Hot Springs

drama Crimson Flower

{Gurenbana} with Ku
m i k o A k i y o s h i fo r
Sankyo Eiga. Seem
ingly , he has since re
tired from the motion
picture business .

People At Night

(Maruhi Yu No Machi:
Yoru No Hitode)
Murder Atrocions

( Otokogoroshi
Gokuaku Benten)
Song For A Girls' Hell:
Shaknhachi Sarasvati

(Onna Jigoku Uta:

No Sexual Battery

( Asunaki Boko)

Tremble Of

(Nihon Sei Fuzokushi:

Honban Chitai)

Newlywed WIfe

(NiizumaNo Wananaki)
WIfe's Prostitution

(Tani Naomi: Shibaru!)

Trickle Of
Sex Tour Of Japan:
Eastern Part

(Nippon SexJudan:
HigashiNihon Hen)

(Nure Benten Gokaicho)

Tanijilm, most likely

(NiizumaNo Shitatari)
Young Wife: Trembling

Vll'gin Thief

(16-sai: Ai To Sei
No Henieki)

Pink Pagoda

(Joshidaisei Jikenbo:
PinkuNo Kyoto)

Molester And
High School Girl

(Chikan ToJokosei)
Unopened File On
Sexual Sensitivity

(Seikan Mikoukaizu)

(Semi Document:
Nyotai Gari)
Rape School Uniform


Mrs Emanuelle

Emanieru Fujin)


Sexual Confusion
Rope And Girl

Bizarre Rose Slave

(Nawa To Onna)

(Ryoki Bara Dorei)

Sex Document: Trick

WIfe At 3 o'clock:

(Sex Document: Teguchi)

Time Of Temptation

Sexual Dance

(Hitozuma No Sanji:
YuwakuNo Shitatari)

Department Girl:


Office Lady

High School Girl

Ecstasy Three Sisters


(Hitizuma OL
Jokosei Yukai)

Arched Back
Newlywed WIfe

Porno Is Tough:

(Poruno Wa Tsuraiyo:

Female Student:

History Of Japanese

Sexual Doll

Sexual Customs:


History Of Japanese

(Nihon Seiranshi)

(JogakuseiNo Yugi)

( Kindan: SeiaiNo Uta)

Surplus Sexual Desire:


Naked Female Student

New Japan:

Porno Is Tough:

CK:\ioSeiyoku: AfureIU)

Female Student's Play

Song Of Sexual Love


(Poruno Wa Tsuraiyo:

Story Of A
College Girl's Affair:

( Ryoki Semegesho)

Vital Point Torture

Hunting Female Body

And Sex At Age 16

Bizarre And Torturous

On The Wedding Night

Journey For Love

{a retitling oj an ea'rlier

Bed OJ Violent Desires}

Newlywed WIfe

( Osanazuma:
ShoyaNo Wananaki)
Exhibit Wet Sarasvati

Naomi Tani: Bondage!

Performance Area

( Depato Garu:
Kokotsu Sanshimai)
Tied Perverted Bride

(Kinbaku Hentai
Erotic Education

( Mun MunNekoiku)
Female Teacher:
Faint In Agony

(Jokyoshi: Monzetsu)
Experience The Inner:
Sucking The Pussycat

( OkuNo Taiken:
Female Student:
Starting To Get Wet


Seifuku To Panty)
(Seifuku 0 Shibaru!)
Shameless Dance Song
Exciting Videotaping:
(Harenchi Ondo)
Japanese Bondage
Rope Of Hell:
( Gekisatsu!
A Nun's Story
Nihon No Kinbaku)
Rape Girl
(Jigoku NawaShudoJo)
(Shojo Boko)
Apartment Wife:
Holy VIrgin Bondage
Housewife's Experience:
Drive Me Mad Tonight
(Sei Shojo Shibari)
( Danchizuma:
Bizarre Rose Hell
Indecent Skin
(Shufu No TaikenReport:
(Ryoki Bara Jigoku)
Konyamo Kuruwasete)
Lecherous Flower Train
Waisetsuna Hada)
Wet Place Open All
Bondage Apartment Wife
(Kouzhoku Hana Densha)
The Way: Sexual Map
( Nul'eba Zenkai:
( Danchizuma 0Shibaru)
Ecstasy Pornography:
Cry In Agony
Secret & Perverted
(Zeccho Porno:
Obstetrics & Gynecology
I Want To Fuck!
Modaete Naku)
(Hentai Maruhi
Newlywed Wife Report
Perverted And Lusty
Rope WIfe
Ecstasy Hotel: Exciting
NiizumaRepoto Kanki)
(Hentai Shikijo
(MonzetsuHoteru Chigi)
VIrgin Beauty Rope
Japanese Molester
(Shojo Nawagesho)
( Nihon No Chikan)
Docu-Drama Of
Tie Up Wife!
Obstetrics & Gynecology:
Take A Secret Pictnre!
Rape With Rope
Perverted Operation
( Nawade Okasu)
Bondage Torture
(Jitsuroku Sanfujinka:
Perverted Sex:
(Hitozuma 0 Shibaru!
Hentai Shujutsu)
I'm Melting
Missha! Kinbaku Gomon)
Sex Documentary:
Bondage Unit Violation
(Hentai Sex:
(Kinbaku Shudan Boko)
Watashi Torokeru)
Bring Girl!
I Uniform VIrgin Pain
Naked Hell OfYouth
(Sex Document:
(SefukuShojo No Itami)
(Maruhadaka Seishun
Please Seduce Me
Sensual Technique:
Lips. Tongue Finger
With Dirty Words
Missing WIfe: Tlrrow
(Kanno Tekunikku:
(Kitanai Kotobade
Watashi a Okashite)
Kuchibhu Shita Yubi)
Bondage Lusty Wife
Bondage! Rape!
(KinbakuShikigo F\liin)
I Woman's Great Spot:
Sex Documentary:
Rape Affair
Perverted Discipline! I
(FujobokoJiken Fukiso)
Third Time Ecstasy
(Sex Document:
( Onna No Anaba:
Sandome No Zeccho)
Hentai Shiiku!)
Molester: Japanese Hero
Apartment Wife:
(Chikan Nippon Retto)
Capture Rape 25 o'clock
Tongue And Finger
( Danchizuma:
(anna No Shinsatsu:
Boko Kankin 25ji)
I Virgin Cruelty:
Bondage Tortnre
Shita To Yubi)
Porno Documentary:
Downy Hair
Of A Nurse
(Shojo Zankoku: Ubuge)
Uniform And Panties
(KinbakuHakui Gomon)
Bondage Uniform!
Mistress Diary: Wet Pussy
Disciplined Woman's
Body: Train Severely
(Nyotai Chokyo: Shigoki)

Blue Skirt:
Dangerous Discipline

CAoi Skirt:
Kiken Na Shiiku)
Love Hotel: No Vacancy

( Love Hotel:
Tadaima Manshitsu)
Wife's Abnormal
Experience At OBGYN

(Sanfujinka Hitozuma
Yasuko Yagami

(Yagami Yasuko Onanie)

Perverted Bondage

(Aijin Nikki:
Nureta Kiretsu)

CHentai Kinbaku

Dark Hark, Velvet Soul

(Kurokami Nawa Fujin)

Bondage Rope Sister

(Kinbaku Nawa Shimai)

Bondage Perverted Hell

Molester's Train:
Mischievous Fingers

(Chikan Densha:
Itazura Na Yubi)
Rope Discipline

(Hentai Nawa Shiiku)

History Of Sexual
Crime: Execution

(Boko Sei Hanzaishi:

Perverted Erotica:
Rope And Molester

(Hentai Erotica:
Nawa To Chikan)
Bondage Tattoo
On Wet Skin

( Nurehada Irezumi
o Shibaru)
Lusty Discipline
In Uniform


BeautiM Girl

(Bishojo: Onanie)

Ecstasy Swap: Sex Play

(ZecchoSwap: Sex: Yugi)

Irony: Teasing Rope

(Hiniku Naburi Nawa)

The Molester Is Great

(Chikan Wa Saiko!)
Bondage Tattoo Woman:
Snake And Peony

(lrezumi Onna 0Shibaru:

Hebi To Botan)
Raped VIrgin:
Torn Flesh

(Shojo Boko:
Sakareta Niku)
Red Violation:
Cruel Torture

(Akai Boko:
Zankoku Na Seme)

Asuka Suzie:
Dance Of Bondage

(Suzie Asuka:
Kinbaku No Mai)
Yukari Taguchi:
The Convulsion

(Taguchi Yukari:
The Kell'en)
Hitomi Shimizu's

(Shimizu Hitomi
No Onanie)

Serial Murder Fiend:


(Renzoku Satsujin Ki:

Neighbor's Widow:

Lolita Bondage

( Lolita Kankin Shiiku)

I Can't Hardly Wait

(Tonari No Mibojin:
Watashi Gaman

Crimson Flower

( Guren-bana)


Thomas Weisser And Yuko Mihara Weisser


[Lesbian Harem]
director: Tomoaki Hosoyama
Reika Kano Kyoko Hashimoto
and Chiemi Akimoto

This cheaply-produced sex adventure is o b v i o u s l y i ntended as a
homage to American Grade Z cult
clunkers , a genre which found popu
l a r i ty in Japan w ith the boom o f
video . The story is remarkably simi
lar to John Water's Desperate Liv
ing ( 1 977) . Water's famous descrip
tive term , " monstrous fai ry tale , "
would certainly apply to both films.
It's a fantasy set snugly inside a
deep forest labyrinth . Two young les
b i a n s ( R e i k a K a n o and K y o k o
Hashimoto) , looking for the ideal
place to commit a lover's double-sui
cide , discover this cockeyed wonder
land when they venture too far into
the woods . A sadistic queen snatches
the two girls and whisks them away
to her castle and lez empire . After
some vicious (and some not so vi
cious) sex games, Reika and Kyoko
organize a revolution against the bad
empress .
Not only is this an precursor for di
rector Hosoyama ' s immensely popu
lar Weather Girl ( 1 993) , but it's also
an important movie in its own right .
For instance, lesbianism is the way of
life in this fanciful story , arguably the
most " normal " behavior amid a med
ley of eccentricities . The plot is not
cluttered with unsati sfied females
who want to experience heterosexual
love . There are no spurned lovers
jealous of their partner's numerous
bedmates, and no guilt feelings (nor
disapproving parents) over the "un
natural" choice of sexual expression .
This film embraces and accepts les
bianism as a viable lifestyle, building

a story around that concept . Quite a

departure from conventional lesbian

see Spotlight Section: Hisayasu Sato


ECSTASY ( 1 975)

[Lesbian No Sekai : Koukotsu]

director: Masaru Konuma
Mihoko Arikawa Maki Kawamura
and Naomi Oka



( 1 975)

[Zoku Lesbian No Sekai : Aibu]

director: Chusei Sone
Maki Mizuno Yuri Yamashina
and Hinako Ito



RAPTURE ( 1 975)

[Shin Lesbian No Sekai: Tosui]

director: Shogoro Nishimura
Hiromi Igarashi Akemi Nijo
Yuri Yamashina Reiko Akitsu
and Hidetoshi Kageyama

Three of Nikkatsu's best directors
work independently w ithin this les
bian trilogy , with varying degrees of
success . The first one is a lightweight
entry by Masaru Konuma on the
heels of his highly acclaimed Wife
To Be Sacrificed (late 1 974) . This
movie is insulting in its stereotypical
depiction of lesbian bonding . The
film's pivotal relationship is reduced
to little more than escapist fodder for
an audience of horny males .
Mihoko Arikawa plays Akane , a
lady factory worker who is raped by


Japanese Cinema Encyclopedia: The Sex Films

her supervisor during a break . She

instantly reacts by running away . But
Akane is stopped and picked up by a
l e s b i a n c o - w o r ke r , M ak i ( M a k i
Kawamura) . After an evening in the
sack with this woman, the heroine
becomes obsessed with the lesbian
lover because of her "unusual sexual
ingenuity " {apparently, she never had
a boyfriend who knew the secrets of
cunnilingus} . So Akane quits her job
and begins working at a lesbian bar.
When her ex-fiance comes to lure her
back to the hetroland, she pays no at
tention to him, preferring instead the
bond of the lesbian world.
In #2, Naomi (MaId Mizuno) owns
a clothing boutique . She enjoys les
bian relationships with many of her
customers, women who happen to be
the unsatisfied wives of affluent men.
One of her steady girlfriends is an
employee named Reiko (Yuri Ya
mashina) . She tends to get very jeal
ous of Naomi's extracurricular activi
t i e s . T he n , one d a y , when b o s s
N a o m i i s to-o-o-o friendly in the
dressing room with a singer/client,
Mari (Hinako Ito) , Reiko can't stand
it anymore and runs out of the store
into the crowded downtown street .
She slams right into a man and allows
herself to get picked up . Soon, Reiko
is l i v ing with this guy . Actual l y ,
everything i s going surprisingly well .
Reiko has managed to forget all about
those naughty nights she shared with
Naom i , that i s , until the seductress
shows up at the doorstep trying to
draw her back into the lesbian world .
#3 offers more of the same , but
somehow it's different . Perhaps the
credit goes to director Nishimura for
managing to capture seemingly hon
est characterizations in a utterly dis
h o n e s t v e h i cl e . T a e ( H i r o m i
Igarashi) succumbs to lesbianism af
t e r l o s ing h e r v i r g i nity to S anae

(Akemi Nijo) , a skilled female part

ner . Young Tae dreams of a steady
relationship with Sanae . But the prob
lem is Rie (Yuri Yamashin a , this
time playing the counterpart to her
role in #2) ; she's already S anae's
main squeeze . Tae is sorely d isap
pointed and she " gets even" by bed
ding a mechanic (Hidetoshi Kageya
rna) who's been trying to get into her
pants for a long time . But the last
laugh is on promiscuous Tae because
she soon discovers that her body can
no longer be satisfied by a man.
None of these films are high art.
And they should not be criticized on
that level . They are essentially lez
skin flicks made for a leering male
audience . But, in many ways they de
serve high points for their staunch
pro-lesbian attitude , never sl ipping
into that typical "one good night with

a big dick would teach her a lesson"

menta l i t y which popu l ated m a n y

pinku eiga over the years {from Love
Awakening [ 1 967] to The Lesson

[ 1 994] } . Plus , on the artistic level ,

any one of these three f i l m s i s a
strong improvement over Nikkatsu ' s
own Kaoru Kiri : Best Lesbian I n
Japan ( 1 974) .

[Sailor-fuku Yuri-zoku]
director: Hiroyuki Nasu
Kaoru Oda Natsuko Yamamoto
and Koji Minagami

* (or **1/2 )
For the indiscriminating viewer who
simply wants a story about pretty
naked girls in lesbian embrace , this is
the movie to see . There's not much
plot to clutter the soft-core actio n ,
but t h e r e i s a n abundance o f e x
ploratory nudity .
Director Nasu seems to suffer from
delusions of importance as he treats

Thomas Weisser And Yuko Mihara Weisser

the project more seriously than the

thinly written story might deserv e .
His camerawork is creative, perhaps
even innovative, based on the deviant
angles he manages to capture . The
plot itself deals with two high school
girls who discover the pleasure of sex
w ith each other until one of them
chooses to be with a boy ( ! ) , then all
hell breaks out . Obviously, the uni
form in the title refers to the tradi
tional outfits worn b y the female
schoolgirls .

IN UNIFORMS 2 ( 1 983)
[Sailor-fuku Yuri-zoku II]
director: Hiroyuki Nasu
Natsuko Yamamoto Kaoru Oda
Kotomi Aoki Rikako Shimizu

Despite the title, this lesbian couple
has grown out of their uniforms and
are now college students vacationing
at a mountain resort. Naomi (Kaoru
Oda) upsets the blissful relationship
when she begins an affair with a mar
ried man . H e r girlfriend , M i wako
(Natsuko Yamamoto) , reluctantly
accepts the situation and picks up her
own male lover, a student from a
high-ranking university . When the
w i fe o f Naomi's l o v e r shows up ,
sparks fly and the girls eventually
find their way back to their own bed .


N a o m i and M i w a k o ( o nce a g a i n
played b y Kaoru Oda and Natsuko
Yamamoto) are o ffice ladies who
work for a finance company , but they
spend more time getting involved in
real world romance . It's directed by
Shusuke Kaneko who, after helming
a few pink films , found a home with
cult thrillers { most notably , My Soul
Is Slashed [ 1 99 1 ] and the neo Gam
era movies [ 1 995 + ] } .
LESSON ( 1 994)

director: Yasuharu Hasebe
Kumiko Akiyoshi Atsuo Watabe

* * '12
Veteran director Hasebe { see AUeycat Rock [ 1 970] for overview} is still
cranking out the films . This one is
l ike a Harlequin Romance come-to
life on the big screen .
It's a love story about a journalist
who meets and becomes infatuated
w i th a m y s t e r i o u s art a pp r a i s e r
named Kaya ( Kumiko Akiyoshi ) ,
widow of a rich Hong Kong business
man . The love-sick repowriter de
cides to conduct an investigation and
learn more about her . He discovers
that Kaya is a lesbian, currently in
volved in a serious relationship . But
that doesn't stop him in his pursuit.
And , as one might expect, true love
conquers al l . Even sexual prefer

another sequel:

[OL Yuri-zoku III]

director: Shusuke Kaneko
Natsuko Yamamoto Kaoru Oda

The girls are back . Now they've
graduate d , exchang i n g the i r high
school uniforms for business suits .


[Shiki-do Koza : Nozoki Senka]

director: Kazunari Takeda
Akemi Nijo Masumi Jun
Go Awazu Chizuyu Azami

Despite the "modern " sounding ti-


Japanese Cinema Encyclopedia: The Sex Films

tie , this is actual l y a period piece

which finds Seibei (Go Awazu) run
ning a feudal variation of a pawn
shop . At night, Seibel enjoys an un
usual hobby - he's a voyeur . One
lucky day he meets H ide (Chizuyu
Azami) , a 20 year peeping veteran,
who teaches the i ntricacies of the
"profession" to this obsessed novice .
Seibei encourages H ide to use the
pawnshop warehouse as a base for a
prostitution racket . In exchange, the
young storekeeper can peep all he
wants . But all is not perfect in this
voyeur's paradise . Trouble erupts
when the boyfriend of a prostitute
(Akemi Nij o ) goes crazy and kills
H ide .
The film is major disappointment
from Kazunari Takeda after his im
pressive debut film, Secret Chroni

niques to seduce and conquer men .

The story unravels during the Gen
roku Era, considered the most deca
dent period of Japanese history .
This is the debut performance for
Maria Mitsui , the former hostess of
a popular late-night sexy TV pro
gram . Sadly her publicity hype was
far more interesting than her acting
ability ; however, she fared much bet
ter in Nikkatsu ' s My Sex Report :
Intensities directed by Chusei Sone
in 1 976 .
Actress Chieko Kubozono ' s dubi
ous claim to fame lies her ability to
" squirt love juice " to abnormal dis
tance s . In her l ive show she would
often spray the men in the first row s .

cles : Opening The Doors To The

Sacred Altar ( 1 972) . It would be the

director: Chusei Sone

Rumi Tama Yuri Yamashina
Hideaki Ezumi Hiroshi Goj o

first of many subsequent disappoint

ments .

[Koshoku Genroku :
Maruhi MonogatariJ
aka Decadent Genroku Story
director: Ikuo Sekimoto
Yuriko Hishimi Maki Tachibana
Chieko Kubozono Maria Mitsui
and The Piranha Gang
(Takuzo Kawatani Hideo Murota
Masaru Shiga)

Director Sekimoto hires the Piranha Gang (a troupe of character actors
who are known for their bad guy
roles , see listing above) to be the vil
lains in this pink Edo film. Two nasty
s isters use their unique sexual tech-

LEWD WIDOW ( 1 976)

[lnzesu Miboj inJ

Young w i d o w T a m i ko ( R u m i
Tama , from a successful stint in the
Apartment Wife series) runs a photo
shop to support her father-in-law and
brother-in-law . Tamiko makes them
very happy as she does a good job,
but not only in managing the store .
She also satisfies their sexual ap
petites at nighttime . Tamiko's life is
further complicated by the courtship
of two prominent men, a school prin
cipal and a wealthy realtor.
Every one in this movie is horny , to
point of exhaustion . There are way
too many segments of people sneak
ing into Tamiko's bedroom only to
bump into somebody else on the way
out. This project has all the markings
of a work-for-hire by respected direc
tor Chusei Sone . It most likely won't
be included in the retrospective film

Thomas Weisser And Yuko Mihara Weisser


[Maruhon: Uwasa No Stripper]

director: Yoshimitsu Morita
Kaori Okamoto Yasuhiro Miyawaki
Nami Misaki Ayako Ohta

A young man (Yasuhiro
Miyawaki) is infatuated with a popu
lar club stripper (Kaori Okamoto) .
However she is totally detached from
his amorous advances; she ' s a mod
ern girl who scoffs at romance . The
two are hopelessly mismatched , but
he continues to woo the stripper until
she finally breaks down and dates
him. As expected , the result is noth
ing short of disastrous for the conser
vative suitor.
Some nice strip sequences orches
trated by director Morita who cut his
teeth on this type of Nikkatsu soft
porn before shifting to mainstream
comedy hits l ike Family Game
( 1 983) . Yasuhiro Miyawaki is a for
mer kid actor who originally found
fame in the Japanese TV series Ken


ing the good Wife role. But then, after

the tapes are exposed , her marriage
skids into divorce . Late r , Makiko
tracks down and captures Taked a ,
locking him in a room . She celebrates
her sexual freedom by inviting her
ex-husband and friends for a an ulti
mate orgy .
Within this absurd story , director
Sugano employs some marvelous
cameraw o r k , i n v o l v i ng a v i rt u a l
prism o f mirrors and holographic ef
fects . The movie is also distinguished
by some very lustful segments em
phasizing the aroma of " adult sex . "
These include shocking scenes with
menstrual blood and cum .
A s alway s , Maiko is outstanding,
exceptionally dirty and erotic. The
Sugano/Kazama "marriage" appears
to be a highly succe s s ful arrange
ment. This film and the previous ven
ture, Poaching Wife: Frustrated In
s i d e ( 1 9 8 1 ) r e m a i n t w o of d i v a
Maiko ' s best projects .

see Spotlight Section: Hisayasu Sato

Chan .

[Namadori Tocho Video]

director: Takashi Sugano
Maiko Kazama Kazuyo Ezaki
Jun Nakahara Tsutomu Akashi

Makiko (Maiko Kazama , Nikkatsu ' s # 1 horny woman) falls into a
seedy affair with Takeda (Jun Naka
h a r a ) , a m a n s h e meets at a bar
while her husband is out of town on a
business trip . They go to a Love Ho
tel where Takeda secretly arranges
for the sexual antics to be video taped
on a hidden camera. After the fun-n
games, Makiko returns home, assum-

WET JUNKO ( 1 983)

[Lolita Hausu : Oshimeri Junko]

director: Fumihiko Kato
Kotomi Aoki Yuko Mizushima
Asami Ogawa Keiichi Fukuhara

Here ' s another of those films which
could never be made nor shown in
the United States due to the current
strict interpretation of the child porn
l aw s . B u t , in Japan where k i d d i e
porn is hustled openly in adult book
stores, this movie is considered tame
It's the story of a man who keeps an
apartment for h i s under-aged m i s
tress . He gets more than he bargained


Japanese Cinema Encyclopedia: The Sex Films

[both 1 983]) could have prepared au

for w h e n the g i r l i n v i t e s school
diences for this revolutionary pink
chums and the p lace gets trashed .
film, long honored as the "cult film
Eventually, young lunko ( Kotomi
Aoki) discovers that her boyfriend ' s : for fanatics. "
In Neo-Tokyo, after a catastrophic
wife is the woman w ith whom her :
nuclear war, a scientist (Akihiro
daddy had run away . I t ' s a happy
Nozawa) i s triumphant in experi
ending when she reunites with her fa
ments to rej uvenate h i s dead w ife
ther. Lots of nubile nudity and soft
(Mizuho Nakagawa) . Then later, af
core sexual gymnastics .
ter celebrating his success (in a par
ticularly erotic scene), some mutated
freaks break into the doctor's shelter
see Spotlight Section: Hisayasu Sato
and beat him. They rape and kidnap
his wife . The scientist must go after
LOOSE WOMEN ( 1 966)
[Mukido Josei]
Similar to Kazuo "Gaira ' Komizu ' s
director: Kinya Ogawa
Living Dead I n Tokyo Bay ( 1 992),
Rie Taki Tadashi Tanemura
this film embraces its B-film roots .
Koji Satomi Miki Hayashi
Some critics were not amused by the
Okura Eiga
cheapo production. However, despite
* 1/2
This film vacillates between being a
their complaints about the " immature
pinku eiga and a yakuza flick, but
camera work, " the movie has gar
does neither very wel l . It's the story
nered a legion of fans over the years.
of a newlywed couple from the coun
tryside who relocate in Tokyo, anx
LOST LOVE: O I L HELL ( 1 974)
ious to start their new life together.
[Lost Love : Abura Jigoku]
Immediately they get mixed up with
director: Masaru Konuma
con-men and gangsters . Their life is
Akari Uchida Tetsuo Tomikawa
shattered when the young bride gets
Kazuko Taj ima Shin Kishida
raped by a yakuza toughguy ( Koj i
Satomi in a bit role) . Grim and de
* 1/2
Bottom of the barrel for Masaru
pressing cinema with a very mislead
Konuma. The beginning of ' 74 was
ing title .
a dark period for the talented director
The movie is the debut for future
(he followed this film with the taste
s e x starlet M i k i H a y a s h i . D o n't
lessly inept White Whore { see sepa
blink . Her screen time is limited to
rate listing } ) . But interestingly, after
second s . She plays a hostess in the
nesting in Nikkatsu ' s newly devel
underworld titty bar.
oped S&M line in mid-74, filmmaker
Konuma delivered his best movies,
Wife To Be Sacrificed and Flower
[Ushinawareta Nyotai]
And Snake (both 1 974) .
director: Jo Ichimura
For this one, Singer Kumiko (Akari
Akihiro Nozawa Emi Ishikawa
u c h i d a ) , w h i l e p e r f o r m i n g at a
snowy hot-springs resort, meets lu
Nothing in Jo Ichimura ' s early canichi (Tetsuo Tomikawa) . They fall
r e e r (e.g . , R e a l A c t i o n R a p e ! ,
in love (of course) and begin l iv ing
Woman ' s Abnormal Sex Drive
together . Then after a few weeks of

Thomas Weisser And Yuko Mihara Weisser

fun-n-games - just when Kumiko

decides to give up her career in favor
of marriage - a record company of
fers her a contract. The girl is inca
pable of giving up her passion for
show biz, so she leaves Junichi for
the spotlight. What any of this has to
do with the "Oil Hell " title is any
body ' s gues s .
Akari Uchida was a real s inger
with several hits under her belt when
she made this Nikki1tsu roman porn.
Some unkind critics said this was a
fitting end for her lackluster career.
A sexy kayo-eiga {pop song film} ,
little more than a goofy, empty melo
drama .

see Spotlight Section: Toshiki Sato


[Nozokareta Joji]
director: Shogoro Nishimura
Kazuko Shirakawa Eijiro Minato

Veteran director Nishimura , from
the Apartment Wife series, brings his
intense pinku eiga style to this darkly
s i n i ster comedy - a movie which
also features the genre' s top starlet,
Kazuko Shirakawa . This film may
not be "high art" but Ms Shirakawa
is so effervescent the immediate ap
peal can't be denied . And it' s a nice
{ app reciated } departure fro m the
turgid slice-of-life melodramas which
had begun to clutter Ms Shirakawa' s
N atsuko ( Ka z u k o Shiraka w a ) ,
wife of a porn writer, reads her hus
bands new novel . She becomes so
hot, so excited, that she begins to im
itate the girl in the sex book . Natsuko
s t a r t s d o i ng " ou t - o f-characte r "
things . She shoplifts from a depart-


ment store, and then visits a private

sex club with a young writer-friend,
I shimoda (Eij iro Minato) . At the
club the girl gets involved with a no
torious sex-offender . When Natsuko
leaves the bar with the criminal , Ishi
moda reports the situation to the po
l ice . A madcap chase ensues ; Nat
suko is killed when thei r car goes
over a cliff.

[Saihate No Joji]
director: Keiichi Ozawa
Maki Kawamura Keizo Kanie

* Ih
Masami (Maki Kawamura) i s
forced to run her husband' s gas sta
tion after his untimely death . There,
she becomes friendly with a young
mechanic ( Keizo Kanie) , allowing
him to stay in her home . Before long
Masami is sharing her bed with him .
Then later, after noticing an article in
the newspaper, she realizes that her
lover is a member of a militant gang
who robbed a bank. Needless to say ,
he doesn't take kindly to her inquisi
tiveness .

[Ame No Yo No Joj i]
director: Shinichi Shiratori
Junko Miyashita Moeko Ezawa
Hirokazu Inoue Tatsuya Hamaguchi

* 1/2
Masahiko (Hizokazu Inoue) hits a
man in a traffic accident , and then
quickly begins an affair with the vic
tim' s wife , Ritsuko (Junko Miyashi
ta) . Ritsuko ' s hu sband d i s appears
shortly afterwards but the woman
continues the liaison with Masahiko .
Three years pass . Ritsuko ' s marriage


Japanese Cinema Encyclopedia: The Sex Films

is legally terminated and she weds

M asahiko . However - as expected
by everyone in the audience - one
day she sees her ex-husband and dis
covers he's suffering from amnesia
(apparently , the result of the original
car accident) . Sbe feels sorry for the
guy and tries to belp bim regain bis
memory with some mattress therapy .
B u t new husband M a sabiko i s n't
amused , and their relationship col
lapses .
This exercise in coincidence is di
rector Shiratori's debut project for
Nikkatsu . He later drifted to a few
Apartment Wife sequels and some
of the studio's harder X projects in
the ' 80s, but bis work is generally
considered second-string .

[Aijo Kaigan]
director: Ichiro Kyodo
Keiko Niitaka Hiroko Okamoto
and Masayoshi Nogami

H e re's a v a r I a t I O n on the " s he
wouldn't be a lesbian after a night
with one good man" concept. But de
spite the neanderthal philosophy , the
film manages to be both endearing
and poignant . Keiko Niitaka , who
later found some success in Sh uji
Te rayama ' s F r u i t s O f P a s s i o n

( 1 98 1 ) , plays against her well-defined

sensuous persona . This time she's
Yukiko , a 30 year old lesbian virgin,
who allows herself to be seduced by
man for the first time . Of course , this
results not only in a redirection of her
sexual preferences but also a disas
trous romantic interlude with a man
who turns out to be a heel .
Ironically , in a real-life turnabout,
actor Masayoshi Nogami came out
of the closet in tbe early ' 80s with a
series of gay sex films , including

Legend Of The Big Penis and M an

sion Of Roses { see separate listing } .

[Seitou Nezumi Kozo]

director: Chusei Sone
Setsuko Ogawa Hiroshi Goj o

Parody tale of notorious Edo-period
Robin Hood named Nezumi Kozo
(Rat Man) , a thief who robs from the
rich and showers the money on the
poor . In this entry , he's also a drunk
ard who sometimes forgets wby he's
broken i nto the house in the fi rst
p l ace . This i s e s p e c i a l l y true if
there's a pretty girl to be seduced .
Most parodies , by their very nature,
tend to be comedies . This one has the
dubious distinction of being a tragedy
(perhaps a vivid example of Seijun
Suzuki ' s influence on his former first
unit director, Chusei Sone) . Regard
less , this ftlm ends with Mouse get
ting framed by his friend , the chief of
p o l i ce , and beheaded in the city
square .
The script is written by Kazuhiko
Hasegawa, a popular novelist who
later became a cult director (Murder
er Of Youth {Seishun No Satsujin
sha} 1976) . Tbis film is very unlike
the vast number of other Nikkatsu

pink films , as it is more concerned

with story and characters . D irector
Sone takes a number of chances with
this film. Despite the dark tone , he
adds a decidedly " manga touch " by
including purposely out-of-sync situa
tions (i.e., like a movie theater on the
streets of historic Edo) . Upon it's re
lease, the movie met with mixed, in
some cases hostile, response from the
audience ; today , it's considered a cult

Thomas Weisser And Yuko Mihara Weisser


FLOWER OF VICE ( 1 98 1 )

[Aiju: Aku N o Hana]

director: Akira Kato
Jun Izumi Miki Yamaji
Tsuyoshi Naito Yutaka Hayashi


ATTACK ! ( 1 98 1 )

[Aiju: Yaru ! ]
director: Naosuke Kurosawa
Jun Izumi Rui Nonomura
Rumi Tama Nenji Kobayashi

RED LIPS ( 1 98 1 )
[Aiju: Akai Kuchibiru]

director: Akira Kato

Jun Izumi Rika Takahara
Noriko Ohtaka Hirokazu Inoue

* '12
J u n I z u m i d r i fted a w a y from

Nikkats u a ft e r her d e b u t , I Am
Aroused in 1 976, co-starring in a se

ries of mainstream productions (e.g.,

Glory Cheerleaders [ 1 977] , et al).

S h e r e - s i g n e d w i th the s t u d i o i n
1 980, agreeing t o a supporting role as
the villain in a music-biz sexpose,
Momoe' s Lips: Love Beast { see sep
arate listing } . She was terrific in that
film. And so, Nikkatsu immediately
signed her to a few more . Ms Izumi
fo l l o w e d t h e s e three L o v e Beast
movies w ith perhaps her best role,
Toshiharu Ikeda ' s Angel Guts : Red
Pornography (also 1 98 1 ) .


# 1 [Flower Of Vice] ,


(Jun Izumi) and her business partner

T a d a s h i ( T s u y o s h i N a i t o ) run a

neighborhood bar, sharing the profits

- as w e l l as e a c h othe r . One
evening, a yakuza gangster swaggers


into the place with a stack of money

for Tadashi . He takes Naomi in ex
change . She is trained as a high class
hooker and is, seemingly , grateful for
getting the opportunity to experience
the joys of sex . However, appear
ances are deceiving . Secretly, Naomi
is c a r r y i ng a g r u d g e a g a i n s t the
yakuza and she finally has the oppor
tunity to take revenge. Silly and obvi
ous j unk from Akira Kato , saved
only by Jun Izumi ' s complex perfor
#2 , [Attack!] , i s the best of the
three . After being away from home
for five year s , Yu (Jun Izumi) re
turns to find that her mother is dead
and younger sister , Rui (Rui Nono
mura) , has gone on the lam . M om ' s
former boyfriend , an ex-cop named
Kawamura (Nenj i Kobayash i) , i s
now the big boss i n a yakuza clan .
Yu takes ownership of mom ' s bar,
finds her sister and gives her a job .
After countless nights o f free sex and
drunken orgies, Yu realizes that she
has , in fact, become her mother - a
woman and lifestyle which she had
despised - ultimately the reason she
left town in the first place . After re
assessing her priorities, Yu discovers
mom ' s death wasn' t accidental . She
had been killed by ex-lover Kawamu
ra . Yu takes revenge into her own
hand s . She shoots h i m , and then
shockingly makes love to him as he ' s
dying .
The film is a sensitive story of love
and hate , featu ring strong perfor
mances { e specially by M s I z u m i }
with exquisitely stylish cinematogra
p h y to m a tc h . D i re c t o r N o s u k e
Kurosawa made some great looking
pink fi l m s (e . g., Zoom I n : Rape
[ 1980] ,
Woman ' s Secret Pictures [ 1 98 3 ] )

but h e usually didn' t have the benefit

of working with such a strong script.


Japanese Cinema Encyclopedia: The Sex Films

H e fi na lly rece ived l o ng-ove rdue

" mainstream" recognition in the '90s
w i th h i s X X : B e a u t i fu l V i c t i m
( 1 995) and the unofficial sequel An
other XX: Red Murderer .
#3 , Red Lips , is a step backwards

for everybody connected . When di

rector Kato makes a sex farce he' s
tolerable , but h i s attempts a t pink
thrillers - with a notable exception
{ i . e . , Love Makes Me Wet [ 1 973] }
- are appalling . For this one , Rei
(Jun Izumi) returns from jail and
discovers that her former boyfriend
was the one who had set her up . She
convinces her girlfriend ' s husband to
k i l l him . Jun Izumi sleepwalks
though her role.

( 1 983)

[Aiju: Asaru]
director: Yasuaki [yasuro] Uegaki
Kazumi Sawada Serina NlShikawa
Yukiko Tachibana Donal Harris



[Aiju: Atsuku Kegasu]

director: Seij i Izumi
Kazumi Sawada Mizuho Nakagawa

Despite the Love Beast moniker ,
these movies have nothing to do with
the popular fun Izumi series ( 1 98 1 )
b y the same title { see previous list
ing } .
#1 [Hunt] is a poignant sex drama
from director Uegaki , who was bask
ing in the success of his Pink Cur
tain trilogy ( 1 982-83 ) . It capitalizes
on the hip "black only " fad {dating
exclus ively black m e n } which hit
Japan in the mid ' 80s, initially moti
vated by Aimi Yamada' s book Bed
room Eyes (published in 1 98 3 , pro-

duced as a film by Toe; in 1 987 {see

separate listing } ) . The action, such as
it is, takes place in Yokosuka where
girls hang out at the front gate of the
US Navy Base trying to pick up black
sailors . Rui (Kazumi Sawada) works
at a souvenir shop near the base . She
has a lover , a military man named
Arthur ( D o n a l H a r r i s ) . He g e t s
framed when a fellow sailor turns up
M I A . A r t h u r is d e p o r te d to the
S tate s . But after he ' s g o ne - i n
Madame Butterfly fashion - Rui
discovers that she ' s pregnant.
#2 [Steamy Disgrace] is conceptual
ly similar (i.e., a preoccupation with
a b l ack lover) , but the two fi l m s
share very little else . This one is a
darkly serious melodrama directed by
Seiji Izumi, the son of porno director
Akitaka Kimata and p i n k starlet
Rumi Tama , telling the story of an
unlikely reunion between two sisters .
Natsuko (Kazumi Sawada) finds her
younger runaway s i ster Kanako
(Mizuho Nakagawa) p o s ing a s a
centerfold in a men ' s magazine . Nat
suko hunts the girl down , going to
her apartment where she' s living with
a black lover . Natsuko is captured
and raped by another man sharing the
apartment , a writer named Katori .
The abuse teaches her a lesson; Nat
suko realizes that she ' s been missing
something in her l i fe . Apparently ,
now she ' s found happiness i n domi
Director Izumi left the pink world
shortly after this film, moving into
mainstream c i nema with hits l ike
Perspective With Saya [Saya No lru
Toshizu] ( 1 986) .

[Ai No Hakujitsumu]
director: Koyu Ohara
Yoko Hatanaka Yuki Kazamatsuri
Hiroshi Ogasawara Hisashi Imai

Thomas Weisser And Yuko Mihara Weisser


and commits suicide . Yoko is delight

ed with the outcome , as everything
goes back to the normal at the vaca
tion house .

This is the debut project for Yoko
Hatanaka , a pop singer who turned
to porn when the hits stopped hitting .
She isn't the only songstress to take
this unique s idestep to infamy . Both


AN ADULT TOY ( 1 975)

Runa Takamura (Runa 's Confes

[Otona No Omocha :
Dacchi Waifu Report]

sion: Men Cra wling All Over Me

[ 1 97 6 ] ) and Jun Mayuzumi (Em
press [ 1 983]) launched lucrative ca
reers in the pinku eiga . However ,

director: Chusei Sone

Maya Hiromi Naomi Oka
and Nobutaka Masutomi

Hatanaka ' s " prima donna" attitude

coupled with her limited acting abili
A doctor (Nobutaka Masutomi) in
ty thwarted her career before it could
charge of health care for researchers
heading to the South Pole believes a
This first film was a hit, supported
life-like robotic sex doll is the answer
by an indiscriminate male audience
for the long lonely nights ahead . He
who was more interested in seeing a
and a scientist assistant develop such
nude Yoko Hatanaka than admiring
a doll , BB (Naomi Oka) . Prototype
her thespian talents . Success sent the
BB is quite popular and the doctor
wrong message to the corporate of
finds himself swamped w ith orders .
fic e w h o a u t o m at i c a l l y rubber
But he ' s not personally happy with
stamped the next project, From The
the humanoid; she ' s simply not phys
Back Or From The Front , which
ically attractive enough for the job .
was also directed by Koyu Ohara .
The doctor creates a new dacchi waiWhen Ohara passed on the third go
around , Nikkatsu teamed Ms Hatana : fu (dutch wife l ) designed after a college girl (both the model and the doll
ka with unimaginative Akira Kato for
is played by Maya Hiromi) called a
D o It A g a i n , L i k e An A n i m a l
South Pole #2 .
( 1 98 1 ) . His typical lackluster produc
Absurdly simplistic, but the film en
tion called attention to the starlet ' s
thralled audiences with its whimsical
vapid performance, sealing her cine
charm, sort of a nonsinister Stepford
matic fate .
Yoko Hatanaka plays Yoko , a girl
Wives . It's written by Atsushi Yam
atoya who has more than a passing
who loves her father too much. She ' s
interest in dutch wives , having direct
very jealous of h i s new fiancee, Aki
ed I n fl a t a b l e S e x D o l l Of T h e
(Yuki Kazamatsuri) . During sum
Wastelands in 1 967 .
mer vacatio n , Yoko convinces her
I In Japan, a dacchi waifu (dutch wife) is the
girlfriend to seduce dad and make
official name given to any artificial substitution
Aki aware of it. But afterwards, the
for a female sex partner . Usually , a dutch wife
step-mom remains unruffled . She ' s
refers to an inflatable sex-dol l . The name origi
nates from Japan ' s belief that the sex-doll was
not shocke d , surprised n o r angry .
developed in Holland.
Real i z i ng that the scheme fa i l e d ,
Yuko then tries a different approach,
LOVE HOTEL ( 1 969)
convincing her boyfriend to rape Aki .
[Avec Riyokan]
This time the results are quite differ
aka Rendezvous Hotel
ent . Aki gets pregnant from the rape
director: Shinya Yamamoto


Japanese Cinema Encyclopedia: The Sex Films

Mieko Tanabe Kako Tachibana

Akiko Kozuki Kyoko Ikeda

Shintoho / Tokyo Koei

* '12
An early film from director Yarilamoto who later gravitated to Nikka(-
su ' s pinku eiga productions in the
early ' 80s and Shintoho ' s hard porn
S&M line before that (i.e., Cruelty
Of The Female Inquisition) .

This one is a typical sex farce dealing with a busy " love hotel " and a
plump lady who runs the place . She
eventually gets involved in some of
the action, replacing a young prostitute who passes out after drinking too
much .
Y a m a m o t o made m a n y s i m i l a r
fi l m s . Throughout his career , he
seemed attracted to stories about
groups of people living together under one roof. For the next 20 years,
he would helm at least ten different
entries in h i s Widow ' s Boarding
House series { see separate listing } .
Yamamoto is generally considered
one of the p i nk Founding Fathers
{ see Spotlight Section: Heroes Of The
First Wave, page 1 J O} . Unl ike his
many of his peers who concentrated
on the darker, more sinister side of
s e x , Y a m a m o t o d i re c t e d m o s t l y
comedies and porno-lite .

try . Love Hotel won Nikkats u ' s inhouse award for Best F i l m of the
Year . But Somai was d i s sati s fied
with roman porno. The fol l o w i n g
year, h e returned t o mainstream cine
rna, helming Typhoon Club ( 1 986) .
He would not return to pink .
T h e script , w ritten by Takashi
Ishii , is the first draft of what would
eventually become his Angle Guts :
Red Dizziness in 1 988. For this version, Muraki ' s company goes bankrupt and his wife gets raped by loan
sharks who are content u s i ng her
body to pay off interest on his debts .
Muraki (Takashi Terada) is overwhelmed with grief and despair; he ' s
sick o f his life and wants to end it.
H e p i c k s up a p r o s t i tute , N a m i
(Noriko Hayami) , because she looks
like someone who will understand his
torment . Muraki wants to commit
suicide after a sex bout in a love hotel .
LOVE HUNTER ( 1 972 )

[Koi No Karyudo]
director: Seiichiro Yamaguchi
Hidemi Hara Mari Tanaka
Sumiko Minami Gen Mitamura


LOVE HOTEL ( 1 985)

[Love Hotel]
director: Shinji Somai
Noriko Hayami Takashi Terada
and Kiriko Shimizu

Director Shinji Somai began his career with youth-oriented pop-star ve
hicles for Toho (e.g., Wild Couple
[ 1 980] and Uniforms And Machine
Guns [ 1 98 1 ] both starring singer Hi
roko Yakushimaru) . In 1 985 , he de
cided to give the pinku eiga genre a

( 1 973)
[Koi No Karyudo : Yokubo]

director: Seiichiro Yamaguchi

Mari Tanaka Teruo Matsuyama
Aya Ichida Kozue Yoshida


HOT SKIN ( 1 973)

[Koi No Karyudo : Atsui Hada]
director: Masaru Konuma
Mari Tanaka Ken Yoshizawa


Thomas Weisser And Yuko Mihara Weisser

A woman (Hidemi Hara) inherits

feelings of sexual anxiety from her
mother . She is frustrated by her pas
sionless marriage and begins lament
ing her promiscuous former life . She
becomes even more frustrated when
her nights turn into a cavalcade of
e r o t i c d r e a m s (i.e., h e r m o m
[Sumiko Minami] a n d grandfather
e n g a g e d in p e r v erted s e x ) . The
woman decides to put an erotic spark
back in her marriage by throwing a
hedonistic party . It works .
The story was written by Kiyomi
Kouyama. This is actually a pseudo
nym for Seiichiro Yamaguchi and
s u p e r s t a r d i re c t o r T a t s u m i K u
mashiro . C o-star Sumiko Minami
was one of the few actresses from the
Nikkatsu action-film days who drifted
into the world of Pinku Eiga. For her
to play a sexually liberated mother
(espec i a l l y pe rfo r m i ng in twi sted
scenes like the ones between her and
grandpa) came as quite a shock to the
audiences who remembered her from
an array of considerably more con
servative roles.
Political intervention and govern
ment censorship had not been an is
sue in Japan for a number of years ,
ever since Tetsuji Takechi beat ob
scenity charges leveled against him in
a 1 965 trial { see review for Black
Snow for additional information} .
But with the advent of Nikkatsu ' s
new Roman-Porn [Romantic Pornog
raphy] fil m s , the Bureaucracy be
came interested again.
A self-governing rating board , Eirin
(similar to the MPAA in the United
States) , had been developed in the
early ' 50s . It's major function was to
" advise studios on the interpretation
of the government's position regard
ing obscenity . " S ig n i ficantl y , a l l
movies needed Eirin ' s stamp of ap
proval to play theatrically in Japan.


E i r i n w a s the u l t i mate stumb l i ng

block towards a sexually l iberated
Nippon cinema { see Spotlight Sec
tion, page 23 , for complete details} .
When Nikkatsu developed their new
direction, the goal was to produce se
rious, artistic movies with controver
sial sexual themes . Nikkatsu was the
first major Japanese studio to intro
duce sex as the subject for a fi l m .
Nikkatsu followed the rules o f Eirin
and never showed pubic hair or geni
tal i a . ' But they pushed , things to a
limit with sleazy stories, suggestive
soft-core symbolism, and truckloads
of tit-n-ass shots .
By the time Nikkatsu released Love
Hunter, the government had decided
"enough was enough . " The film was
busted for obscenity and director Sei
ichiro Yamaguchi was arrested . He
took a hostile attitude towards the au
thorities, claiming that his film was a
" nothing but a scapegoat" and he was
being " crucified . " His stance made
him a darling of the media . Many im
portant columnists came to his res
cue, in print and at the trial . He was
acquitted in 1 978 after a very lengthy
trial which kept the movie out of cir
culation for more than s i x years .
Even though charges were dropped
against him and his film , the prosecu
tor ' s office was not satisfied . They
called for an appeal . Everybody went
back to court in July of 1 980. The in
nocent verdict was upheld .
Director Yamaguchi used the law
suit as an inspiration for his second
feature Love Hunter: Lust . This se
quel starred Mari Tanaka (she had a
bit part in the first one) . Here she
plays a college student and part-time
s t r i p p e r , a r r e s t e d on o b s c e n i ty
charges. But the film was too preachy
and u l t imately inconsequential i n
wake o f the real trial (i.e. , this ven
ture is often compared to Russ Mey-


Japanese Cinema Encyclopedia: The Sex Films

er' s vapid courtroom sex-drama The

Seven Minutes [ 1 97 1 ] ) .
Yamaguchi began work o n a sec
o n d s e q u e l , w o r k i ng t i t l e L o v e
Hunter: Lustful Murder . However,
he was still angry with Nikkatsu over
the lack of promotion for his previous
movie; the filmmaker was belligerent
with the studio bosses and gained a
reputation as a troublemaker . Nikkat
su fired him on the first day of the
new shoot they and cancelled the en
tire production. Yamaguchi left for
ATG Studios where he became more
involved in mainstream filmmaking
(i.e., Winter Song [Waga Fuyu No
Uta] , the story of poet Touya Kita
mura) .

D irector Masaru Konuma took

over the series w ith #3 but he was
strapped with a weak script about the
sex life of a high society woman. The
lady (once again Mari Tanaka) has
an auto accident which causes her
husband to become impotent . She
takes on a lover but then, as if by
plan, loses him in a similar fashion.
She is blackmailed by a witness who
isn't convinced it was an accident at
all . She has sex with the blackmailer
to shut him up .
Konuma compensated for the silly
script by directing with unparalleled
gusto, many critics still say this is his
masterpiece . They often point to his
zesty flair for symmetry and color
(especially black or red contrasted
against white) as his tour de force of
visual stimulation (i. e . , red l ipstick
s t a i n s on a stark white bathroom
wall, or surrealistic black silhouettes
against Ms Tanaka' s pale skin) .
I To insure that pubic hair and accidental shots

of genitalia were kept from the screen, Nikkat

su developed the

Maeba ri .

T h i s form-fitting

skin-colored tape was source of constant com

plaints from the p i nk-fi l m starlets.

LOVE LETTER ( 1 98 1 )

[Love Letter]
director: Yoichi [Azuma] Higashi
Keiko Sekine Katsuo Nakamura
Mariko Kaga Noboru Nakaya

" I will never let you go and 1 ' ll
never let anyone e l s e touch y o u r
body , " warns the obsessive leading
character in this highly fictionalized
account of poet Mitsuharu Kaneko ' s
destructive l i fe . H e i s a " married
man with a tender heart " who be
comes insanely jealous after suspect
ing his mistress of having an affair
with another.
This movie was intended as the cor
nerstone for Nikkatsu ' s ten year an
niversary celebration. While it' s true
that the studio had pulled off a wildly
successful decade of softcore Roman
Porno, this motion picture was a mis
take . The producers had hoped for an
erotic film which would appeal to
both m a l e and fe m a l e a u d i e n c e s
alike . They concocted this story o f a
renowned poet who , according to the
legend, wrote hundreds of love letters
to his mistress . Unfortunately , they
neglected to make poet Kaneko very
l i keable , and K a t s u o N a k a m u r a
plays the role with the finesse of a
spoiled brute .
Actress Sekine later married direc
tor Banmei Takahashi, changing her
name to Keiko Taka h a s h i . S h e
starred in several of h i s movies in
cluding the controversial terrorlrape
flick Door ( 1 988) .

[Ai Ni Nureta Watashi]

director: Akira Kato
Junko Miyashita Risa Aoki
Yasuhiko Ishizu Rie Nakagawa



Thomas Weisser And Yuko Mihara Weisser

Here ' s another surrealistic sex dra

ma - stylishly executed - but cam
ouflaged behind a crass Nikkatsu ti
tle . W ritten with verve by Yukio
Yoshihara , this is a visual study of
reality and illusion, in many ways a
forerunner to Richard Rush ' s mes
merizing Stunt Man ( 1 978) . Also,
director Kato ' s characters are ex
tremely l ikable , even charming . This
major attribute is largely responsible
for the unparalleled critical endorse
ment of the film. But besides all the
lofty accolades, this pinku eiga is also
highly erotic .
Fuj iki (Yasuhiko Ishizu) swaggers
into a bar during a heavy thunder
storm . H e ' s immediately noticed by
M iwa (Junko Miyashita) , a barmaid
who works there . Instantly , a chem
istry bubbles between them . Fuj iki
tells Miwa that he ' s looking for his
runaway wife , yet quickly these two
fall into bed and begin living togeth
e r . Everything in the relationship
seems to be going fine , except sometimes M iwa leaves for the night
to participate in some extracurricular
sex activities . And sometimes she
arranges for her sister, Tsukiko (Risa
Aoki) , to have sex with Fuj iki in her
absence .
The man also notices that Miwa ' s
right thigh i s covered in bandages
which she won't remove or discuss.
There are a lot of things he doesn't
understand , but Fuj iki i s still ob
sessed with finding his missing wife,
so he doesn't want to rock the boat .
Once in awhile Miwa says she might
know where his wife is, but then she
conveniently forgets. The husband
doesn't know if M iwa is telling the
truth or not . These inconsistencies
make him even more interested in
learning about M iwa than the where
abouts of his wife . Fuj iki is falling in
l o v e . Then M iw a d i s appears and

Tsukiko tells him that her s i s ter ' s

been kidnapped and i s being held for
a $ 1 0 , 000 ransom . Fuj iki raises the
money , but nobody shows up for the
exchange .
Meanwhile, M iwa is being gang
raped in a nearby field . During the
assault, her bandage unravels reveal
ing a large snake tattoo . As if in
spired by the sudden visibility of the
tatto o , M i w a b e c o m e s s e x u a l l y
charged and taunts h e r rapists , en
couraging them to take her v iolently .
She then snatches a knife and begins
stabbing the tattoo, defacing it and
damaging her leg at the same time .
The attackers shrink away . M iwa re
turns to Fuj iki and - determined to
keep her promise - she takes him to
a crematorium where she says the
ghost of his wife lives today . The last
scene is identical to the opening one ,
inside the same bar, punctuated by a
raging storm . M i wa ' s ex-lover, ap
parently a gangster who has just re
turned from Brazil, enters the place
w ith a s w o s h of r a i n . T h u n d e r
cracks . And M iwa kills him.
LOVE M E HARD" ( 1 98 1 )
. .

[Motto Hageshiku Motto Tsuyoku]

director: Noboru Tanaka
Maki Kawamura Izumi Shima
Tatsuo Yamada Takeshi Ohbayashi

** 1/2
Married woman Kagari (Maki
Kawamura) bumps into ex-lover Hi
roshi (Takeshi Ohbayashi) at a par
ty . She ' s introduced to his grown-up
son, Tatsuya (Tatsuo Yamada) , and
becomes suddenly embarrassed . Ap
parentl y , the meeting rekindled a
memory of the time - many years
ago - when the kid accidentally saw
her and d a d d y h a v i n g s e x . E v e n
though M s Kagari i s shaken b y the


Japanese Cinema Encyclopedia: The Sex Films

thought, she ' s not so disturbed as to

keep from approaching the boy about
hav i ng an affair with her . After a
couple times in the sack - and a
budding romance - they start play
ing the " what if. . . " game . Absently ,
she suggests that if he were to kill her
h u s b a n d no o n e w o u l d s u s p e c t a
thing . "It would be the perfect crime
because you don't know one anoth
er. " { Perhap s , she has fo rgotten

about something called " motive , "

eh? } Then, one day , her husband gets
killed in a traffic accident . Tatsuya
remembers their bedside tete-a-tete,
and he decides to take advantage of
the accident to force Kagari into com
mitting a crime for him . He wants his
father snuffed .
This one is much more complicated
than it has the right to be . Arguably ,
director Tanaka is trying to hide his
simplistic story behind the guise of
feigned intellectualism . While some
of the scenes are highly erotic , the
ambiguous "If you kill for me, I'll kill
for you " gimmick is contrived and
can't effectively carry the film .
MAKE ME COME ( 1 986)

[Aido Ningyo : Ikasete]

director: Rokuro Mochizuki
Mizue Morita Sadami Sakamoto
and Kaorn Mizuki

** 1/2
By the late '90s , Rokuro Mochizuki was considered one of the major
Japanese filmmakers , especially after
winning the Best Director award for
Onibi { The Fire Within } in 1 99 8 .
H e ' s another who graduated from the
ranks of the pinku eiga. After script
ing numerous sex movies (e. g., Girl
Rape Case [ 1 984] , Teacher, Don't
Turn Me On! [ 1 984] , Wive's Rape
Mansion [ 1 9 8 5 ] and the gay fi lm

Male Season [ 1 98 3 ] ) , he was given

the opportunity to helm this project
for Nikkatsu .
I t ' s a bitter-sweet coming-of-age
melodrama about a girl who is "in
love with love" and suffers according
I y . High school girl M izue (Mizue
Morita) fall s for middle aged man
but he already has a wife and mis
tress. Creative filmmaking despite the
derivative plot .

[Tajo Na Nyueki]
director: Ario Takeda
Noriko Tatsumi Shohei Yamamoto

Okura Eiga
Here ' s a throw-away project by
Noriko Tatsumi , general ly recog
nized as the fi r s t maj o r queen of
Japanese sex films . Reportedly , this
fi l m was shot d u r i n g the " d o w n
time " between setup shots for At
sushi Yamatoya ' s notorious crime
noir thriller Inflatable Sex Doll Of
The Wastelands ( 1 967) which also
starred both Tatsumi and Shohei Ya
mamoto . Certainly , the films share
many of the same sets . But the simi
larities stop there . Where Wastelands
surv ives as one of the maj o r cult
films of the ' 60s , Love 's Milky Drops
has faded into obscurity , even among
the rabid pinku eiga enthusiasts .

[Koibito-tachi Wa Nureta]
director: Tatsumi Kumashiro
Rie Nakagawa Torn Ohe

A young man (Torn Ohe) moves to
a sleepy fishing village and starts his
life all over again, completely sever
ing all ties to h i s past . Soon he ' s
overcome with loneliness and starts
to wonder if he did the right thing .

Thomas Weisser And Yuko Mihara Weisser

Enter a liberated girl (Rie Naka

gawa]) who teaches him the meaning
of independence.
Usually reference books are quick
to praise Woman With The Red
Hair (1979) as being Kumashiro's
masterpiece, ignoring this film in the
process. While that movie is certainly
worthy of all the accolades, it should
not be at this one's expense. Both
films are equally important in shaping
Japan's lucrative pinku eiga market.
This movie was originally planned
as part of Nikkatsu' s unofficial nure
ta (wet) series ( i . e . , Wet Sand
[1971], Wet Target [1971], Ichijo's
Wet Lust [1972], Wet Homecoming
[1972] et a ). Apparently, nureta was
a buzzword which sold tickets.
Kumashiro didn't care what the
movie was called. He became a stu
dio director with Nikkatsu because of
the latitude they offered, encouraging
filmmakers to "do something differ
ent. " Simply, if he delivered a movie
with generous portions of tits-n-ass
and a kinky title, he could make
whatever kind of film he chose. So,
Kumashiro worked diligently within
the studio structure, churning out
some of the best erotic movies in the
world. "My films are about people,
not biology," he was fond of saying.


time popular starlet Miki Hayashi

plays Sadako, a girl from the coun
tryside who quickly gets sucked into
th e ugly underbelly of decadent
A strong performance by Miki
Hayashi but there's nothing new,
plotwise. It's basic: a yakuza gang
controls the racket, the girls are mis
treated, and Sadako (Miki Hayashi)
concocts a plan which will help her
and best friend Nobue ( K a h o r i
Hanaki) escape. Sadako makes it;
Nobue doesn't.
Director Ogawa was certainly Oku
ra's most experienced if not profi
cient filmmaker, amassing an impres
sive collection of sex and horror
movies before joining Million Films
in 1970 and then Shintoho shortly
thereafter. His biggest problem dur
ing the formative days was plot cre
ativity. Often he remade the same
story, with only slight variations, ad
infinitum .
[Iro No Michizure]
aka Sexy Partners
director: Hiroshi Mukai
Michiko Sakyo Joji Ohara
Midori Enoki Kemi Ichiboshi
Mutsukuni Eiga


[Yokujoh No Uzumaki]
director: Kinya Ogawa
Miki Hayashi Kyozo Fuyuki
Hiroshi Nikaido Kaori Hanaki
Okura Eiga

Here's another entry in Ogawa ' s

Urban Pa ranoia genre, stiflingly
similar to his Conception And Vene
real Disease trilogy (also 1968). This

Some Japanese source books list

this film as the first S&M sex movie,
while other references insist either
Birth Control Revolution , Trap Of
Lust or Memoirs Of A Modern Fe
male Doctor (all 1967) has that dubi
ous distinction. Regardless, whether
it was actually the first isn't impor
tant, but it's fair to say Lustful Com
panions was certainly the earliest
pinku eiga to deal with sadism/


Japnese Cinema Encyclopedia : The Sex Films


masochism as the predominant

It tells the story of an adulterous
husband, Arakawa (Joji Ohara) who
likes sadistic sex with the women in
his life. After Arakawa's untimingly
death, his widow Tomoko (Michiko
Sakyo) - initially relieved and anx
ious to engage in normal relationships
- discovers that she's been condi
tioned to only enjoy masochistic sex.
The limited, psychologically defi
cient plot does little more than pro
vide opportunity for an abundance of
whipping, flogging and abusive be
havior while it pretends to embrace
the "woman's viewpoint. " Hiroshi
Mukai ' s script is wildly contrived,
simplistic and even antagonistic in its
exec ution. However, despite the
film's clandestinely misogynist foun
dation, director Mukai manages to
create a sympathetic character in the
form of Tomoko. Even Kemi Ichi
boshi and Midori Enoki turn in re
markably good performances as bar
hostesses who are also addicted to
Arakawa's brutality.
Good or bad movie? It depends
solely on one's appreciation of S&M
as genre subject matter. On the tech
nical level, Hiroshi Mukai ' s direc
tion and camerawork is far superior
to similar pink eiga from the late
MAKE ME WET ! " (1981)
[Aiyoku Seikatsu:
Yoru Yo Nurashite]
director: Shogoro Nishimura
Yuki Kazamatsuri Joji Nakata
Junko Mabuki Tsutomu Akashi
In this illogical tale - guilty of far
too many coincidences - a conserva
tive office-lady, Tomoe (Yuki Kaza-

matsuri) , becomes a prostitute after

getting raped. Her pimp, Shinoda
(Joji Nakata) , lives with the woman
and says "/ love you " sometimes, but
he's the one who hoodwinked her
into the whoring business by arrang
ing the rape in the first place. Then,
one day, an "afternoon john" turns
out to be Tomoe's ex-boyfriend. He
suggests, perhaps, they could patch
things up and begin a relationship
again. She trusts this guy, but soon
finds him snuggled in the arms of an
other. It's a tough world, but she has
learned a valuable lesson: " Words
spoken on a pillow to a prostitute are
not to be trusted. "
[Koshoku Mansion]
director: Kinya Ogawa
Miki Hayashi Koji Satomi
Ohkura Eiga
Miki Hayashi was making sex
movies back-to-back during the late
60s (Sweet Wedding Night [1968],
Abnormal Rape [1968] and Bloom
ing Woman's Body [1969] to name
but three). She later became part of
Nikkatsu's pink movie line-up in the
'70s, but unfortunately for her, by
then she was considered too old for
the genre. Her parts were relegated
to co-starring roles for the films Se
duction Of The White Angel (1972)
and Foreigner ' s Mistress Omani :
Falling Autumn Flower (1972).
For this one, Miss Hayashi plays
Maki, the mistress of married man
Kawai (Koj i Satomi, antihero from
the horror film Love Potion Trap) .
The movie, similar to Bernardo
Bertolucci ' s Last Tango In Paris
(1973), dwells on the couple's illicit
affair framed within the confines of a
sexual sanctuary.

Thomas Weisser And Yuko Mihara Weisser

Director Ogawa, responsible for

bringing the pink film to Okura Stu
dios with his hit Mesu in 1 965, has
always said Lustful Room In An
Apartment is his best film. Howev
er, the critics usually choose Search
For A True Virgin ( 1 968).
[Fukai Yokuboo No Tanima]
translation: Valley Of Deep Lust
director: Kensuke Sawa
Kenichiro Sugiyama Rika Mizuki
Shusaku Buto . Mari Yuwai
Asia Films
Significant for being one of the first
erotic films shot in color, but the sto
ry is rather typical of many sex dra
mas from the same period, initially
inspired by the success of Elia
Kazan ' s Baby Doll ( 1 956) and An
thony Man n ' s G o d ' s Little Acre
( 1 958) (both released theatrically in
Japan in 1 96 1 ) but then revised, re
structured, and nationalized.
A farmer (Kenichiro Sugiyama)
brings his new young bride (Rika
Mizuki) back to the countryside
where he was born. Soon she be
comes the object of lust by the son of
a weal thy landowner (Shusaku
Buto) . The tense situation culminates
in a vicious rape and ultimately re
venge by the farmer.
" KEEP IT INSIDE ME" ( 1 983)
[Kano Fujin: Ireppanashi]
director: Yosuke Nishida
Ami Takatori Megumi Kishimoto
and Yuichi Minato
Toei Central Film
A surprisingly exploitive title from
Toei Central , the company which
specializes in routine sex comedies,
omnibus style (e. g . , Prostitution On


Wheels , et af). This one unspools a

few stories about three couples and
their different approaches to sexuali
[Nikuyoku No Hirusagari]
director: Akira Kato
Rumi Tama Yu Mizuki
Hiroshi Gojo Ren Seido
Kyoko (Rumi Tani) is a typical
Japanese wife who is shocked after
discovering her husband (Hiroshi
Gojo) has embezzled money from his
employer and skipped town with his
mistress, a stripper named Ranko
(Yu Mizuki) . Ranko's pimp, Osamu
(Ren Seido) , shows up at Kyoko's
house with the idea of tracking down
the two runaway lovers. Meanwhile,
Seiji and Ranko settle down in a
small resort town and start a new life
posing as husband and wife. The two
hunters travel around the countryside
looking for their mates but the jour
ney instead brings them closer togeth
er. Kyoko and Osamu become lovers
and decide they're better off without
the wayward mates.
More unimaginative nonsense from
workhorse director Kato hampered
by a exceptionally obvious script. As
typical, Kato fails to elicit substantial
performances from any of the cast;
the whole affair is an exercise in friv
[Ryoki Shikijo Yawa]
director: Karou Umezawa
Nami Katsura Masayoshi Nogami
Koji Satomi Mari Nagisa
Nihon I Mukai Productions
Filmmaker Umezawa came from
the Koji Wakamatsu stable where he


Japanese Cinema Encyclopedia : The Sex Films


worked as a bit player and

then moved into an assistant director
position. He got into an argument
with Wakamatsu when - while the
master was away at the Berlin Film
Festival - Umezawa completed his
own film A Teenager's Cry . Waka
matsu, angry over Umezawa's brazen
disrespect, fired him. Significantly,
Umezawa left Wakamatsu Studios
and joined rival Hiroshi Mukai ' s
production company as a full-fledged
His first film under the new banner
was Lusty Bedtime Story, an ambi
tious but flawed tale of a woman
(Nami Katsura) who has hidden her
self away from the world and only
knows intimacy through her bedtime
fantasies. In 1974, Kaoru Umezawa
broke into "mainstream cinema" with
a new name, Kaoru Tomoto . He
also worked as a professional scripter
under the alias Daisuke Koizumi. In
1983, he joined Nikkatsu (under his
original name) for their production of
Captured White Uniform .
[Iro No Tehai-shi]
aka Sex Broker
director: Osamu Yamashita
Hiroko Fuji Aki Kanze
Kemi Ichiboshi Yuichi Minato
Kanto Films
A much lighter film than director
Yamashita ' s subsequent roughies
(i. e. , Cruel Punishment For Female
Infidelity [1969], Torturing Wid
ows [1968] , et aT), this one tell the
story of an office worker who subsi
dizes his moderate income by acting
as a pimp for his co-workers. Some
funny bits as he turns the conference
room into a makeshift boudoir,
sneaking the girls in through the
freight elevator, but then all hell

breaks loose when the CEO decides

to use the room for an emergency
board meeting.
Ultimately, it's a silly venture.
Three Stooges for adults from a film
maker who later developed a notori
ous ugly streak, with a litany of
mean-spirited movies.
OF FLESH (1976)
[Shikijo-zuma: Niku No Yuwaku]
director: Shogoro Nishimura
Teruho Matsunaga Nagatoshi Sakamoto
Hidetoshi Kageyama Tokuko Watanabe

Shogoro N i s h im u r a , one of
Nikkatsu' s most accomplished direc
tors, has begun making films with lit
tle regard for characterization. Once,
this was his strongest component. But
by mid '76, very little of the film
maker's artistry was evident in his
For this one, Hiroko (newcomer
Teruho Matsunaga) is the wife of a
big city prosecutor (Nagat o s h i
Sakamoto) . She is sexually frustrated
- of course - due to her husband's
busy schedule. One day, a handsome
young man (Hidetoshi Kageyama)
flirts with the woman and then invites
her on a trek to visit a fortune teller.
The ekisha tells Hiroko that she must
have sex immediately or face terrible
misfortune and die. She willingly fol
lows the orders and bangs Hidetoshi
as soon as physically possible, cata
pulting the dissatisfied housewife into
a twisted world. The nightmare is all
part of a blackmail plot masterminded
by an embezzler her husband is try
ing to convict.

Thomas Weisser And Yuko Mihara Weisser

aka Girl And The Gangster
[Joyokuonna No Ayamachi]
director: Takae Shin doh
Tatsuya Yoshida Mari Ibuki
Okura Eiga
Certainly a lesser film from Okura
Eiga ' s innocuous studio filmmaker
Takae Shindoh (also responsible for
the underwhelming Aim At The Pit
(1968) and the mildly amusing Neck
ing (1967). It's the obvious story of a
wild girl, Minako Shima (Mari
Ibuki) , who finds a peck of trouble
when she gets involved with a low
level yakuza toughguy.