Tag: Pinku
Regarded by many as Japan’s answer to Brigitte Bardot — both for her glamorousness and vaguely European looks (she wasn’t actually mixed-race) — Mari Atsumi became one of Japanese cinema’s most prominent sex symbols of the early 1970s. As the daughter of Daiei actors Susumu Atsumi and Reiko Wakamiya, she too joined the studio
Despite other studios seeing success with their own manga adaptations, Toei had always been hesitant when taking such a leap. That all changed in 1972 with Toru Shinohara’s Female Prisoner Scorpion. With its action and grit honed by one of the upcoming masters of action manga, complemented by director Shunya Ito‘s own political and avant-garde
Pinku softcore porn films were big business for Japanese studios throughout the 1970s; so lucrative were these films, that when Nikkatsu was on the verge of bankruptcy in 1971, they were able to save themselves by focusing almost their entire output on the soon-to-be highly successful Roman Porno line. It wasn’t just big studios such
Back in the 1970s, the names of Reiko Ike and Miki Sugimoto were on everyone’s lips. Hailed as the “queens of porno”, they not only became exploitation cinema royalty but burst through into mainstream pop culture. If you bought any random issue of Heibon Punch, Weekly Playboy, or one of the countless other men’s magazines
When Toei’s pinky violence line first appeared in 1970 it was an unstoppable force, and throughout the early 70s, it showed little signs of slowing down. 1973 in particular was a bumper year for pinky violence, with an excessive offering consisting of – two Girl Boss films, three Terrifying Girls’ High School films, two Female
With the turn of a new decade, new opportunities were sought by film studio Daiei. In 1970, Daiei on the verge of bankruptcy, entered into a partnership with fellow struggling studio Nikkatsu, forming Dainichi Eihai. By pooling their resources, the aim was to fight against Toei’s market dominance: by the 1970s Toei had perfected their
Despite being one of Japan’s biggest film studios throughout the late 40s and 50s during the golden age of Japanese cinema, Daiei was struggling by the mid-60s and had to slash budgets for their productions. This eventually led to a merger with Nikkatsu in 1970, followed by bankruptcy in 1971. Somewhat overlooked is Daiei’s 1968-1969
Despite being one of Japan’s biggest film studios throughout the late 40s and 50s during the golden age of Japanese cinema, Daiei was struggling by the mid-60s and had to slash budgets for their productions. This eventually led to a merger with Nikkatsu in 1970, followed by bankruptcy in 1971. Somewhat overlooked is Daiei’s 1968-1969
Despite being one of Japan’s biggest film studios throughout the late 40s and 50s during the golden age of Japanese cinema, Daiei were struggling by the mid-60s and had to slash budgets for their productions. This eventually led to a merger with Nikkatsu in 1970, followed by bankruptcy in 1971. Somewhat overlooked is Daiei’s 1968-1969
Despite being one of Japan’s biggest film studios throughout the late 40s and 50s during the golden age of Japanese cinema, Daiei were struggling by the mid-60s and had to slash budgets for their productions. This eventually led to a merger with Nikkatsu in 1970, followed by bankruptcy in 1971. Somewhat overlooked is Daiei’s 1968-1969