To call “Dirty Harry” ground-breaking would be an understatement. In 1972, it completely revolutionised urban crime dramas with its gritty – almost giallo – cinematography, focus on shocking crime and of course Clint Eastwood’s now legendary protagonist. The rulebooks were torn up and decency disregarded as the film focused on the villain Scorpio committing seemingly

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After Purima Kikaku’s success with their three “Document Porno: Sukeban” films they would move onto a new format for their next attempt at the sukeban genre – the “semi-document”. Whereas the document porno films would portray the action as a mockumentary accompanied by a narrator to sell the illusion of reality; “Semi-Document: Sukeban Bodyguard” would

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The Best Japanese Pink Movies – A List of Pinku Eiga Recommendations

Following WW2, censorship laws were relaxed in Japan, and this along with an import of American culture led to an industry of sexually charged pulp magazines called “kasutori magazines” (kasutori was the name used for low-quality liquor, similar to moonshine, and became used to refer to all kinds of culture held in low regard). These

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Sukeban SEX Violence 1973 cover photo

After helping to kickstart sukeban cinema in 1970, Nikkatsu would largely retire from the genre in 1971 after the lacklustre performance of “Bad Girl Mako”, leaving Toei unchallenged in their pinky violence dominance. However, in 1973, a fresh entry would come courtesy of small studio Purima Kikaku. Purima Kikaku would exclusively make low budget porn

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Female Prisoner Scorpion list cover photo

It’s hard to remember when the “women’s prison” subgenre was iconoclastic, given its popularity these days. But, before we had series like Orange is the New Black, Vis a Vis, or Wentworth, we had the Japanese Prisoner Scorpion films. Though the genre first appeared during the silent era, it was often simply considered exploitation, with

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Taro Bonten and the Birth of Sukeban Cinema COVER PHOTO

The genre, now referred to as “Pinky Violence”, would absolutely dominate cinema in the early 70’s, which was largely helmed by Toei in their focused attempt to pump out many popular films to quickly and cheaply as possible to meet their quota of two new films every fortnight in order to obtain exclusivity contracts with

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