Akira Kobayashi Turns 72

by Kimberly Lindbergs | November 4, 2009

Categories | Actors, Japanese Cinema, Joe Shishido, Seijun Suzuki, Kinji Fukasaku, Yasuharu Hasebe, Toshio Masuda, Teruo Ishii, Nikkatsu, Akira Kobayashi

Akira Kobayashi

One of my favorite Japanese actors turned 72 yesterday so I thought I’d make some time to wish Akira Kobayashi a very happy belated birthday. Earlier this year I had planned on paying tribute to Kobayashi during the Japanese Cinema Blogathon but at the last minute I decided to write about director Yasuharu Hasebe instead due to his unfortunate death. After mentioning this I received a few comments and emails from readers who expressed their admiration for Akira Kobayashi and asked if I would write something about him in the future so I thought I’d use his recent birthday to do just that.

Akira Kobayashi is an extremely handsome and multi-talented star who is well-known throughout Japan for his acting chops as well as his singing abilities. Kobayashi was born on November 3rd in Tokyo in 1937 and began acting early in life. At age four he was part of a children’s theatre company and while he was in high-school he became an accomplished Judo champion. His father worked in film as a lighting director so it’s not too surprising that Kobayashi was encouraged to pursue an acting career. Kobayashi joined Nikkatsu Studios in 1956 at age 19 and quickly rose to stardom with a group of young Japaneses hopefuls that included Joe Shishido, Tetsuya Watari and Yujiro Ishihara.

By 1958 Akira Kobayashi was becoming a popular star due to his good looks and obvious acting talents and in 1959 he was teamed up with Joe Shishido for a series of films called the Wandering Guitarist or Rambling Guitarist (aka Wataridori) series. In these popular films Akira Kobayashi and Joe Shishido played wandering heroes that save small villages from gangsters and other criminals. Kobayashi’s character resembled a singing cowboy in the old Hollywood tradition and he’d often whip out his guitar to belt out a tune during the Wandering Guitarist films. The series was so popular that it spawned similar films starring Akira Kobayashi such as The Rambler (aka Nagaremono) series.

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Remembering Yasuharu Hasebe (1932-2009)

by Kimberly Lindbergs | June 21, 2009

Categories | Movie Reviews, Directors, Japanese Cinema, Crime, Blogathons, Tokusatsu, Pinky Violence, Yasuharu Hasebe, Nikkatsu, Akira Kobayashi

Akira Kobayashi in Yasuharu Hasebe’s Black Tight Killers (1966)

While I was trying to compile a post for the Japanese Cinema Blogathon currently happening at Wildgrounds I read the news that one of my favorite Japanese directors, Yasuharu Hasebe, had died after contracting pneumonia on June 14th. Hasebe was 77 years old, but he was still an active director and his last project was the police drama The Case Files of Mamoru Yonezawa (Kanshiki: Yonezawa Mamoru no Jikenbo; 2009), which was released earlier this year.

After learning about Yasuharu Hasebe death I immediately decided to put aside my previous plans to write about one of my favorite Japanese actors (Akira Kobayashi) and focus on writing a bit about Hasebe’s films instead. In a sad coincidence, Akira Kobayashi also appeared in some of Hasebe’s best films.

Only a handful of the movies that Yasuharu Hasebe made are currently available on DVD in the US, but they showcase the work of a talented director who injected his action-packed dramas and violent pink films with pertinent social messages and lots of style. Although he’s not as revered as many of his contemporaries, Yasuharu Hasebe was able to masterfully navigate through the Japanese studio system while carving out his own distinct creative path. The director wrote or co-wrote many of his best films, which often touched on similar themes including female oppression and exploitation, as well as race relations and the American occupation of Japan. Yasuharu Hasebe’s films are frequently sited for their orchestrated action and extreme violence, but I think that many of them have maintained their power because of the director’s socially conscious scripts and keen sense of mise-en-scène.

Yasuharu Hasebe seemed to enjoy placing his camera in unexpected places and shooting his films in an intimate manner that is often surprisingly innovative. His frequent use of extreme close-ups and wide long shots is often breathtaking and although I’ve never seen it mentioned anywhere else, I firmly believe that the recurring visual motifs and framing techniques seen throughout many of Hasebe films mark his work with an individual flair that is undeniably his own. I wouldn’t hesitate to call Yasuharu Hasebe an “auteur” but I know that I’m in the minority. It’s important to point out as I’ve often done before, that western film criticism of Japanese cinema is still in its infancy and I suspect that Yasuharu Hasebe ’s films will receive much more critical attention and acclaim in the future as more critics and film scholars are exposed to his work.

Here’s a brief rundown of some of my favorite Yasuharu Hasebe films and television productions that are currently available on DVD in the US . . .

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Spend Springtime in Japan

by Kimberly Lindbergs | April 9, 2009

Categories | News, Japanese Cinema, Joe Shishido, Seijun Suzuki, Nikkatsu, Akira Kobayashi

Left: Joe Shishido & Reiko Sasamori in Detective Bureau 2-3: Go to Hell Bastards!
Right: Hiroyuki Nagato & Jitsuko Yoshimura in Pigs and Battleships

We’re only four months into 2009 and the year is already becoming more interesting in terms of DVD releases than 2008. I’ve been impressed with Warner’s decision to open up their film archives and I’m glad that Facets is now offering a mail order rental option for their vast selection of rare films on DVD and video. And if you’re interested in Japanese cinema some of the most exciting news is coming from Synapse, KINO and Criterion. All three companies are planning to release some of the most highly anticipated and previously hard-to-see Japanese films on DVD next month and I couldn’t be more happy about it! READ MORE

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20 Favorite DVD Releases of 2008: Part I.

by Kimberly Lindbergs | March 11, 2009

Categories | Movie Reviews, Horror, Japanese Cinema, French Cinema, American Cinema, Crime, Hammer Horror, Spanish Cinema, Alain Delon, Criterion, Serge Gainsbourg, Helmut Berger, Thrillers, William Klein, Favorite 2008 DVDs, Jean-Paul Belmondo, Featured, Yasuharu Hasebe, Nikkatsu, Delphine Seyrig

I hate to be the bearer of bad news, but overall 2008 was somewhat of a lackluster year for new Region 1 DVD releases of ’60s and ’70s era films when compared to the previous two years (See: 2006 and 2007). Some of my favorite DVD companies such as BCI Eclipse and most recently New Yorker Films have folded. Boutique DVD companies are releasing fewer products and what is being released is often of questionable quality. With the failing economy and the rise in popularity of Blu-ray discs, it seems like the number of new worthwhile DVD releases might continue to drop dramatically in 2009. Many companies such as Blue Underground and Criterion are choosing to re-release films that have already been available on DVD, while big studios like Warner Brothers and Paramount seem to be focusing a lot of their energy on re-releasing titles on Blu-ray instead of releasing old films from their vaults.

Even with this disappointing turn of events, fans of ’60s and ’70s cinema were still offered some great DVD box sets from companies like Lions Gate as well as Criterion. Sony Pictures has also released an interesting batch of DVDs under their new “Martini Movies” label. And with curiosity about Japanese pink films on the rise, companies like Mondo Macabro and Media Blasters took full advantage of this and released some unexpected gems last year. 2008 was also a great year for British horror fans. Besides multiple Hammer DVD releases including the Icons of Horror: Hammer Films Collection and the Icons of Adventure Film Collection, there were also some great Amicus films released such as Freddie Francis’ The Skull and The Deadly Bees.

In previous years I’ve shared a list of my Top 30 Favorite DVD releases, but this year I’m narrowing my list down to my favorite Top 20 releases. This is mainly due to my disappointment with last year’s DVD offerings and I wanted to focus on a limited selection of new releases that I really enjoyed. As always, my list only features films that were originally released between 1960 and 1979 on Region 1 DVD. I tried not to include any DVD re-releases on my list or TV shows, but there were plenty to choose from. My selections are listed in alphabetical order and I’ll be posting them in two parts in the coming week. Below are selections #1-10.

Alain Delon and Romy Schneider in La Piscine (1969)

1. Alain Delon - Five Film Collection (Lions Gate)
Anytime an Alain Delon film finds it’s way onto DVD for the first time there’s a celebration in my home! The Lions Gate Alain Delon DVD boxset was a real treat and offered viewers the opportunity to see five films starring my favorite French actor. I thought the best films in the collection were easily La Piscine aka The Swimming Pool (1969) and Diaboliquement vôtre aka Diabolically Yours (1967), which I reviewed back in 2007. But The Widow Couderc and Notre Histoire also make for some worthwhile viewing. Le Gitan aka The Gypsy (1975) is a bit like sitting through Zorro II, but it’s missing the catchy theme song. I actually enjoy Delon’s original Zorro (1975) film, but Le Gitan left me a little cold. For more information about this DVD release please see my previous comments about it here.

Christopher Walken, Stan Gottlieb and Sean Connery in The Anderson Tapes (1971)

2. The Anderson Tapes (Sony Pictures)
The Anderson Tapes (1971) is one of the hidden gems that can be found in the recent batch of “Martini Movies” released by Sony Pictures. This ’70s caper film was directed by Sidney Lumet when he was at the top of his game and it’s based on a novel written by Lawrence Sanders. The movie features a great cast that includes Sean Connery, Dyan Cannon, Martin Balsam, Alan King and a very young and incredibly cute Christopher Walken in his first major film role. The premise of the film involves a group of con men that Anderson (Sean Connery) brings together in order to pull off a major heist at an upper-class apartment building in New York. Unfortunately for Anderson everyone he contacts is under surveillance for different reasons, so every move he makes is being carefully monitored. Sidney Lumet does an impressive job of filming the events as they unfold through the use of surveillance cameras and sound. And I really liked the adult way that Connery’s relationship with Dyan Cannon was handled. The film was released a year before the Watergate scandal made headlines and three years before Francis Ford Coppala’s seminal film The Conversation, which tackled similar themes. I was surprised by how much The Anderson Tapes had obviously influenced Coppola’s later films and I’m not just referring to The Conversation. Clearly writer Lawrence Sanders and director Sidney Lumet were well aware of the way surveillance was starting to play a role in modern society and the film does a terrific job of exploring the way it invades the life of one unsuspecting man. Quincy Jones created the film’s soundtrack and I think is one of the composers most experimental and unusual efforts. Jones used electronic sounds and noise to convey various emotions and ideas in the film and it works really well with the way Lumet handles the material. The film is presented in widescreen and the print looks terrific. Unfortunately there aren’t a lot of extras on the DVD besides the original trailer and the Martini Movie features which come with every one of their releases.

Assault! Jack the Ripper (1976)

3. Assault! Jack the Ripper (Mondo Macabro)
This is not an easy film to recommend and many will undoubtedly be shocked by the film’s subject matter. Some hardened horror fans will even shy away from the graphic nature of the film, but Assault! Jack the Ripper (1976) is easily one of the most transgressive and fascinating violent pink movies I’ve seen and in turn, one of my favorite DVD releases of last year. Assault! Jack the Ripper was directed by Yasuharu Hasebe who has made some of my favorite Japanese films including Black Tight Killers (1966), Bloody Territories (1969), Female Prisoner Scorpion: #701’s Grudge Song (1973) and the Stray Cat Rock films. The movie centers around the violent and erotic adventures of young working couple who accidentally discover that they get sexual satisfaction from torturing and murdering other women. The film used true crimes such as the notorious Chicago nurse murders committed by Richard Speck for inspiration. It’s propelled by an incredible Euro-flavored soundtrack and some breathtaking cinematography. Assault! Jack the Ripper is not light viewing and audiences should be prepared to watch the DVD extras that come with the film in order to get a deeper understanding of the movie’s subversive themes, but it’s well worth the effort for adventurous viewers. The DVD extras include an insightful interview with author Jasper Sharp who wrote Behind the Pink Curtain: The Complete History of Japanese Sex Cinema, extensive notes about the film and a great documentary called The Erotic Empire which discusses Nikkatsu Studios “Romantic Pornographic” aka Roman Porno films.

Blue Eyes of the Broken Doll (1973)

4. Blue Eyes of the Broken Doll (Special Edition) (BCI / Eclipse)
A lot of Paul Naschy films found their way onto DVD last year, but Carlos Aured’s Blue Eyes of the Broken Doll (1973) was my favorite of the bunch. In this Spanish giallo Paul Naschy plays a deeply troubled ex-con who gets hired as a caretaker for a lavish estate owned by three beautiful sisters who seem to all vie for Naschy’s affections. After Naschy takes the job, a serial killer begins terrorizing the countryside and removing the eyes of his blue-eyed victims. Is Naschy the cold-blooded killer or is someone else to blame for the horrible murders? You’ll have to watch the film to find out! No one in Blue Eyes of the Broken Doll is particularly likable, but I found that aspect of the film strangely compelling. Carlos Aured does a good job with the dream sequences in the film and Paul Naschy ’s script features plenty of unusual twists and turns to keep viewers entertained. Fans of European thrillers should find the film enjoyable. The DVD comes with some great extras including audio commentary with Paul Naschy and director Carlos Aured.

Reiko Oshida in Delinquent Girl Boss: Blossoming Night Dreams (1970)

5. Delinquent Girl Boss: Blossoming Night Dreams (Media Blasters)
For more information about this release please see my lengthy review of the film here.

Serge Gainsbourg, Delphine Seyrig and John Abbey in Mr. Freedom (1969)

6. The Delirious Fictions of William Klein - Eclipse Series 9 (Eclipse / Criterion)
This Eclipse/Criterion DVD collection was one of the best things the company released last year and for my money, possibly the best DVD film collection of 2008. Previously William Klein’s films were incredibly hard to come by and the prints that were floating around from various sources were often very poor. Criterion’s choice to release three of William Klein’s films was a real surprise and a treat for anyone like myself who enjoys avant-garde cinema from the ’60s. Director William Klein was a fashion photographer and an American expat living in Paris when he made these films, which satirize the fashion industry, pervading cultural values and American political policies. Although some may see the films as mere products of the times that they were made in, I think they’re still extremely relevant today. Who Are You, Polly Maggoo? aka Qui êtes-vous, Polly Maggoo? (1966) and Mr. Freedom (1969) are the standout features in this three film set and I’d be hard pressed to pick a favorite from the two. Both films feature some incredible visuals and lots of dark humor. The Model Couple (1977) is also well worth a look even if it’s lacking the style and intellectual punch of the other two films in the collection. This terrific set of films deserves a lot more attention than I can give it now but I briefly mentioned how excited I was about this DVD release last year and you can find that post along with a clip from Who Are You, Polly Maggoo? here. Unfortunately like all the Eclipse/Criterion DVD releases this DVD collection is very bare bones, but still well worth owning.

The Gorgon (1964)

7. Icons of Horror: Hammer Films (Sony Pictures)
I’m always happy to see any Hammer horror films finding their way onto DVD and the 2-disc Icons of Horror collection contained one of my long-time favorite Hammer productions, Terence Fisher’s The Gorgon (1964) as well as Seth Holt’s exceptional thriller Scream of Fear (1961). This four film collection also featured Michael Carreras’s The Curse of the Mummy’s Tomb (1964) and The Two Faces of Dr. Jekyll (1960). I hadn’t had the opportunity to see Terence Fisher’s The Two Faces of Dr. Jekyll before this DVD release and I was really surprised by how well done the film was. I personally think it’s one of the better films based on Robert Louis Stevenson’s classic story thanks to Paul Massie’s excellent duel performance as Dr. Jekyll/Mr. Hyde. The Curse of the Mummy’s Tomb is definitely the weakest film in the collection, which still means it’s better than most of the horror films you’ll find playing at your local multiplex right now. All the films look terrific and are presented in widescreen. Terence Fisher and Seth Holt were two of the finest directors that worked with Hammer studios so it’s nice to see them both represented in this great new DVD set. Unfortunately it suffers from a lack of extras which plagues many Hammer DVD releases, but it’s hard to complain when you can currently purchase all four films for a mere $16.99 at Amazon (see link above).

Oliver Reed and Carol Lynley in The Shuttered Room (1967)

8. It!/The Shuttered Room (Warner Home Video)
I have so much I want to say about these two joint British/American productions that I hate trying to sum up my feelings in one paragraph so I may revisit them later, but in an effort to get this list finished up I’ll try and formulate a few quick thoughts. It! (1966) is a highly entertaining horror movie directed by Herbert J. Leder and it stars the talented Roddy McDowall. McDowall plays a mentally disturbed museum curator (playing homage to Anthony Perkins) who finds himself in all kinds of trouble after he displays a strange statue at the museum where he’s employed. The highly improbable plot gets more and more ridiculous as the film unfolds, but I won’t spoil it for potential viewers. It! is a really fun movie that has to be seen to be believed and Roddy McDowall is terrific in it. The second film in this two movie set is David Greene’s The Shuttered Room (1967) and it’s the real reason you should purchase this DVD. The movie features a great cast and two exceptional performances from the film’s star Carol Lynley and her co-star, the late great Oliver Reed. The script is based on a story written by August Derleth, who was H. P. Lovecraft’s posthumous collaborator and Derleth used many of Lovecraft’s own notes and ideas to compile his tale. The finale result may seem a little uneven to some, but I think The Shuttered Room is one of the few films that successfully captures the unsettling mood found in some of Lovecraft’s best fiction. David Greene’s direction is impressive at times, but the film is really elevated by the experimental avant-garde score composed by controversial British jazz musician Basil Kirchin. Kirchin composed music for other British horror films such as The Abominable Dr. Phibes (1971) and The Mutations (1974), but his score for The Shuttered Room just might be his most effective. Unfortunately this is another bare bones DVD release with no worthwhile extras, but it’s great to see these deserving horror films finally being made available. I’d previously only seen washed out and cut-up prints of The Shuttered Room on television so I was thrilled by the print quality of this new DVD from Warner.

Jean-Paul Belmondo in Le Doulos (1963)

9. Le Doulos (Criterion)
Le Doulos (1963) is one of Jean-Pierre Melville’s earliest crime films (aka “policier”) and while it’s missing some of the polish of the director’s later efforts, it’s still an exceptional film featuring a truly memorable performance from the great Jean-Paul Belmondo. Belmondo charms his way through the film playing a surprisingly ruthless gangster named Silien, who may or may not be a police informant referred to as a “Le doulos” in French slang terms. The film borrows from many classic noir films, but Melville brings his own trademark style and edginess to the proceedings, which gives Le Doulos lots of modern appeal. Criterion did an exceptional job on their release of Le Doulos and one can only hope that they’ll continue to release more of Melville’s films on DVD in the future. Besides a beautifully restored print of the film, the new DVD comes with some great extras including archival interviews with Melville and actors Jean-Paul Belmondo and Serge Reggiani, audio commentary by film scholar Ginette Vincendeau, the original theatrical trailer and a thoughtful new essay by film critic Glenn Kenny.

Helmut Berger in Ludwig (1972)

10. Ludwig (KOCH Lorber Films)
Few directors know how to create epic historical dramas like Luchino Visconti and Ludwig (1972) is one of the director’s most ambitious efforts. This four hour film is not without its flaws, but if you take the time to watch this dramatic retelling of the life of the “mad” Kind Ludwig II of Bavaria you’ll be rewarded with some lush cinematography, grandiose set designs, fabulous period costumes and great performances from the film’s impressive cast. Like many of Visconti’s previous efforts, the film offers viewers an intelligent critique of the powerful and wealthy, while celebrating their extravagances and mourning the passage of time. One of my favorite actors is the Austrian born Helmut Berger who stars as King Ludwig here and this film offered him one of his most expansive and fascinating roles. Visconti and Berger were long-time lovers and they work extremely well together. Visconti indulged Berger during the making of Ludwig and gave the actor plenty of freedom to bring the mad King to life, but he also knew when to rein him in. The film also features Trevor Howard as composer Richard Wagner, Silvano Mangano as Wagner’s mistress Cosima Von Buelow and Romy Schneider was smartly cast as the Empress Elisabeth of Austria. The lovely and talented Romy Schneider had previously become a star due to her sympathetic portrayal of the young Empress Elisabeth in the popular Austrian Sisi films and she brings a lot of experience and skill to her role. This impressive two disc DVD set from KOCH Lorber Films features a digitally restored and re-mastered widescreen print of the film and it’s loaded with extras including a documentary about director Luchino Visconti, a profile of actress Silvano Mangano and an interview with costume designer Piero Tosi. I wish one or two of the extras included with the DVD focused a bit more on the film’s star Helmut Berger, but that’s a minor complaint. This release is a real treat for Luchino Visconti fans like myself.

The second half of my Favorite DVDs of 2008 list can be found here.

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End of the Summer Reading

by Kimberly Lindbergs | August 28, 2008

Categories | News, Books, Television, Science Fiction, John Phillip Law, Nikkatsu

Summer is coming to an end and I thought I’d make mention of a couple of new and upcoming book releases that I’m looking forward to reading.

First up is John Phillip Law: Diabolik Angel written by Carlos Aguilar and his wife Anita Haas. They worked closely with John Phillip Law on the book before his unfortunate death this summer and it promises to be one of the most interesting biographies of the year. Carlos has written many wonderful books that I admire on directors like Sergio Leone and Jess Franco. He was kind enough to send me some information about his latest book as well as a wonderful picture of himself and his wife with John Phllip Law so that I could share it with my readers.

Above: Carlos Aguilar, Anita Haas and John Phillip Law.

Here’s a brief blurb about the book from the back cover that should grab your attention:

“John Phillip Law is one of the most cosmopolitan and charismatic actors of his generation. He is best remembered for his fantasy cult films Barbarella, Danger: Diabolik and The Golden Voyage of Sinbad, the European western Death Rides a Horse, and the American classic The Russians Are Coming! The Russians Are Coming! and Von Richthofen and Brown. But apart from that, his novelesque personal and artistic journey bears a unique intercontinental link between diverse phenomena, both inside and outside cinema: from Hollywood in the 50s to Broadway in the 60s; love affairs with actresses Faye Dunaway, Barbara Parkins, Marisa Mell and Barbara Bouchet; the world of the hippies, with its free love and drugs; the Playboy empire; la dolce vita in Rome, Almeria of the spaghetti westerns and European co-productions of all kinds; Spain’s dictatorship, the beginning of the West’s fascination with martial arts, Asia’s economic awakening and Dracula in the theatre. John Phillip Law has, in one way or another, been part of all these phenomena. This extensive interview, in which he shares his memories with straightforward honesty, is accompanied by an exceptional collection of photos. An extraordinary work about an extraordinary life.”

At the moment John Phillip Law: Diabolik Angel is only available from SciFiworld in Spain but hopefully this bilingual book will get a wider release in the future.

Another interesting upcoming release is Midnight Eye contributor Jasper Sharp’s new book Behind the Pink Curtain: The Complete History of Japanese Sex Cinema. According to the publishers at FAB Press it’s based on extensive interviews with many of the leading figures in the field and offers to take readers on “a wild joy ride deep into the hinterlands of Japanese culture, society and radical politics.”

From the FAB Press website:

“Just how close are the links between the arthouse and the grindhouse in Japan? Read about the ins and outs of Japanese censorship from the wartime onwards, and how topless deep sea diving girls came to woo local audiences in the ’50s. Learn how a TV nature documentary maker ended up helming nude female Tarzan movies, and how ’60s mavericks Kôji Wakamatsu and Masao Adachi met up with John and Yoko at Cannes while on the way to the Golan Heights to make a film about Palestinian revolutionaries. How Deep Throat’s Harry Reems wound up in Tokyo starring in a zany sex comedy about a penis transplant gone awry, and how one of Japan’s most famous literary figures ended up the subject of the country’s first gay porno movie. How one of Nikkatsu’s leading directors went it alone to make a film about powerboat racing and ended up in the bad books of the yakuza, and how the anti-Bush sex farce Horny Home Tutor: Teacher’s Love Juice came to be re-titled as The Glamorous Life of Sachiko Hanai and became one of the most talked-about Japanese films of recent years, playing at over twenty international film festivals.”

Behind the Pink Curtain: The Complete History of Japanese Sex Cinema is available from Amazon.

Last but not least, is Marcelo Abeal’s new book The Legend of Time Tunnel which is a tribute to Irwin Allen’s terrific television series of the same name. Abeal’s book includes detailed chapters on all the main actors involved with the production such as Robert Colbert, James Darren, Lee Meriwether, Whit Bissell, John Zaremba, Sam Groom and Wesley Laus as well as Irwin Allen himself. The book also boasts a special introduction by Robert Colbert, an episode guide and detailed information about the stunts performed on the show. I briefly wrote about Irwin Allen’s contributions to television last year and I’m happy to see that his television work is getting more attention.

Marcelo Abeal is an Argentinian actor and professional stuntman himself and his book seems to be a limited release. If you’re interested in purchasing a copy please email Bob Frassinetti at: admin@frassinetti.com and tell him I sent you!

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Nikkatsu Action

by Kimberly Lindbergs | April 14, 2008

Categories | Books, Directors, Japanese Cinema, Joe Shishido, Seijun Suzuki, Yasuharu Hasebe, Toshio Masuda, Nikkatsu

Tetsuya Watari and Joe Shishido

Last week the Nikkatsu Action Film Series made its way to San Francisco and the nice guys over at the Outcast Cinema site who manage the event were kind enough to remind me with a friendly email. Unfortunately due to my current work schedule, ongoing apartment maintenance and various family obligations, which are leaving me with very little free time lately, I wasn’t able to see any of the films scheduled to play. I rarely make it into the city for film events anymore due to the high cost of gas, bridge fares, parking fees and ticket prices. A night out at the movies with my guy in the Bay Area can easily cost us $50, but I had really hoped to see two of the Toshio Masuda films that were scheduled to show at the Nikkatsu Action series (Gangster V.I.P. and Red Handkerchief) since they were two films I’d never seen before and I’ve become fascinated with the director’s work over the last couple of years.

Last year I picked up a copy of a wonderful Japanese book called Toshio Masuda - Films - Complete Guide which contains over 500 pages covering the director’s long career and accomplishments. It’s an amazing looking book obviously packed with many details about the director’s 80+ films and it also includes lots of lovely still shots from various productions. Naturally it’s written in Japanese and since I can barely read a word of Japanese myself and often have to rely on family and friends for minimal translations, I haven’t been able to fully appreciate the book. I highly doubt that there will ever be an English translation of the entire text made available, but the book has still managed to widen my understanding of Toshio Masuda ’s amazing directorial career and I’ve been making an attempt to try and see as many of his films as possible lately, which is why I was so disappointed that I missed the Toshio Masuda films shown during the Nikkatsu Action series.

Here’s a brief blurb about Toshio Masuda from the only English text featured on the cover of Toshio Masuda - Films - Complete Guide. It’s written in broken English so don’t be surprised if you find it a little hard to follow:

“Action, Romance, Comedy, Animation, The War. A Giant in the field of Japanese program pictures. Toshio Masuda was born in Kobe City, October 5th 1927. There was a year his 16 films have reached the TOP 10 in the yearly charts. It is the second highest record in the history of Japanese movies. He also has been in the chart from the 1950’s through until 1990’s, for about 5 decades. This is a miracle and a marvelous thing. His films themes are not only about action but comedy, romance, animation and the war. And every theme relates to the bloom of youth.”

It’s really astonishing and extremely sad that the work of such an important Japanese director like Toshio Masuda is almost completely unavailable to western audiences and has often been totally overlooked by western critics and film scholars. Thankfully due to the hard work of some people such as the fine folks at Outcast Cinema that is slowly changing and I’m extremely grateful for all their efforts.

Since I’m on the topic of Nikkatsu Action cinema, I also wanted to mention that I recently finished reading Mark Schilling’s latest book No Borders, No Limits: Nikkatsu Action Cinema, which is a quick read and well worth picking up if you’re interested in Japanese cinema. I’ve enjoyed many of Mark Schilling’s books over the years such as The Encyclopedia of Japanese Pop Culture and The Yakuza Movie Book so I was looking forward to reading his latest effort and I think it’s probably his best book yet because it limits its focus to one topic and provides readers with some interesting tidbits about the genre. No Borders, No Limits: Nikkatsu Action Cinema is somewhat light on content but it easily makes up for that with lots of fascinating interviews with important directors and stars, as well as beautiful still shots and incredible poster art reproductions. I don’t always agree with Schilling’s interpretations of Nikkatsu Action cinema that he puts forward in the book or his opinions regarding particular films and directors. And occasionally while reading the interviews he conducted with directors I desperately wished I could have jumped in with my own questions, but I’m very grateful that Schilling is making a much needed effort to research the work and careers of talented filmmakers like Toshio Masuda who is featured in his book along with Seijun Suzuki, Yasuharu Hasebe and Koreyoshi Kurahara. Since so little English language information is available about Nikkatsu’s Action cinema Mark Schilling’s book is a very welcome addition to the slowly growing body of Japanese film criticism and history that’s trying to forge ahead and follow uncharted paths that were often neglected by other well-known Japanese film critics and scholars in the past.

Here’s a few brief paragraphs from Mark Schilling’s Forward to No Borders, No Limits: Nikkatsu Action Cinema:

“The label said it all: Nikkatsu Akushon. Nikkatsu was a studio that had been around since the silent days and Akushon was “Action,” written in the katakana syllabary for foreign words. During their peak, from the late 1950s to the early 1960s, Nikkatsu Action films evoked a cinematic world neither foreign nor Japanese, but a mix of the two, where Japanese tough guys had the swagger, moves and long legs of Hollywood movie heroes. Where Tokyo streets, Yokohama docks and Hokkaido plains took on an exciting, exotic aura, as though they were stand-ins for Manhattan, Marseilles or the American West.

. . .

“Foreign critics long ignored Nikkatsu Action. Donald Richie and Joseph Anderson’s seminal 1959 history The Japanese Film: Art and Industry passed over the entire genre in silence, as did its 1982 revised edition. Joan Mellen’s 1976 study The Waves at Genji’s Door: Japan Through Its Cinema does not mention Nikkatsu or its films and stars even once. The rise of Seijun Suzuki to cult fame in the West in the 1980s brought the genre more attention abroad, but often in a negative way, with critics hailing Suzuki as an overlooked and discarded master, while dismissing the films of his colleagues as studio hack work (despite having seen few of them.)”

Mark Schilling’s book No Borders, No Limits: Nikkatsu Action Cinema retails for $15.95 and it’s currently available at Amazon for only $10.85. The Japanese book Toshio Masuda - Films - Complete Guide was published last year by Hotwax in association with Shinko Music Entertainment Co. LTD and it should be available at better Japanese book stores such as Kinokuniya. You can also purchase the book online at places such as YesAsia.com, but it costs a lot more there. The original retail price is about $37 and YesAsia is selling it for $50 plus shipping and handling costs so potential buyers should be aware of the considerable price hikes by some retailers.

The Nikkatsu Action film series is still going strong and many films will be shown across the country in various U.S. locations throughout April and May. For more information about the event please visit the Outcast Cinema Blog for locations and showtimes.

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DVD of the Week: Delinquent Girl Boss - Blossoming Night Dreams (1970)

by Kimberly Lindbergs | February 4, 2008

Categories | Movie Reviews, Japanese Cinema, DVD of the Week, Pinky Violence, Yasuharu Hasebe, Nikkatsu

One of my favorite films from Panik House’s 2005 Pinky Violence DVD Collection was Delinquent Girl Boss: Worthless To Confess (Zubekô banchô: zange no neuchi mo nai, 1971), which was directed by Kazuhiko Yamaguchi for Toei and starred the strikingly cute Japanese actress and occasional pop idol Reiko Oshida. Not only was Delinquent Girl Boss: Worthless To Confess one of the best looking films in the collection, featuring some truly impressive cinematography and direction, but I also really liked Reiko Oshida’s take on playing a bad girl trying to make good in the world. Unlike the other lovely and talented ladies that have starred in numerous pinky violence films such as Reiko Ike and Miki Sugimoto, Reiko Oshida seemed to have a sense of humor about her roles and she always wore a sly grin on her face. Besides an occasional gratuitous panty shot, she also managed to keep her clothes on in all her films even when her co-stars were baring all.

This week Media Blasters released the first film in the Delinquent Girl Boss movie series called Delinquent Girl Boss: Blossoming Night Dreams (Zubeko Bancho: Yumei Wa Yoru Hiraku, 1970) on DVD and it’s my DVD Pick of the Week. Due to a rather loose script, the film doesn’t exactly pack the same powerful dramatic punch that Delinquent Girl Boss: Worthless To Confess had, but the movie still features some really impressive visuals and great musical numbers that more than make up for the writing. Overall it’s a terrific addition to the slowly growing stable of pinky violence films now available on DVD in the U.S. and it’s sure to impress anyone who enjoys the work of the talented Japanese director Kazuhiko Yamaguchi.

Delinquent Girl Boss: Blossoming Night Dreams was Kazuhiko Yamaguchi’s directorial debut and he also co-wrote the script for the film. Yamaguchi would go on to make other films in the Delinquent Girl Boss series and many other Japanese action films featuring tough female stars including the Wandering Ginza Butterfly series with Meiko Kaji and the Sister Street Fighter series with Etsuko Shihomi. I enjoy all of his his films, but I personally prefer the director’s Delinquent Girl Boss efforts, because I tend to favor the plots, as well as popular Japanese music, modern design and period fashions, which are often on display in these films.

Much like Delinquent Girl Boss: Worthless To Confess, which was the fourth film in the series, Delinquent Girl Boss: Blossoming Night Dream opens with a small riot breaking out at a juvenile faculty for troubled young women. In the series Reiko Oshida plays an orphan named Rika who grew up in Yokohama. Rika is a rebellious 19 year-old struggling with her aversion to authority figures and her obvious urge to set things right whenever she feels injustices are taking place. After she’s released from the juvenile faculty she gets a job at a hostess club in Shinjuku where many of her fellow delinquents now work. The owner of the hostess club was once a delinquent herself, but she’s become a sort of surrogate mother to the girls who work at her club, as well as the lone male host who services gay clients there. Unfortunately things get complicated when some local yakuza start shoving their weight around and trying to gain control over her club. The yakuza are also selling drugs and managing their own group of tough ladies who act as drug pushers in the neighborhood. Throughout the course of the film Rika becomes somewhat of a vigilante in an effort to help her friends and her boss, but her conflicting emotions and hardened criminal background are often at odds. She’s a tough girl who knows how to take care of herself and put others in their place, but she’s also got a warm heart and clearly cares about her friends and their futures.

As I mentioned above, Delinquent Girl Boss: Blossoming Night Dreams seems to suffer a little thanks to the script, which was probably due to Kazuhiko Yamaguchi inexperience as a writer at the time. But the film also has some truly impressive moments, including a beautiful romantic beach scene between Reiko Oshida and her male co-star (Hayato Tani). It takes place among a bunch of huge cement structures resting on the sand and adds a dream-like quality to the film. The talented cinematographer Hanjiro Nakazawa should be co-credited for the amazing look of the Delinquent Girl Boss movies. Nakazawa worked with the acclaimed director Kinji Fukasaku on many of his best crime films including Sympathy for the Underdog (1971), Street Mobster (1972) and Graveyard of Honor (1975). He’s also partially responsible for the fantastic look of the Female Prisoner Scorpion films and he brings the same creativity to the Delinquent Girl Boss series. These films are a great showcase for Nakazawa’s dynamic color photography and director Kazuhiko Yamaguchi’s imaginative compositions. Both men had the ability to turn what could easily be considered a simple exploitive genre film into art.

Yamaguchi and Nakazawa also do an amazing job of capturing Shinjuko nightlife in the early seventies. The exterior shots of the city are really impressive and the psychedelic club scenes and musical acts featured in the film are stylishly shot and full of energy. I was thrilled to discover that the Japanese girl group Golden Half appears in Delinquent Girl Boss: Blossoming Night Dreams along with folk pop idol Keiko Fuji. Since I love Japanese pop music from this period, I really enjoyed the musical numbers even though Golden Half only performs their popular song Yellow Cherry (Kiroii Sakurambo), which happens to be the same song the group sang in Yasuharu Hasebe’s pinky violence film Stray Cat Rock: Sex Hunter. Both of the films were released in 1970, but they were made by different studios. Toei was responsible for the Delinquent Girl Boss series and Nikkatsu produced the Stray Cat Rock films, but both studios obviously wanted to cash in on the popularity of Golden Half at the time and their hit song.

Keiko Fuji sings the film’s memorable opening theme song and she has an interesting, but extremely small role in the film. Keiko Fuji was popular among some radical student groups in Japan, probably due to her ability to mix traditional enka style ballads with modern popular music. In the film she strums a guitar while singing a very traditional sounding song that seems to deeply touch the women working at the hostess bar. It’s a nice moment in the film and Keiko does a good with her brief part, but I wish she had been given a little more to do in the movie. I hope to write a bit more about the music featured in pinky violence films soon.

Besides the appearance of Keiko Fuji, the social and political commentary that can sometimes be found in pinky violence films seems rather lowkey here, but there are a few moments in Delinquent Girl Boss: Blossoming Night Dreams that I felt reflected the complicated power struggles going on between criminal men who liked to flex their muscles in postwar Japan and the independent women who were often forced to have business dealings with them. In an odd twist, the young female junkie in the film suffering horribly from drug dependency also has dyed blond hair and wears a dress emblazoned with the American flag. I have no idea if the director was trying to hint at America’ involvement in the underground drug market in Japan after WW2 or implying something even more subversive, but it’s possible. I also found it amusing that Reiko Oshida wears a kind of mod miniskirt version of a Native American Indian costume when she helps take down the bad guys at the end of the movie. It’s hard to overlook the possible anti-occupation sentiments in that small gesture.

The Delinquent Girl Boss series is really one of the highlights of the recent wave of pinky violence films being released on DVD. If you’re new to the genre or just curious about these types of Japanese films, the Delinquent Girl Boss movies make a great introduction to the genre since they’re creatively shot and tend to feature mild violence and eroticism.

Delinquent Girl Boss: Blossoming Night Dreams is available on DVD from Media Blasters on their Exploitation Digital label for $29.99 and it’s currently selling at Amazon for $26.99. The DVD features a nice looking anamorphic widescreen print of the film, as well as a photo gallery and the original trailer. As I mentioned above, the fourth film in the Delinquent Girl Boss series was released on DVD in 2005 from Panik House and it’s available as part of their terrific Pinky Violence Collection. Hopefully the second and thirdDelinquent Girl Boss films will find their way onto DVD soon. Thankfully the films in the series can be enjoyed individually and they don’t have to be watched in any kind of order, but I would recommend seeing Delinquent Girl Boss: Blossoming Night Dreams before Delinquent Girl Boss: Worthless To Confess if you’re new to the series.

If you’d like to see more images from the film please see my Delinquent Girl Boss: Blossoming Night Dreams Flickr Gallery.

Also worth mentioning is the recent DVD release of Jess Franco’s Eugenie de Sade (1970) from Blue Underground, which was reviewed by Robert Monell over at I’m in a Jess Franco State of Mind. I haven’t had the opportunity to view it yet myself, but I’m looking forward to it.

I’m still compiling my Best DVDs of 2007 List and it’s taking me a bit longer to finish then I had expected, but I promise that I’ll be posting it here soon so keep an eye out for it!

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