Speaker 1: We're all owned by the syndicate Body and Soul or
should I just say bunny?
Speaker 2: Hello? Filthy movie lovers, Something Weirdos and anti criterion brose
to the twenty fifth episode of The Sin Syndicate, where
love making is always better with an audience and every
bedroom mirror is a two way. My name is Gentry Austin,
writer and researcher, and I'm here with my co host,
adult film historian Casey Scott. And in this week's episode,
we're joining East to West with our friends Dakota and
Christopher of the two in the Pinkoo podcast. They will
be helping us understand the sixty sexploitation scene in Japan,
and in particular a special look at the US imported
Kan Mukai directed the bite.
Speaker 3: Hey lover, why don't we leave here and go to
my place? Read it? Come on, GRICI I'll make sure
you're sorry.
Speaker 2: But first, some exploitation news updates and corrections. A very
quick one here. If you've been paying attention closely, you
might have seen we launched a Patreon. We were kind
of playing with what to do over there, but Casey
and I thought, first of all, we could throw up
our show notes, because there's a lot of stuff in
our show notes, and I think that if you are
a fan of sexploitation and what we're doing here, you'll
get a lot out of it. So, I don't know,
we think it's worth a couple bucks and help support
us so we can upgrade some stuff Google Drive that
would allow us to upload more movies like maybe the
one we're talking about today, we'll see and other fun stuff.
So yeah, check it out Patreon. We'll probably have some
poles and stuff up there. We're still playing with it,
but I still can't get in. Yeah, Casey's still trying
to get access.
Speaker 4: I got an invite to be a collaborator, and Patreon's
like no, no, no.
Speaker 2: Yeah. The other fun thing is, yeah, I can like
throw up a bunch of photos on there that might
have nudity that Instagram doesn't allow, so all he freaks
out there, All right.
Speaker 4: My big thing about it is I will just say like,
for so, I was always hesitant about a Patreon for
the show, but I I like because my my relationship
with a lot of people in the field, and a
lot of these people were not paid well for their
work in these films. So if I have a chance
to pay them. I want to be able to do that.
So yeah, there there are other let's uh, let's say
there are other sex film podcasts out there that do
not do that, and so I would like to be
able to climm people.
Speaker 5: I'm just kidding.
Speaker 6: I mean, how many are there.
Speaker 5: It's like it's like people know who they are. I
just like to start drama. Yeah.
Speaker 4: Well yeah, usually me too, but I like, you know,
I usually take a sip after I say something about them,
but I like to I like people being compensated for
their time and their contributions to the history. So if
we can get if we can offer a little something
to the people, it makes it easier for me then
to reach out to people to do interviews, because if
I'm just asking them to come on and talk for free,
I I just don't like doing that and I've never
liked doing that. So yeah, that's a nice little little
bonus if we could, if we could throw a little
bit of money to people like Sharon Kelly or Mark
Haggard or any of the other people that I'd like
to call.
Speaker 2: Yeah, thanks Casey for mentioning that too. Another quick update,
we got a note from gav Crimson over on YouTube.
He told us that I don't even remember the context
casey of Sun Swept, How did we how did that
come up?
Speaker 4: That was standboard in American film distributing bought that or
either bought or license that I think bought for US distribution.
It was a British British newdiest film, yeah, nudist camp film,
and it was one of a few that he handled.
Speaker 2: Yeah. Yeah, So Gaff said that he did kind of
track down Edward Craven Walker's nudist camp films. There was
Sun Swept and Traveling Light and eves On Skis and
he actually got the VHS transfers but he wasn't able
to digitize all of them, but he did get eves
On Skis uploaded, so we'll have a link to that
in the show notes. It's on Internet archive. But he said,
to be honest, you're not missing out on much with
Sun Swept and Traveling Light. Once you've seen one British
nudist camp film, you've pretty much seen them all. So yeah,
that was kind of nice to know the film.
Speaker 5: I was going to say, they kind of feel the
same the ones that we watched very much.
Speaker 6: Yeah, maybe they have or something and they're British.
Speaker 4: Well that's true. Maybe it's a little class here. I
feel like, yeah, every newdist Camp film is essentially someone
who doesn't believe in the power and the magic of
nudity and the sun goes this, goes to a nudist
camp and is magically converted and then has to convince
other people. It's very actually it's very Christianity coded. It's
like they want you to become a member and then
you need to spread the gospel of nudism to everyone else.
So it is very much like Christianity is like religion.
Nudism is a religion.
Speaker 2: Yeah. Gav said that these movies wore for the community.
He was trying to keep him kind of in house
with the newdis Camp community. So yeah, totally like a
little cult.
Speaker 5: He's great.
Speaker 4: By the way, he did a really if anyone in Letterbox.
He did a really really good in depth review of Diversions,
the Derek Ford adult movie where that is such a
deep dive into that and Derek Ford making a hardcore
movie for international distribution in England which is unheard of
and really rare, So yeah, big shout out to him.
I love him.
Speaker 2: Yeah, I saw his comment and I had to track
down and wait, I know this guy, and yeah, I
follow him my play box as well.
Speaker 4: Yeah, he's great. He just watched Fluctuations and gave it
two stars. I think he may have had something to
drink when he watched it that maybe he made it better.
Speaker 5: So I don't know.
Speaker 2: Yeah, if we maybe do some British exploitation, maybe we'll
have to give you a call, Gaff. So that's good
to do. Actually, next up, we have a new er
Syndrome sub label, Reviver, that was announced this last week.
Of course, Casey and I are wondering is there going
to be any sixties sexploitation films coming out of this
Lost Film label. It seems like it's a spin off
of that Lost Picture show that they did, which had
I didn't count them. There's at least three or four
sexploitation think it was like fifty fifty. Yeah, yeah, it
was kind of so we'll see. Casey's cautiously optimistic.
Speaker 4: I think I feel like for s exploitation, it might
be the only way to get these movies in the
hands of people, because they have to trick them into
buying them. Sexism for itself. So this is like, this
is the way they can restore them and say, hey,
you don't know what it's going to be until you
put it in your put it in your Blu ray player,
which I think is actually a very risky and clever
marketing technique.
Speaker 2: It's sold out well.
Speaker 4: Because people don't know what it is, right, and so
they're like, look, could this be It's something that hasn't
been seen in years, So imagine they do like in
My Wireless Dreams, Come Ride the Wild Pink Worse by
Joe Sarno, and that's the only way that they could
sell a Sarno movie, because Sarno, for whatever reason, doesn't sell. Yeah.
I think it's a great I think it's a great
marketing move. And I imagine I'll have to buy them
all myself because I don't think I can get free
copies from Bigger Syndrome.
Speaker 2: So well, number one is sold out, so you might
have damn.
Speaker 4: I don't know if they're all I missed out.
Speaker 2: I don't know if they're doing like a standard edition
down the road, I don't know.
Speaker 4: I don't know either.
Speaker 2: Anyway, did you guys order that?
Speaker 6: No?
Speaker 5: I mean to be Yeah, to be honest. Dakota will well,
Dakota will tell me if like you're ordered, He's like,
oh I ordered this. I'm like, oh okay. He's like,
just watch out for like the like ups or like
FedEx or anybody's delivering at the apartment. Just leave the
door open for them to come in. I go, what
do we get? Oh, I don't know, some movie, that's what.
Speaker 2: That's what.
Speaker 5: So I when I open up the box, I'm like, oh,
whatever came.
Speaker 6: I mean, I'm glad it's a good thing that's sold out.
Though that's a surprising right, Like, I don't know.
Speaker 4: That's a good sign. But it sounds like you're getting
the Reviver experience every time because you have no idea.
Speaker 5: Yeah, no, seriously, I do like you open the box,
so that's your typical experience. Yeah, he'll just say, like
Dakoto tell me. He's like, hey, we got this, like, oh,
it's this kind of film. It's this, And I'm like, okay,
just put it. Just put it on and we'll watch it.
And then I'm like you Sometimes I'm like, what did it?
I don't know what we watched. I don't know if
I like it or not? Is it? Is it? Fair
to give it two or three stars. I don't know.
Speaker 4: I love comparing your two reviews, which are always posted
one ever or the other, and I'm like, just sing,
what was that like watching it with them as they
both had these very opposite reactions.
Speaker 6: Wow, christ.
Speaker 4: I love it.
Speaker 2: Kasey, You've got a big Joel Land where update for us?
Tell us about your Friday.
Speaker 4: It's not as big as I hoped it would be,
but I was. I almost had like a mental breakdown yesterday.
I messaged you, guys, and I was like, I messaged
you with Alex and I was like, guys, I'm about
to burst into tears. So I went to the New
York Department of Records just me and access to the
NYPD's homicide burrow has logs of every death that every
homicide specifically annually. So I had to go through microfiche.
So I look through nineteen eighty one once and there's
no Joel Land where. So I go backwards in nineteen
eighty I see John Lennon's death noted in the log,
but no Joel landwaere and then I read nineteen I
go through nineteen eighty one again, no Joel. I go
through eighty two, no Joel. So this means Joel was
not was not murdered in New York or at least
done Manhattan. And I took to Sean Langbrick about it,
and Sean is also perplexed, because you know, Sean is
someone who's research skills. I am like in awe of
and so if I can find something, then I'm like, well,
she can find something. Sean is also noticing conflicting stuff like,
for example, Joel's had stone. Apparently the death date on
that is May fifth, nineteen eighty one, which is two
days after his death notice in the New York Times.
And Social Security stopped on his social Security number in
April nineteen eighty one, so the death date's wrong on
the gravestone. So my new theory is witness protection program.
It's because I havn't heard back from the partner's the
late brother's partner having her back from the actress he
worked with, didn't even her back from the auction house,
and I need to call the lover partner and see
what the deal is. But also I also he reminded me,
I had found these pictures of Sheldon, the late brother
at an eightieth birthday celebration, and there are pictures of
him with a niece and a nephew, so we're like,
whose kids are these? There was there another sibling that
we don't know about? Is there a sister that we
don't know about? So we have Sean and I both
have more questions, and we've been going We went back
and forth for a while trying to figure this stuff out,
and I have to place a li I met on
how much more research I'm going to do on this
because I have waited much other stuff that I'm working on,
including a lot of melicine stuff that I'm working on
for twenty twenty six. So I'm just like, nope, sorry,
I think I'm sorry. Joel. Hey, well, you know, if
I find something, I'm excited. But I will say the
day was on a total waste because I did screen
his lost short film at the filmmaker's colup, A Puritan's Dream,
and you know, I think we talked last week about
how it was like an experimental underground movie and then
he went into sexploitation and it was like a step down.
This is a exploitation movie. It is a thirty minute
exploitation movie. It's like a it kind of is. It's
very experimental, like Fluctuations, but it has a little bit
of a narrative. It's like a stag party with a
bunch of girls that show up. There's two May West
songs from her nineteen sixty seven rock album before John
Waters used them in Mondo Trashow. I only recognized one
actress in it, and that was Marie Prevost, who's in Vibrations.
She's the older sister to Maria Lease That and she's
in a few other Sarnos. There's a topless blonde who
looks like Gigi Darlene but is not gg Darlene. It's
shot in black and white in color, and he cuts
back and forth between black and white and color very
frantically sometimes like the editing is really crazy and wild.
And it ends with a woman with long rapunzel hair
accidentally flushing her hair down the toilet so that it
strangles her. And then that's it. That's the end of
the movie. So it's wild. I took a lot of photos.
Speaker 2: What's the dream?
Speaker 4: There's no dream. There's there's no one that you see
falling asleep, there's no one in bed sleeping. There there's
nothing it's a stag party with a bunch of guys
who also disrobe. There's male nudity in it, and there's
two drag queens at the party. So I'm like, I
think lending more credence to the fact that Joel is queer,
and also Joel is in the movie, yes, as one
of the guys at the stag party. So I took
photos and video and I will post those into something
weird Facebook group, and then I think you can post
a bunch of them to the to our Instagram so
people have an idea of what Joel was doing before
he did these American film distributing company movies. And it's
all shot in one apartment, super cheap and just looks
like he got a bunch of his friends together and
have them take their clothes off with a few models.
Speaker 2: But yeah, that's what you do for your first movie, right.
Speaker 5: Yeah, that saved the day. It was.
Speaker 4: It was worth seeing that for sure. And the fact
that it ended with a woman being strangled, strangled by
her toilet is pretty great.
Speaker 5: So yeah, that was pretty great.
Speaker 4: I mean, yeah, it's it's very it's a very good
shot to end on this woman. Basically, yeah, you'll see it,
we'll post it.
Speaker 2: Yeah, you sent us the video like wait, what is
going on here? Because it's so awkwardly edited with her
like skimming around and her hair. Yeah, it's it's very
first short film.
Speaker 4: It's quite something. But and you can see it if
you're in New York go to Filmmaker's co op. You
can make an appointment and rent the room for fifty dollars.
It's fifty dollars an hour, so you can actually watch
the movie twice if you want, for fifty dollars. I
only watched it once because it was the end of
the day and I don't want to I don't want
to make this poor projectionist work to spool it up again.
Speaker 2: Did they say anything about it?
Speaker 4: Yeah, she was just like, well, was that what you
thought it was going to be? And I said, no,
there's a lot of nudity in it.
Speaker 5: It was. It was.
Speaker 4: It's very it's very yeah, it's very sexploitation. And I
was like, well, he did make movies like this, but yeah,
not as experimental and weird as this.
Speaker 2: Is it so more fluctuation style like full frontal or is.
Speaker 4: It there is? Yes, there is full frontal? Isn't there's
male full frontal as well, Like there's full nudity in this,
which is very surprising. It's not as annoying as fluctuations.
The soundtrack is better. You don't have a lot of money.
Over and over, the musical soundtrack is good. There's a
really good sequence to where the guys are mauling this blonde,
topless blonde on a table and they're just getting handfulds
of her breasts, and it plays a gospel version of
He's got the whole world in his hands while they
have her breasts in all of their hands. I was like, Joel,
that's so clever, Joel, he got your hands full, He
got the whole world in his hands. Yeah, it's it's
it's an interesting call. It's an interesting first feature, and
he got it in theaters all over the country somehow
because it was also I think it kind of is
reminiscent of something that like Warhol or somebody trying to
be Warhol would have made.
Speaker 2: It was worth it.
Speaker 4: It was worth it. It was worth fifty dollars, I'll
put it that way.
Speaker 2: Yeah, it's interesting that parts of it were shot in collar,
probably just because it was shorter. So it's not like
the expense of a full feature in color, but he's
able to like splash splash a little bit on there. Right.
Speaker 4: But it also I mean it looks like he shot
see he should look like he shot scenes in black
and white and then he shot them again in color
because he shoot that he went back and forth between
black and white and color in the same scene. So
you're seeing the action in black and white and color.
Get it's the editing, and it is really great. I
mean it's it makes you wonder why in Hot Blood
is such a mess, and then Fluctuations has good editing.
But yeah, this is really a better edited picture than
anything else. I think the editing is really strong.
Speaker 2: So if they ever did release Fluctuations in Hot Blood
as like whatever, a blu ray down the road, I mean,
we could get this scanned presumably, right, Yeah, I mean
it's work.
Speaker 4: It has a copyright on it has a copyright on
it to him, but he's no longer here, so it's
not an enforceable content.
Speaker 5: Well, he's in hiding.
Speaker 4: I mean, he's in he's eighty three years old somewhere,
not a clue, so yeah, yeah, I mean it's possible
filmmakers call up his I think it's pretty good about
that kind of thing. I believe they are, so that's
a possibility.
Speaker 2: Yeah.
Speaker 4: Yeah, they said I could come back and ey time
I wanted to watch it again.
Speaker 2: I was like, I'm not fifty.
Speaker 5: I told them.
Speaker 4: I told them you might be hearing from more people
now that they know that you have it, and they
were like, okay, yeah, sure, And I was like, I
don't know, sexpectation.
Speaker 5: People are weird.
Speaker 4: They might really want to see this to check it off.
Speaker 2: You know, Sean is booking a flight right now.
Speaker 4: Alex is coming down. He wants to see it. Yeah, yeah,
we have, Yeah, we have. We have people that are
coming in. Actually, Joe Ruben could even.
Speaker 2: Go, yeah, that's so funny.
Speaker 3: All right.
Speaker 2: You got a couple of last ones far as Casey.
Speaker 4: Yes, the last one, well, the brief one is that
I said Jennifer, the nineteen seventy Seymour Duels Duelists movie
that Stanford and put out was in black and white.
It is not isn't in color. I confuse it with Marina,
which is in black and white by the same director.
And I had to correct that because I didn't want
people thinking I hadn't seen Jennifer when I have, and
I do love it. It's just been a while and
the press book's in black and white, so it's very confusing.
Speaker 5: The big thing that.
Speaker 4: Sean Langrig messes me about before we started recording was, so,
you know how we're big fans of Doris Pooro on
this podcast. Turns out we're big fans of Ruth Cologne,
not Doris. Everybody has in Hot Blood is the blonde Roberta,
who is also in love is where it's at and
my cup running is over and he confirmed this. I'm
first of all shocks because any any name in these
movies I think is fake. So I don't know where
he thought Doris Poro real name. Let's let's research this.
She probably she most likely did write those books that
that Sean sent us, uh, because she was married to
another writer who wrote erotic paperbacks, but they were gay
erotic paperbacks.
Speaker 2: Yeah. My theory is it was kind of an Emmanuel
situation there where they were probably both either working books
or he wrote them put her name on it because
it's sexy.
Speaker 4: Well, now Sean messes me now with evidence that this
guy might have been gay. But they had a kid,
that daughter it looks like she dumped the daughter with
her parents in Indiana and then ran off to Florida,
where she died in twenty twelve. And the daughter has
posted saying, you know, she's posted on social media saying
she really doesn't understand her mother. It was a very
complicated relationship. And so I'm like, do I poke this bear, Like,
do I ask anything? Do I bring up the fact
that her mother was in these these Neuti cuties in
the sixties. Kasehan found a picture of what she looked
like with her with what Doris looked like with her mother,
and it's that same, you know, down down downward, you know,
grumpy cat look that she had in all of her movies.
So Doris Poro is the blonde Ruth Cologne is Rita
the Latina lead, which is strange because you would think
that the lead the first build would be the lead
of the movie, which would be Rita, but it's not.
Speaker 2: So I think that's where the confusion originated.
Speaker 4: Yeah, I think so, because one would assume she's the lead.
But uh, but yeah, I mean it's really weird. Sean
is wild. Sean's research skills are wild, I'm telling you.
And then I was telling him stuff and he was
using that to find more stuff. So yeah, I guess
we're dangerous.
Speaker 6: Yes, we're both.
Speaker 5: We're both a special kind.
Speaker 4: Of dangerous when it comes to this kind of research.
Speaker 2: So we might have more that's updates.
Speaker 4: Well, yeah, he just messes me. What did he say?
We found more Doris Poro books?
Speaker 2: Okay? Yeah, if you looked at our show notes from
our last episode, we had a link to a couple
of books you could read from Doris Poro and they
are filthy, so yes, they are in there. Yeah, that's
so weird.
Speaker 4: I think that's it.
Speaker 2: What if we just have updates for this every single
week news stuff is coming out.
Speaker 4: I don't know, because I still might hear back from
the partner. I don't know.
Speaker 2: Yeah, well we'll end it there, because we could go
on on this.
Speaker 4: But when it be wild if I finally heard back
from What's your Face Arlene Farber, who I messaged how
many weeks ago to about two Girls for a Madman
and she finally gets back to me, yeah, I mean, we.
Speaker 5: Could go all the way back.
Speaker 4: So I've reached I've emailed that. I mean I've emailed
people for almost every episode I'm just having her back
from everybody, all right, Americans exploitation anything else.
Speaker 6: Let's get classy, all right, buy New York.
Speaker 7: Remember all those things you did.
Speaker 4: For me, Don't call me Phil.
Speaker 7: You're as bad as I worse because you did it
for money.
Speaker 2: Kind of the segue too is like for you guys
to quote in Chris, and especially this film that we're
going to talk about, there are cast members in it
that again like there's confusion about their names.
Speaker 6: Right, especially for this because like we're only watching this
through the dub of it too. We're also like it's
kind of sad, right Like with this, it's like they
have the English translations of even like the cast and crew,
which like some of them do match like someone you
could pair it up with, but other ones seem kind
of made up.
Speaker 2: H Yeah. So segue Dakota, Chris, thanks for coming on.
Introduce yourself real quick.
Speaker 6: I'm Dakota.
Speaker 8: Yeah.
Speaker 6: I guess we're both artists and professors based in Los Angeles.
So we're doing the more West coast over here.
Speaker 2: Yeah, we got West coast, midwest, East coast, casey, we
got everything covered here.
Speaker 4: Yeah, Yeah, that's true.
Speaker 6: I escaped.
Speaker 5: Congratulations.
Speaker 2: Yeah, you guys might not know that both Dakota and
I are from North Dakota.
Speaker 4: Really wow, oh wow. There's a lot of exciting stuff
happening in North Dakota. And those sure, all these all
these film bands we didn't know in North Dakota.
Speaker 5: That's great. I love it.
Speaker 2: Wait were you born in Bismarck, remember Dakota.
Speaker 6: I'm born in the Twin Cities but raised in Bismarck.
Speaker 2: Okay, I was born in Bismarck and raised in the
Twin Cities for the flip so funny. Anyways, So Dakota
Chris hosts of the two of the pink Ou podcast,
and so we asked them on to talk about this
film because it's kind of an oddity. It's from an
era when Bob Kressy our friend producer, sorry, distributor, well,
distributor and producer, right casey, Yes, accurate.
Speaker 4: Yes both yeaheah, he did both.
Speaker 2: He was doing a lot of pickups of sixties Japanese
exploitation films and The Bite was one of them. This
is I think we can categorize it as a pink film.
You know, I was reading Jasper's book again recently, and
he has a pretty rigid there. It is definition of it.
Do you want to kind of help us out here, guys?
Speaker 6: Yeah, I mean I guess like he's probably more rigid
than I guess, like I would be with it too.
Like him, pink film has to be made by an
independent production, right, so this would fit the bill. I mean,
he does loop in like Roman Porno Nakatsu's brand into
its history, but like I guess, like maybe it was
limited information at the time, Like he kind of ignores
like the pink films that Toy distributed that are not
pinky violins. H yeah, So hopefully it gets updated in
the new book. I don't know, like he is scared
of like the nastier side of the genre too interesting.
Speaker 2: Yeah, you're talking about the Roman X stuff. Yeah, because
that's not thirty five millimeters, so he doesn't include it
in his categoris.
Speaker 6: But they blew it up to thirty five Oh yeah.
Speaker 4: Yeah, so they did like a boarding house where they
shot it on video and then blew it up for theatrical.
Speaker 6: And like the National Film Archive of Japan archive the
thirty five print of it, which is insane, like what
would it look like?
Speaker 4: I had no idea.
Speaker 2: Yeah, So nineteen sixty five, Jasper was writing about how
that was a huge year for pink films, So clearly
like Bob Kressey was seeing what was going on over there.
I don't know how he exactly heard about these films.
I think that they Yeah, I don't know if typically, Yeah.
Speaker 4: Novak and Metzger were the same way, I believe, because
they would go to film markets and these would be marketed, yeah,
like can or other international film markets at that time.
Speaker 2: Yeah. Yeah, So Bob Kressey picked up a few of these.
I don't know what the first was. Do you, Casey
what the order was for any of these years on?
Speaker 4: I don't, Yeah, I don't they were typically well, I
feel like the really big years in American were sixty
six to sixty eight.
Speaker 2: Yeah, And I.
Speaker 4: Think after that, like Cressy's quota is saying, these didn't
make money, and I'm really interested to know why that was,
because European titles didn't have that issue. I mean, racism
is the obvious issue, but also is it like is
it the audiences of these films at that time were
like old men who had gone through World War Two?
So is there some residual resentment of Japan or any
Asian countries in cinema because of World War Two resentment,
which of course is also there's there's racism in that too,
But yeah, it's just interesting that there was just it
was a little blip where they imported these films and
then it stopped. And then Novak didn't put in Notori's Concubines,
which is not great and I don't care for that movie,
and then that was it, and then it was kind
of like, you know, and then I feel like maybe
in the realm of the census kind of changed that again.
But yeah, it's very it's a very strange mission, right, Yeah,
it's a very strange omission in sexploitation releases in America
that like Japan and even like the Shaw Brothers exploitation
isn't imported either, So it's like, yeah, it's just like
a complete omission of anything from Asian countries in terms
of the sex market.
Speaker 2: Well, I think you know, Daydream was a big one
to break through. You've seen that, right, Dakota tell us
about Daydream.
Speaker 6: I mean, I guess like Daydream is also probably like
the most artistic thing to merge from the pink full market.
That's not from Wakamatsu, right, I mean just like the
style of it, I almost think of it almost a
similar to like Carnival of Souls, the nightmarish sequences in it.
Speaker 2: Yeah, that were added, But I mean.
Speaker 6: Wakamatsu at the time too, is playing in Europe, right
like he was having success and leaning to the controversy
of that to coming back to Japan. So it's like
there's an awareness of like what crossed over? I mean
it's interesting. I felt like like okay, but the previous conversation,
I would almost assume more Pink film had played. But
like I guess, like leading up to this podcast, like wow,
there really isn't a lot. Maybe also Germany was really
more open to importing this Pink product, right.
Speaker 2: Yeah, the English dubb is the only thing that's available
for the Bite unless we find the lost German print.
Yeah right and even then right right, right, Yeah, there's
so yeah, there's the Forbidden Techniques, which is another kan
Mukai movie which is in German. So, Dakota, is there
any hope to hear the original soundtrack for the Bite?
I think was my question?
Speaker 6: No, So, like the National Five of Japan doesn't have
a copy of this, so like, by all intentsive purposes,
this is it, and no one Japan has actually even
seen this since it originally screened as well, Like they're
they're kind of frust around their end apparently, like maybe
like Tennis years ago, there were some Japanese fans that
bought the American DVD. They like they wanted to like
experience this, but yeah, it's probably never gonna happen.
Speaker 2: Yeah, it's too bad because I think that is you know,
I've talked with Alex about this and Casey a bit.
I don't know how closely he was following the script
when they rewrote this English dub. Do you guys get
that feeling when you watch it that it might not
be exactly what the original plot was? How do you.
Speaker 6: Guess follow it? Weirdly enough, they kept some Japanese in
it during the assault scene.
Speaker 2: Yeah, yeah, I know.
Speaker 4: They don't want to dub that over for some reason.
Speaker 5: Good stuff, right, right, Yeah, it's kind of wild. Yeah
I would have Yeah, yeah, I wouldn't know. I mean, honestly,
I don't think much much changed because I think it
was pretty kind of close. Right.
Speaker 6: Also, we're not really talking about like an a tour
of the genre too, where like he already is making
kind of like safe sellable product. There's not going to
be probably like buried context within it. It's probably it's
not like a Wakamatsu film, like I'll be honest, right, Yeah.
Speaker 2: The the over like the narration that goes over the
top of some of the dialogue scene. That's that's what
always throws me off. I'm like, why did he do this?
Is that part of the original script, Like is that
how it was playing out where they're like eating and
talking at a table and then you hear their inner thoughts.
Speaker 6: It's yeah, Madam also do that, Like I haven't watched
in a while.
Speaker 4: Naked Pursuit definitely does, yeah, which.
Speaker 6: I think they're dubbing to explain what's happening because they're
not given enough sound. I mean, pin film doesn't really
isn't too heavy on dialogue.
Speaker 5: No, right, yeah, yeah, I think Madam does that. There's
some parts where we do like see hear the or
like we see on the switch.
Speaker 6: Also makes it better because the dubbing of the actress
in it is like hi can't.
Speaker 5: Yeah, she do just make that movie even more than
it like should be, especially like when she's dubbing the
nurse right, the main actress is the nurse. I forgot
the name, but yeah, like there's just it's really I
think that's what makes the that movie a little bit
more uh fun.
Speaker 6: Have I rewatched The Adolescent?
Speaker 4: I have, Yes, I have, but it's been a while
and I need to revisit it because I have the
DVDR of it.
Speaker 2: Ooh.
Speaker 6: I mean that's probably like the most like sexploitation, like
pink film sexploitation like one to one I could think
of too. It's like it's yeah, it's not doing something
too weird in a sense either. I mean, well I
think there's incest in it, but like.
Speaker 4: You know, casual.
Speaker 2: Yeah, and that was also put out by Bob Kressey's
Olympic International so.
Speaker 6: Yeah, which also did Private like survive in Japan either,
Like his selection is very weird of like what he
hooked up to, Like I don't know if like a
Japanese audiences or even like the production with like Cocoa
Wa wasn't like, oh this is the one we want
to like have survived.
Speaker 2: Yeah, it is strange. I almost you know, watching the bite,
it's I think that he definitely was attracted to the
two way mirror situation because if you've heard anything about
the stories of Bob Gressy, he apparently had a two
way mer in his office and he did a lot
of interesting voyeuristic stuff with cameras in his living quarters.
So anyways, you know what I'm talking about.
Speaker 5: And then what was what was?
Speaker 4: There was one of his movies, was it Manta Bizarro
or Manda Freudo that had that opening.
Speaker 2: With open on it? Yeah, obvious mixed up too.
Speaker 4: So like that's one of his things. It's yeah, it's
like it's like the best kind of voyeurism. But also
it makes me think of cops, so you know, it
makes me think, it makes me it makes me think
of power dynamic and so it's like Cressy's like, why
have all the power? Because I can see everything? And
that's very crassy, this power mad little tyrant.
Speaker 2: Yeaheah. Well, I also wonder you know, he's going to
these markets and purchasing these films. He might not have
even seen them, right, He's probably just basing his purchase
off of of of one sheet.
Speaker 4: Well that's what Doris did with her Greek films. She
didn't watch those two films.
Speaker 5: She just bought them.
Speaker 4: That's why when she lost the script of one, she
just made it up because she hadn't seen it, so
she didn't know what it was about.
Speaker 2: Right, That's kind of my basis for you. When I
watched this, like and I wasn't sure if is this
a you know, Doris Wishman situation where they don't have
a script and they're just going off of watching the
film and redubbing it. Well, and like you said, Casey,
when I listened to again, it does sound like John
Alderman does the male.
Speaker 4: So it's John Alderman, Yeah, which is John Alderman? Yeah,
you know that voice that sounds like it's like even
young John Alderman still sounds like he's smoking like thirty
cigarettes a day, yeah, or more like yeah it's yeah,
that's what killed him ultimately, but yeah, I mean yeah,
his voice is very recognizable, so it's very strange to
hear that on the soundtrack. But also well, in terms
of the dubbing, I don't remember how long the original
movie's supposed to be, but the American version is only
what sixty one minutes long or something, so it's possible
that that that voiceovers also added because there were expository
scenes that were cut out where it would have explained
it more, or maybe there was something that involved writing
in Japanese and they didn't want to spend the money
to subtitle it or dub over it. They were just
kind of like, we're just gonna explain what the situation
is and what these characters are thinking rather than show it.
And also they're dealing with audiences that I think a
lot of distributors look down on and they're just like, well,
these are just dirty perverts that want to like see
a sex movie, So we're not gonna if anything is
remotely art artful, then they're gonna be turned off. So
there's probably maybe a little bit of that in there too.
Speaker 2: Well, Dakota, what were the other you know, you've seen
quite a bit of You guys have both seen quite
a bit of Don McKay's stuff, you know from this period.
It was sixty seventy minutes long.
Speaker 6: Right, Yeah, I mean that's like standard length. I mean,
I guess, like Gather, it's kind of a like a
confusion on the cutting of this. I mean, it's a
weird director to pull up in a sense too, because
like he's very competent. Also, he's more important as like
a producer too, like all the upcoming Sado titles, right,
like that's Mukai's baby, like he produced the film.
Speaker 2: Like he's a really important character in the history of
pink film. Correct. Yeah, that like nobody talks about really,
I mean in the West at least, he's kind of
because his directorial stuff is so hard to find, and
his like behind the scenes stuff is maybe not as
maybe not well known, right.
Speaker 5: I would say maybe his behind the scenes stuff was
a little bit more prolific. But again, like most people
would know because they would only know like the certain.
Speaker 6: Thing, you know what he produced, like over one hundred
groper trains. That especially.
Speaker 4: The fact that there were over one hundred groper trains
is really wild.
Speaker 2: Well, you know, Jasper Sharp he calls them molester train movies, groper.
Speaker 6: Train little less.
Speaker 5: Yeah, but I think that probably.
Speaker 4: Goes I'm not sure which probably than you know, groper
trains sounds more palatable than molester trains.
Speaker 2: I think it rolls off the tongue a little bit better.
Speaker 4: I think, Yeah, I prefer groper train for obvious reasons.
Speaker 2: Yeah, we are right, you are nothing.
Speaker 5: But a male whore.
Speaker 4: What did you say?
Speaker 9: What was it?
Speaker 4: You sell yourself for money?
Speaker 2: Damn you? Well, you guys, tell us more about like
some of these have you seen some of these other
pickups from Bob Kressey, like Slave Widow? Have you seen that?
Speaker 5: One?
Speaker 6: Slave Widow was also put out on DVD by Send
Him an Epic two and I think it's also available
like you could rent on Amazon Prime, like right now.
It's a young appearance by Nami Tani too. It's very moody,
very dramatic. It's by Memora watt Nabe, who's kind of
like a master of melo drama too. Kemu Kai actually
does like pick him up and then produce a bunch
of his films. There's also a weird confusion like in
the seventies where wat Nabe might have like directed films
that Mukai then like listed his name as like, oh,
it's my film instead too, So there's kind of drama
between that and they're all dead right, so like who
knows what the situation is going to.
Speaker 4: Be, But we can keep fighting in that, right, Yeah,
it matters, right exactly, We're going to keep that fight going, right.
Speaker 6: That's interesting, but it's very watchable. It's more stylish maybe
than this, a little bit more of the melodrama. The
music's a little better too, It's not as heavy on
the contrast of it. But it's another like very odd peculiarity,
like why does this one survive versus more interesting titles
like for me, like the Gap in the sixties would
be like more of like the BDSM films like the
First Flower and Snake adaptations from sixty five. Yeah, like
that's what I wish, like they imported and had survived.
It's not like always more standard like New Waves Gone
Pink titles that we get.
Speaker 5: Maybe it's just because some of the stuff that did
survive is more palatable compared to like some of us,
like because I guess some of us like more a
little bit more extreme, a little bit experimental.
Speaker 6: I bet that's so. I'm curious, Like when you watch this,
like coming from Sexploitation, is maybe like the bite a
little kind of tame in a sense or kind of boring.
Speaker 4: Yes, yeah, okay, yeah, well yeah, And I've also seen
it described as like a Sun Tribe film, which is
similar to like The Weird Love Makers or The Warped Ones,
which was imported by a Dubon and then marketed as
a sex movie when it's really not a sex movie.
It's like a rebellious youth movie. And so the Bite
is kind of more like that to me, with a
little bit of kink added to it. But something like
Naked Pursuit is much. I mean, I really intentionally disliked that.
Speaker 5: Movie, but we both like that one. I haven't seen
it yet, Oh my god.
Speaker 4: Yeah, I mean the whole movie is just it's it's
we were talking about moaning on the soundtrack last refluctuations,
a lot of moaning and echo plex and stuff, and
it's just this woman getting assaulted over and over and over.
So I think the slow motion probably destroyed me too.
But I think you're right, Chris, and that I think
I imagine something like a Flower and Snake adaptation from
sixty five I might have been a little too graphic
or subversive for American s exploitation at that time, because
we hadn't seen like Michael Finley movies where we have
insane sequences of like a woman having sex with you know,
a gourd or you know, like or you know, or
a baby or an adult baby in like a crib
so like I think American sexploitation producers or distributors are
probably like, well, this has enough stuff that I know
can sell. But if it was something that was really
heavy PDSM, I don't even think American films were really
doing that well until like the late sixties early seventies
when they finally and actually hardcore. I think hardcore tackled
it much more vividly, and yet Zapam wasn't even doing
that either for a while.
Speaker 2: So yeah, in Daydream there is like some bondage sequences
and there's the electrical chord sequence, which Cressey would do
again with Lee Frost in the Pickup, So it's like, true,
I wonder if he stole that from Daydream. But even
with Daydream, I feel like it's coded in this dream sequence.
So maybe that was more sellable to a US audience
where it's not like this is is this really happening?
Maybe not so they can they can sit through it.
I don't know.
Speaker 5: I mean, it's like what everybody goes through, like when
they get a root canal or something is that they
go under and it's like vampire Like why is my
T shirt a little different? You know, like my exactly.
Speaker 4: Exactly. I had my wisdom teeth ought that is, that's
exactly what happened. Yea, it's a it's a relatable content film,
yes exactly. We've all been through it.
Speaker 5: Yeah, I mean I think I would say just because
I think you and Casey and I share the same
thing about the bite. We kind of we both gave
it two and a half stars.
Speaker 4: I actually raised it half a star after watching it today,
but I gave it to before see I like it
a little more.
Speaker 5: Yeah, because again, and I just like I thought it
was competent. I go, Okay, this is very sixties, very
the black and white, which I love. I love black
and white cinema. However, I was just bored.
Speaker 4: I wanted it to go harder. I wanted it to
go harder. I think that was the problem. Yeah, because
I was like, oh, this this has such potential to
be so perverse, and it's like it toys with it
but not enough for me. That's just that's just my
little sexploitation, you know, perversion where I'm like, I want
to see something a little more edgy, and I think
this is very like Yeah, that's why I agree with
people who are like this is a suntribe type of film,
because it really is. And also something that I always
say is like there's so much male energy in this
I'm just like, give me a woman to focus on.
I don't want to focus on a dude.
Speaker 5: Give me a woman that I can follow.
Speaker 4: That's why Slave Widow I love, because you're following this
woman and she has to like degrade herself, you know,
which sounds when I say it out loud like that,
it sounds really gross of me. But no, no, it's
like it's a compelling.
Speaker 6: These are women's pictures, like this is genre, it's.
Speaker 5: A woman's and I personally I didn't mind to see
like the guy become like the object and he's like
he's the one going out for being prostituted and whatnot.
Like that, I didn't mind. I think it's just the
way it was kind of filmed felt boring and like
we said this too in our even our episodes that
we prefer like when we watch Roman Porno or any
kind of pink film, we want to see more of
the woman's story, Like I don't want to hear I
don't want to see the perspective of the man, even
like it's just more of like I want to see
the perspective of the woman, whether she is crazy or
something happened to her. It's like we want to know
her story. And I think this one kind of like
it teeters and and.
Speaker 6: I mean, but that also kind of makes it odd too,
because like pink film, for the most part, it's like
even like female director Sachi Mano is like pink film
wouldn't exist without like a woman, Like that's the core
of the genre. Most pictures, how like a woman is bleed.
It makes it weird that like it's the guy as
the lead and him getting pimped out. And even like
the other pink film that you this man typically isn't
I mean a lot of it's not good. I mean
like Angel gots high school co ed, which is not
being included on the upcoming said right, that's pretty bad.
Speaker 10: Oh really Okay, Yeah, so it's like going off with
what Dakota says, it's like most of the time, even
like when you see films like with Saccio Mono, like
it's very focused on the woman, like we are seeing
like the close ups, the sounds, like.
Speaker 6: Even Soto makes women's pictures.
Speaker 5: Yeah, so does make women don't tell the new fandom that,
but like.
Speaker 4: It's that new fandom. I'm very intrigued to see where
that goes. And I know you guys are watching it
with like.
Speaker 5: Oh yeah, we're I'm obviously I'm like, what are they saying?
Speaker 2: I mean those of Blu ray forums.
Speaker 5: No, nothing, I see it on letterbox and then like
I also talk to other other friends from letterbox, like
you know, we're always like sharing each other. I'm like
on Instagram like did you see this post? Did you
see this one? And they're like, oh this person, I'm like, oh,
they're they're a baby, They're a baby. Yeah, going back
to the to the bite, It's just like I yeah,
I again, I didn't hate it. There's films that I
do not like and I would even rate, but this
one I was like, it's competent. I enjoyed it. I
was just bored watching other ones, like we were watching
recently all the new like the stuff you guys on
the list, I go remember them and others. I'm like
I passed out.
Speaker 6: I mean, the Wakamatsu Notorious Concubines one was really wild.
I mean again, like Pink Film doesn't know how to
do a period piece right, like at all. It's like
they want to be period piece, and it's like they
get lost in the sets. They don't know plot or
how to sexualize it. Like I'm always hoping like I
can find something as like an Hinge, as like Onzo
the Razor from the Pink film side. They don't know
how to like Nakatsu as well too.
Speaker 5: It's like to we could to, we could, Like I
think I would say Toad knows how to like make
a like a period piece look good, but it just doesn't,
like it doesn't hit the right notes either. It's too actiony.
Speaker 6: For me unless it's Toka gawasex man.
Speaker 4: Yeah, oh god, I haven't seen them forever.
Speaker 11: It's good.
Speaker 2: Yeah, with the bite. I wonder, you know, if it
would have been more interesting if we saw more from
the perspective of that madam who's yes pulling the strings.
Speaker 4: Yes, I think of it had been from her respective,
I would have probably would have been on board and
then her come up and would have probably had more
impact because I would have been like, oh, no, that's
my girl.
Speaker 2: Yeah.
Speaker 4: You know.
Speaker 6: It is weird that she's not the emphasis though, either,
because like she's the mainstream star of the cast.
Speaker 2: Yeah, tell us more about her.
Speaker 6: Mostly in supporting roles too. She's also in some early
roles for like Shintoho, like the mainstream Shintoho that's not
the Pink Film studio as well. So this is kind
of like her later era, like where she's like desperate
for money and work.
Speaker 5: Okay, Yeah, when he when he told me that we're watching,
I was like.
Speaker 6: But oh, like of a mere woman of thirty one,
so old, so I.
Speaker 5: Was like, wow, drag her.
Speaker 2: Well it's she doesn't. Well, yeah, she is in that
one sex scene with the Jiggalow boy, but I don't
remember if you see much. I guess she does this role, right, It.
Speaker 5: Kind of shows like just enough, but it's not like
oh my god, full frontal or like right, yeah right,
it's kind of it's not memorable either.
Speaker 6: But she works.
Speaker 2: I guess I could see it as like her slamming
it in this kind of picture.
Speaker 6: Maybe you know, she just took the check, which is
the same as the actress from Madam O too. It's
like Pink Film was a weird hybrid of like you
had these kind of like washed up actresses. Maybe they
also had done supporting for a major studio where like okay,
I need to keep paying the bills. Or then you
have people who came from like underground theater too, like
it's like Shoogie Terryama, like the art file, artful side
of like Japan at the time, like he's the find
people who went to pink, which is such an odd
mixture of like respect and like underground. I don't know, yeh.
Speaker 5: Or you had like actors or actresses who started in
pink and then they became like more meanstream. It's like
the opposite, right, and you're like oh wow, and then
like some of them are like they don't talk about
and others are like, yeah, I did pink, you know,
I showed this, I did this.
Speaker 6: I am curious that Jasper with his interviews, if there's
any like actors who kind of refuse to get interviewed
or don't want to talk about this period of their lives,
I don't know.
Speaker 5: I wish.
Speaker 4: I wish every single person who was doing this kind
of history would note that, right, I've been like, try
to talk to this person. They said, no, try to
talk to this person. They hung up on me. Like
at least it would also give you an idea to
other researchers as well, so kind of like, don't bother
this person, you know.
Speaker 2: Yeah, what I'm hearing is it's similar to the situation
with Americans exploiti films, like some actresses embrace it, some don't.
Actors and actresses, I should say, also.
Speaker 4: S exploitation was also a place for like slumming people.
Speaker 5: I'm thinking of like Jan.
Speaker 4: Sterling in The Minx where Jan Sterling worked in studio
films and what she's doing in the Minx in nineteen
sixty nine, or like Elaine Edwards, the star of Pamela
Pamily You are another one, Like she was a Hollywood
and stage actress. What is she doing in doing unity
in Pamela Family you are. So there is like that
parallel in Americans exploitation as well. I don't know if
they would want to talk about it now either, Yeah, yeah,
paycheck movie.
Speaker 5: I would say, like especially what we found in Pink film,
like there's not a lot of fortune, there's not a
lot of research we find with like some of the
actors and actresses because like again we don't know and
then there's not much information out there.
Speaker 6: Like who's I mean. It's also sad too because like
it's almost like the interest comes too late, where it's
like the actors who like would know the history, like
a shiny glubo type who's like better an actor since
the sixties who recently passed away, like they've just died off, right,
So it's like, yeah, you don't know, we just the
information with them of like even uncovering like sometimes the
director's pseudonyms two on different films, like we just won't
know now.
Speaker 4: Oh I feel that. I feel that every day.
Speaker 5: I feel that.
Speaker 4: Every day I'm was like, oh, they just died two
years ago, but let's right now, right.
Speaker 2: Yeah, that's the weight on the shoulder of every sexploitation
researcher is like every day that goes by, is you
were losing more and more information and established knowledge from
these people. Yeah, it's it is what it is.
Speaker 6: I remember either to like look at the recent issues
like Ato approved something.
Speaker 2: Yeah, like doesn't even know his own artwork, and.
Speaker 6: Yeah, I'm like love that.
Speaker 2: That is funny. Is there anyone else in this movie
that you guys know of from pink film?
Speaker 6: That's probably kind of it. I was trying to guess
that the lead was also acting for Nakatsu but then
when to pull up his Nikatsu first appearance from seventy two, like,
unless you like drastically changed, I don't think it would
be him. I mean they're likely chemu Kai also comes
from doing like educational films, and also people work from
TV as well, which I guess is common sexploitation around
the world. So the actors are likely coming from theater,
TV modeling. Maybe some of the girls would have been dancers.
Speaker 2: Yeah, again, not too dissimilar from American sexploitation, right right.
Speaker 4: Yeah, tough to choice transcends all and like yeah dancers, yeah,
all this it happens with every sex film. I'm sure
it happens to like German sex films too, in French
sex films. Yeah, I think it's just a thing. I
think it's a thing that's it's a global thing where
sex cinema you're not necessarily going to know everything, and
the people that may know it aren't willing to share.
Speaker 5: It wasn't the same thing that we noticed when when
we watched the Swedish porno. A lot of the actors
like in the like the first time actor they're like
coming out of like was it like school, like some
kind of drama school and it just is like the
first or second.
Speaker 6: But also they had the lure of like because like, okay,
they're in Sweden, a Japanese studio is hitting up and
want to work with them. That was kind of exciting too,
But then some of them refuse to talk about it.
Speaker 5: I mean, I tell we did a like if we
were younger and we did a film like a sexploitation
film or whatever, or ping film, and if like, as
we get older, I'll be like, yeah, I want to
talk about it. It was the one film I did.
I want to talk about it. I want to be
in the futures, right right, you guys, yeah too, Like
if you were in a like a sex quotation film, whatever,
it kind of be right.
Speaker 6: Just especially if your head was in this trail.
Speaker 5: Yeah.
Speaker 4: Well yeah, Well I found the actress, the lead actress
of tarot Org Castle. She only made that one movie
and she was a model, and now she's back in
Pennsylvania living her life on social media, and I'm like,
do I ask her what it was like to make
this sexy movie on a castle set. It's like, if
I were her, I would want to talk about it
and be like that's why maybe there's a reason she
didn't want to make any other movies. I want to
know why.
Speaker 5: You know, it's it's it's it's I go.
Speaker 4: Of course, it's feel intrusive when you're asking, but it's
like I just want to know, like knowledge is knowledge
is power. I just want to know more about this stuff.
You know, Yeah, no, I gotta yeah. I don't have
the sweetish stuff actually there. So I think we know
Christina Lindberg is the big one. We know who went
over there and she made what two films, right, yes, yes,
and so like who are some other examples of some
some of the sweetish stars that went over there, because
I'm totally unfamiliar. I know you have a great list
on Letter Only, which I have.
Speaker 6: Said that goes over I mean she's a part of
like the wave of like Sandra Joyan is the first
that Toy brings over.
Speaker 5: And it's great.
Speaker 10: I didn't know that.
Speaker 6: Dennis Sharon Kelly. They tried to work with Stybe Christell
but it never worked out interesting, and then the John
like Toy's like I guess like big budget side of
Erotica kind of dies off, where then after that they
just do low budget paint films and their subsidiaries like
that kind of power the budget of this, like the
foreign star.
Speaker 4: They couldn't do that because I know Shaw brothers did
that in China too, because they've brought over, oh Evelyn
Kraft who was German, and then there was a Danish
girl they brought over for Bamboo House of Dolls and
a few other examples. But yeah, I love that list.
I'm like, where am I going to find these movies
that Dakota has.
Speaker 6: Always well there and there was like a random white girl.
It's like, was she on vacation? It's like is this
like a model? It's like, can never understand, like explain
there's a weird one. So Nikatsu has an adult video
from the eighties where they sent an adult video actress
like Toya and then she goes to u c. L
A and meets another white girl. I'll have to send
you it because like the white guy that they fucking
that is a guy who has done hardcore porn, yeah,
but not notable. But he has like a adult film
archive page. He's not a look.
Speaker 5: For he's not a look at her. But it's funny
because like when you see that, I probably love him. Yeah,
Like a bullet and it's like he's not he's not attractive.
But like when the film, the film starts to use,
it goes it sees U C L A. And I'm like,
wait what And then they film in some like a
not apartment, like.
Speaker 6: Just the dorms. What are you talking about?
Speaker 5: No? No, no, no, they did in some hotel. But
it's like you can tell.
Speaker 2: It like they dressed it up like a dorm.
Speaker 5: Yeah, like a meaty hotel. I need to see that.
It's really simple. But it's the fact it's some random
like white woman, and then it has the actress from
like I think the Katsu and then and then that's
like the porn star. So we don't know.
Speaker 6: To go to on the I mean, the worst like
white person they've done is like taboox perversion. They have
like a German lady. But then they name her Eva Brown.
Speaker 9: Yeah, oh my god, and she's that's iconic for all
the wrong reasons.
Speaker 6: Yeah, it's a crazy control, you know, really dealing with
that World War two trauma exactly.
Speaker 4: There's access powers coming together to create adult film. That's crazy. Well,
I always think the example, I was thinking of someone
on vacation and just wandering into a movie is the
lead of Misstics and Bali that it's like she was
some diplomat or something and now her head's flying off
her body.
Speaker 6: Here's far.
Speaker 4: Yeah, I'm just like wherever she went, she had fun
and went away.
Speaker 5: It's I like that the other actress too, Like from
that era, is that robo? Is that robo? Isn't that robotricks?
Speaker 6: It's the what's.
Speaker 5: Theology Lady Terminator? Yeah? That actual? Yes, I love like
she just walked into set and they're like.
Speaker 6: Picked up a gun, yeah, picked up at.
Speaker 5: Right.
Speaker 4: I love that. Those Roppie films are so much fun. Yeah, yeah, yeah,
I love those.
Speaker 6: I mean he does actually go abroad. So in the
nineties he does two home video things for like Toy's
v Cinema where he goes to Spain. So he takes
the actress from house like one of them, she plays fantasy.
It's her grown up as a man. She us off
into Spain, has its hookups. It's more of an erotic
thing too. It's really like fun weird. Also, they use
a Spanish cast like I'm like they actually are like
real like Spanish cruise. That's weird. Like I also I've
never had ever talked about it too. But also the
Japanese cruise tries to speak Spanish.
Speaker 5: It's it's just magical before the wrong reasons. But like
it's not like, yeah, it's not a good great film,
but it's very interesting because like it's just a simple thriller,
I mean a thriller. It's erotic. It's very erotic. She's
just walking around very like oh, and then you know
the sex is kind of like just.
Speaker 6: You know, church music play as well as they bang.
Speaker 5: Why not? It's very plain? What is that?
Speaker 4: What is that?
Speaker 6: One called Scandals's body and then just scandal his body too?
Speaker 4: Yeah, okay there were two of them.
Speaker 6: Yeah, why not? That's a continuity.
Speaker 5: Yeah, it continues the story really like a random part two.
Speaker 2: You know, talking about like the crossover East and West.
So Ton McKay also did a Deep Throat spin off
which looks amazing and sounds amazing, I.
Speaker 6: Mean should be right, but like it only survives right
now online through the German print, but like there is
an English dub out there. I've never seen it. It's okay.
That film is like what you probably would want from
the bite, like seeing like a pink film. Director. Also
deep throwing Tokyo is for toy, so it's him going mainstream.
But it's wild on Hinge. I mean she gets her
glitterous like surgically planted in her throat.
Speaker 5: So great because no.
Speaker 4: It's not it So she becomes Linda Lovelace, but not naturally,
no interest surgically unnaturally.
Speaker 6: Yeah, she has a gift.
Speaker 5: And there's when we talked when we talked about recently
on one of our episodes, like I love the scene.
It's very dramatic because it's at a dinner scene and
she's eating a banana and it's like and it's slow,
kind of like.
Speaker 2: She's just awakening.
Speaker 5: Yeah, her awakening. She's like slowly just like oh, like,
it's just beautiful. It's cinema.
Speaker 2: Oh my god.
Speaker 6: It's also one of the I but I never watched it.
Speaker 5: You should watch it because I think you'll just need
to because you'll notice all like the kind of references
of like you know, the other films like I'm Poor
but it's just dreamy because I think Gentry, you've seen it, right, No,
I haven't seen.
Speaker 6: The transfer is really bad. Also, I guess like the
dubbing on it makes it sound like a Jess Franco
German film too, so maybe that makes it more fun.
Speaker 2: Oh, one of those I just heard you guys talk
about it, so I feel like i've seen it, Like
the staircase scene apparently there's really.
Speaker 5: One of my favorite scenes. I think, yeah, but I want.
Speaker 2: To see it.
Speaker 6: But it does use a secret filming thing technique though too,
So I guess like if Mukai has like a theme
that repeats from the sixties throughout the end of his life,
there's always secret recordings filming, he doesn't do it, maybe
more an interesting darker way like Soto, like his protege,
but like he has that throughout his filmography.
Speaker 5: Yeah, you could see like auto esque like that early
kind of like it's not pervy, Yeah, not pervy, right.
Speaker 2: That's trying to remember. I watched Forbidden Techniques the Boxer film.
I don't remember if there was any kind of voyeuristic
stuff in that. You guys have seen that, but I think, yeah,
because it's so boring.
Speaker 5: It just kind of boring.
Speaker 6: Well, it's a lot of very.
Speaker 2: Yeah, I think these a couple of these early I
mean the ones that I like, Forbidden Techniques and the Bite,
they're kind of sarno ish in that they're black and white,
like people just talking in bed, with like close ups
of skin moving around. It's it's really nice to look
at as a black and white film, like they look amazing,
but I could see how some people would be bored
by it, especially you roman neque freaks over there.
Speaker 6: Oh my god, we watch Criterion.
Speaker 4: Exactly.
Speaker 2: Okay, So Kanwa kuy has another film called Blue Film Woman,
and Dakota is like, oh, this is a classy movie.
And I'm like, anyone that watches this other than Dakota
would not call this a classy movie. You know what
I'm talking Like it has a like mentally handicapped guy
like sticking snakes up women's somethings, and this is like.
Speaker 4: Oh Criterion.
Speaker 2: Yeah, but again like that one does have like done
in a classy way?
Speaker 8: Is it?
Speaker 5: Yes, it's very because it looks like, oh wow, it
looks like it looks.
Speaker 2: Like a Roman pornal like it's very level like wide screen.
It looks gorgeous.
Speaker 5: Yeah wow, Okay, it's just perverse in a great way.
Because that's why Dakota would say it's classy.
Speaker 4: Yeah, is it like blind beast classy?
Speaker 5: Like because that's what I was. I love.
Speaker 4: But I feel like Blind Beasts is like starter Pink
film sort of maybe, and that's kind of where I'm at.
I'm at starter level Pink, and I have all of
your lists saved and then I have all of your
episodes downloaded to finally dive in to watch stuff, and
I'm just like, when do I start? It just seems
so overwhelming because it just covers so much and there's
so much of it. But I'm so glad that you
guys are like kind of directing people to the right
ones to start with.
Speaker 5: It is important. Why why are you Why are you reading?
Why are you reading our guests? I mean, I like
for for for sure, like to co, and I like
with some of our friends who are like not really
like don't understand Pink as much, but we try to
tell them like, Okay, start with these and then you'll
build yourself up to like a more like crazy film.
Speaker 6: I guess I'll flip it at you too. Do you
feel like with the releases that get cultivated I guess
by different bleery labels, is that necessarily like this exploitation
you'd want to see at that level too? Or talked
about like, would you want kind of more weirder or
different picks than what you're getting.
Speaker 2: You're talking about the American stuff. Yeah, that's a good question.
Speaker 4: I feel well, I feel like we'll sexploitate with the
sex with the software exploitation. No, we're not getting well,
we're not getting nearly enough of it anyway, which is
why I think it's so interesting that Pink film, I mean,
the Third Window films, those those they've been putting those
out for a while, so now it's like everyone else
is waking up to them. So now eighty eight films
and now you know there are other labels that are
putting them out. So I feel like that's the renaissance
that's happening, is the pink film renaissance is happening now
on Blu ray because a lot of them haven't been
on Blue ray, right, So, and I feel like there
is sort of like tying into Dakota. You're saying like classy,
and I think there is an element of like, well,
this is international sexploitation, so there is an element of
class to it. Whereas if you're talking about something like
a Bob Kressey, like a Love Camp seven, you can't
exactly say this is classy sexquoitation. Metzger you probably could.
Sarno you could, but even those are tough. So I'm
really glad these are getting like a renaissance though, because
it has been a while, Like there's so much of
them that had never been released, so it's and that's why,
and you keep finding them with these random these these
the into the crevices of the subgenre that magically have
subtitles that are available that are like autogenerating or whatever,
so you can actually tick more off of the of
the master list of the genre.
Speaker 2: Yeah, I know, you guys watch You guys have watched
quite a few with the live subtitles through the Google translation.
Speaker 6: One or so gragic.
Speaker 5: Yeah, it gives you enough what you need.
Speaker 2: Yeah, right, And like you guys have said, like sometimes
the plots are visual more than dialogue driven.
Speaker 4: Yeah, I mean, which I think probably ties into that
classiness again, because it's not about a script or having
actors that are able to say dialogue and having been meaningful.
If the language of the of the film or the
language of that genre is more visual, then I think
that it's more impact. I mean, subs help but if
it's still impactful without the subs. I think that I
don't know, I think that says a lot about a
genre if you're able to still find it accessible through
how it looks and how it makes you feel through
the visuals.
Speaker 5: Yeah, I'll say, Gentry, is there any films that you
think that, like from the labels have been not really
putting out because I have my like I feel love
like for example, like eighty eight films doing the class
se your Nakatsu stuff, where I was like, where's the
other like later seventies or early eighties, late eighties stuff.
You know, what do you think?
Speaker 2: Well, Yeah, I mean we've talked about Harry Novak's catalog
quite a bit on this show, and there's you know,
there's so much there that's not being touched for maybe
reasons that are beyond you know, there might be personal
reasons with the rights owners. But again it's like, yeah,
for me, I like those hi exploitation sexploitation movies. Some
people absolutely hate them, so that also might be like
a barrier to putting them out. Like I don't know
the people behind the scenes, if they're oh, I'm looking
at blue gray forms. Everybody seems to hate these Novak
Southern sexy movies, so we're not going to put those out.
I don't know if that's what's happening, but yeah, there's
definitely stuff we want out there that's not being put out.
Casey could go on a tirade about that for another hour,
if you want.
Speaker 5: I have a multiple episodes. I feel like, no, I feel.
Speaker 4: A really nice right now.
Speaker 6: Oh my god, so hard right now?
Speaker 4: People know, people know what I want to see. I've
said I want the many Condi's I want the Apostles.
Now that I know that, there's prints of like Daisy
Chain and the Joe Sarno scarf with miss thigh of Satin,
and wasn't there one? I mean there's a print of
the Love Robots tying back into pink, Like there's a
print of Low Robots and a private collection, Like why
has that not been exactly exactly it's the same the
same collector. Actually I mok know who it is, but
apparently he's very easy to work with and he has
a lot of other films that he's shown at that
same drive in where he has the only print that's available.
So it's like, I don't know why he's not being
tapped as a resource even by maybe like gold Ninja,
like Will Sloan might be a good person to contact
him for for that if it's if it's like a
smaller scale project.
Speaker 5: But yeah, I don't know. I feel like I also
feel like.
Speaker 4: We're getting so much stuff that it's like it feels
ghost to kind of be like, well what about this,
And it's like, you know, it spits in the face
of what everyone is doing. And it's not that, it's
just like I feel like there's the market is so
big that there's room for a little bit of everything,
and I feel like we're just getting an onslaught of
certain stuff where there's so much of it that the
other stuff is getting ignored. Yeah, you know, And so
that's why I'm glad that like there's this pink film
renaissance where it's like, oh, yeah, we haven't really been
tackling this on blue ray, have we. It's like, no,
you haven't, so now let's let's go. Like it's it's
like playing catch up with this this genre sort of.
Speaker 5: I mean, yes, it's like to code and I we
like we have our own list of like what should
be really released too. But at the same time. I
agree that, you know, as long as it's like getting
talked about too, because then there's other ones that may
get discovered later, because there's there's a lot of like
pink films out there that this we cannot find, right.
Speaker 2: Yeah, that's what I was gonna say. I feel like
American sex splitation fans are maybe in a better position
in terms of we know some of this stuff that's
out there, like the prints are there for you guys,
and the Japanese stuff, it's like, especially the sixties era,
like it's nothing exists, it's not coming out.
Speaker 4: Yeah.
Speaker 6: I mean also kind of confuses me too, because like
sometimes when you're looking back at like the Weisers when
they wrote about it, some of the films they referenced
from the sixties, I don't know how they watched.
Speaker 4: It, That's true. I thought that too. They made a
book and I'm just like, what is this based on?
You didn't there's no way you could have seen this.
Speaker 6: Yeah, Like there's not even like a the Japanese side
has talked about like oh, this reel exists at some
point or it's been archived in a sense too, So
I'm like, are you kind of making up off the poster.
I don't know. It's like it kind of like frustrates
me a little bit too with it. Usually with like
any kind of like okay, if it's watchable, it's like, okay,
it's laser disc vhs streaming on a porn site. Someone
had the reel at an old film festival from like
twenty years ago, like you can find that. Yeah, So
it's like it kind of confuses me when it's like, oh,
people say they watched something. Another one that frustrates me.
Put in the show notes like Henty the Lost Film,
it's not even pro comments on letterbox.
Speaker 4: Oh. I almost commented today and said, all of y'all
commenting on this can suck my dick because I know
none of you have seen this.
Speaker 5: Yeah, and this.
Speaker 4: Same Actually it's similar. There's a there's a listing for
you the Lost nineteen sixty eight movie, and people will
review the TV show you on there, and this movie
has lost to you motherfuckers, Like why are you?
Speaker 5: Why are you doing this?
Speaker 4: Because it's it drives me nuts. Yeah, And well, for
a long time I thought Henty was around based on that,
and then I read the reviews. I was like, oh,
these these little dirtbags getting my hopes up.
Speaker 5: You know, it's funny because I think not too long ago,
I was like, because I you know, you probably you
guys know I watched I try to watch a lot
of like photo movies or photography movies because that's my background.
There was supposedly somebody watched all the films that were
posedly archived of the photographer what's his name. There was
the photographer the father of like a modern cinema, Moybridge,
Edward Moytbridge, right, supposed he made all his like documents
of like the like the moving thing, the moving images
that he they're all shorts. And this person went on
letterbox and said that he watched them all, and I'm like,
not everything has been archived. It's archived, but not for streaming, right.
And then apparently like it got into a debate with
other people, so it got all taken down on reviews,
his reviews, his, and then the listings of the film
because I was like, because there was some you can
find on YouTube, right, and I was like, oh cool,
I'll like rate and say I watched it, right, it's
like twenty seconds or whatever, and then you can go
on too, like National archives and you can find like
some of that stuff. But somebody, because of like the
debate and the person saying that he watched it all,
it got all taken down on letterbox, which is kind
of fascinating.
Speaker 6: He also gets wearied with like shorts or like early
experienceal stuff to like the mystory. Well, consider what a
film is. I mean, I guess like even expectation TMDb
is getting more getting more strict with posters.
Speaker 2: We're just talking about that this morning. Yeah, yeah, not
even just the posters, but yeah, I don't know if
somebody's flipping a switch, but like sisters in Leather, uh
just got.
Speaker 4: Flipped as gentry.
Speaker 6: To fix it, yeah, you have to report it and
then report it again and again, and it's it's it's awful.
Like some of the pink films like I follow, it's
like it takes like a year to get a mod
to fix it, damn.
Speaker 5: Or there was a time when like Dakota was going
in and like cleaning up like some of the titles
to make it more so we know, like for example,
like Apartment Wife for any of the other pink films.
Then somebody went back and like said, no, we have
you have to put it back to like the weird.
Speaker 6: They use the romaji, so they like phonetically spell out
Japanese and English, so they change all the titles you
don't want to made up English translation, which also makes sense,
but it makes things harder to search for too.
Speaker 4: I mean, I imagine that's a recurring problem with well,
I say a problem, but it's just a recurring It
is a pressure that you were yeah, well yeah, where
it's just like because you're dealing with translations, and there's
literal translations, and then there's like, well this flows better
in English, so but then it's like, well, what do
you use and if they don't want to use both
and that stuff for define.
Speaker 6: Moment, just flag it an adult called porn apparently.
Speaker 5: Yeah, I'm just well, and all.
Speaker 4: Of these people will still call softcore stuff porn, and
I'm like, no, not by today's definition, No it is not.
Speaker 5: It is not.
Speaker 4: Basically porn equals hardcore in my mind, in a lot
of other people's minds, if it's soft then it's like
r n C seventeen, Yeah it's not, it's not hardcore.
Speaker 5: Well so I noticed that too. I mean, Casey, you
could also say something about this like when I see like,
because I watch a lot of like gay films, right,
gay cinema, like all that stuff on letterbox whatever. Some
stuff is not on letterbox that and you can watch
it easily. And then there's stuff that it is on
letterbox but you can't find it it and then somehow
somebody said that they watched it, and I'm like, who where, how?
But at the same time, they they don't flag a
lot of the gay like the gay porn like gave
stuff that you could see on letterbox like compared to
like pink film that gets flagged.
Speaker 6: I think it's because people aren't like aware enough and vindictive.
I think with like the sex exploitation, it's like people
are kind of searching out nudity or like keywords and
they're flagging it because like being little children.
Speaker 4: Right, yeah, no, I've said it on here. Multiple we're
in a more wildly conservative film environment than I ever
thought possible. In twenty twenty five. We're like sex is bad.
If you did if you did a sex movie with
no with no intimacy coordinator, then it's bad. It's like
if if there's a woman doing somebody not consensual, it
means that the actress. It was not consensual, and it's
just like there's nuance here, there's history here, there's you know,
it's you know, it's it's a big broad spectrum of
sex cinema. But this idea that sex in nudity bad
is so yeah, it's it's very eighties. It's worse than
the eighties because at least in the eighties, yeah, you know,
celebrities like Ginger Len and Tracy Lords and all these
other people like now, which is like, well, yeah, Like.
Speaker 5: I always like to make fun of the horror fans too,
like the horror bros, like they cannot handle sex in
like a horror no, not at all, And they get
very like, oh oh, like they don't mind seeing like breast, right,
they don't mind seeing that, but like in like Sexpectation
Pink film, like breasts are out and it's like just normal.
But they're like oh no, no, I know, or oh.
Speaker 4: Awkward, and I'm just like, guys, it's it's sex.
Speaker 5: It's fine.
Speaker 4: If you haven't had sex, that's fine, act like you've
been there, just like come on, like like what is this?
Come on? It's it's very crazy to be it really
really is. It's like, oh, yeah, yeah, I don't get it.
I really don't get it.
Speaker 3: Is there a show tonight, Yes, there is a very show.
Speaker 6: But don't worry.
Speaker 7: You can be just an observer this.
Speaker 5: Time entry because it makes you kind of say with that.
Speaker 2: I know, I don't know. I was thinking about your
guys' screenings and just and I'm thinking, I know, we're
getting kind of wildly off topic. But the idea of
all these repertory screenings recently of like hardcore movies, and
part of me is like, I love this idea of it.
But at the same time, part of me is also like,
this isn't how they were originally presented. You know. You know,
these movies were presented for an audience to engage with
you know what I'm saying the material, yes, but now
we're presenting them as like sit in your seat, stare forward,
and like appreciate this movie as you know the history
of it. It's like, is that how we should be
watching these movies? I don't know, it depends.
Speaker 6: I mean it's probably you're right though, like having more
interact I mean pink film too. It's like, I mean,
probably not so much like the sixties, but especially like
as the genre goes ahead in eighties nineties, it gets
purby or theater. The theaters get worse. It's like people
are jerking off in the theater or they're cruising, like
getting a sex worker. It's like these aren't wholesome family fun.
Speaker 5: I mean, I would say, like the screening we did
like Men and Woman.
Speaker 6: Yeah, I don't think that was more of a comedy.
Speaker 5: A comedy works, Yes, that works, Yeah, it works well.
Speaker 6: I mean it's weird. LA is kind of hostile to
I mean, other than Whammy, who has shown hardcore. Like overall,
it's very hostile to showing like anything with sex in
it too. Compared to New York and Chicago. I don't
know why that is. Yeah, they just would rather kind
of ignore and pretend it doesn't exist too.
Speaker 4: New York wasn't showing hardcore. New York not, you know,
I don't know, it feels egotistical. I was want to
bring this up, but New York wasn't showing hardcore until
I did it, like I did that series of anthology
and we got covered in major publications. We had like
a lot of people come out and it really transformed
the way that adult cinema is shown in theaters because
it was about like, oh, these were actual films. A
lot of these films had like premieres with photographers and press,
so like they were certain films were treated like actual films.
Not everyone was, but the ones that were are the
ones that are the ones that I would, you know,
try to show in a theater and be respectful and everything.
But yeah, it's it's interesting. I will also but it
makes me think that, like, I think you would post
it in the show notes about like how the like
the rediscovery of this film in particular, and then Slave
Widow and they I think they showed in two thousand
and eight at that one theater, but I feel like
they showed in other theaters too because it was like
a big deal because and there was also a situation
where it's so crazy that something is almost far back
as two thousand and eight, people were like, yes, let's
show these sex movies and cinema because their cinema. I
don't know if I'd see that happening now, which is
crazy because that was not even twenty years ago.
Speaker 2: Yeah, I mean I've I've reached out to my repertory
cinema up here in the Twin cities and they are
hesitant to do any sexploitation stuff because yeah, it just
and I understand that, but I think that you can
pick and choose titles kind of like you guys did
with Shinjuku. I think that, yeah, the comedy aspect and
it's not like the sex scenes are not explicit for one, right,
And with a lot of sexploitation films, there are movies
that have very extended, long sex sequences, which obviously, like
you watch that in the theater with people who aren't prepared, Yeah,
they're going to be like giggling and acting ridiculous.
Speaker 4: And it's gonna be it is gonna be awkward because
you're sitting especially if it's sold out screening, you're gonna
have people sitting next to each other during that and
that's awkward. That's so that's why my first screening in
that series, it was like we've ripped the band aid off,
where like we had a trailer reel that was like
twenty minutes and it was like, Okay, here's all the
hardcore footage in a trailer form, So like the band
aid of, it's like you're going to see a lot
of this, But then the movies that we picked were
very plot driven and very production value driven and things
like that. So I think, yeah, I think all of
us here know that, Like, there are films that you
would definitely, you could definitely utilize to introduce people to
the genre as a whole. And then there are ones
that you know that only when you're an established fan
that you would then be able to watch and appreciate
because you need like background or understanding what the genre is.
Like the no backs, for example, I would never recommend
those to a novice in sexploitation because you need to know,
I think, what sexploitation is and where it's bad, you know,
and where it's been and why they weren't hardcore at
that time, and whether we're you know, still soft in
the early seventies, things like that. So yeah, I think
every genre in sexploitation, every subgenre, has those introductory titles.
And that's why I really need to be paying attention
to your introductory titles, because I'm like, Okay, where do
I start. Yeah, Like, I'm also a little pervier than
the usual novice because because I come from a sexboy
Asian background, so I'm like I could probably tolerate something
like a groper train.
Speaker 6: Oh yeah, that's family.
Speaker 4: I could tolerate those because I'm an established ruffies person,
so like you know.
Speaker 5: Yeah, because like I would say, like the groper chains
are more just like they're fun, they're easy, they're kind
of goofy. They're not like the more bondage extreme stuff
that we tend to like to as well. But you
know there's some nicer stuff of like the Pink film too,
that like could get somebody to be like, Okay, I
understand it, I get it.
Speaker 6: I mean speaking of this distributor though, to that two
thousand and eight screening, so Cinema Epic is Gregory Patanaka.
So I mean he didn't it responon back, but it's
crazy like in nineteen ninety eight he showed a woman
called Soda Abbe on a double bill with wife to
be sacrificed, which is probably one of the more like
on Hinge side of Nakatza.
Speaker 5: Can you imagine?
Speaker 2: Yeah, I was gonna say, that's really Where was that screen?
Speaker 6: It was Cinemonica Santa Monica here at to Lemley. Also
I think up in Portland or Seattle.
Speaker 4: Yes, interesting Knights, the Boogie Knights being out made inspired
people wanting to see any kind of sex cinema, and
they were like, well, let's start with this. But having
seen Wife to Be Sacrificed, I haven't seen the first
one yet, but having seen that one at least, I'm just.
Speaker 5: Like, Okay, wait, Gentry, you've seen Wife to be Sacrificed, right.
Speaker 2: No, I don't haven't seen it yet. Seen some other
Kunuma stuff, but not that one.
Speaker 6: It's probably one of like the more extreme ones. It's
more nightmarish too. It's not a it's not an easy
pick for someone's first time.
Speaker 4: No talk about ripping the band aid off.
Speaker 5: Yeah, that's like it's I mean, I can only imagine
to see like Miss Tawny on the screen, I would cry,
but I would not I would not want to see
that one in the theater because it's just like, oh
night mere Field.
Speaker 2: You know, wow, you guys are saying at them.
Speaker 5: I mean, it's no.
Speaker 4: I actually I don't think i've rated it in letterboxes. I
need to revisit it, but I remember really liking it.
Speaker 6: It's really good.
Speaker 5: It's amazing. Yeah, but again, like at first time, it
would be like, oh, but I think if you're if
you understand like where it was coming from and what
they're trying to do. It's it's it's cinema. It's cinema. Yeah,
it's I mean it's Kanuma. How can you not say
it's cinema because like anything he did, cinema is like perfection.
Speaker 4: That is something that I like in both of your reviews
and both of your reviews on Letterbox where it's like
this is cinema, like this is life, this is everything,
and it's like it's so enthusiastic, and I'm like, I
know this movie is gonna rock my world when I
finally see it, because I know. And then when you
don't like something, I know when you really don't like something,
And I love that it's very clear. Especially that's why
I love I love your review so much.
Speaker 5: You'll know that if I didn't like something or I
liked it. Because Dakota is to be a little bit
more air, I think, wow, that's well.
Speaker 2: Speaking of Dakota and I I think are the biggest
the bite fans here. Yeah, yeah, you give it three
and a half and I think I don't know what
I would rate it.
Speaker 4: This time, the two seas or two and a half.
Speaker 2: Yeah, yes, I'd give it a three and a heart.
Speaker 6: I give it. I'd be crazy why not.
Speaker 5: I would say, I think people still should watch this
because if they want to see like the genre and
see what was going what was happening in the sixties,
because there's other great like sixties like Pink film as well,
that are just great and it's just like it's like you.
I would put this like in a box set. That's
the way I wouldn't release itself.
Speaker 6: But it also might be a heart cell too, because
I know, like the sixties Pink that's I mean came
out too. I don't think it's really sold the greatest.
Speaker 2: Well, what has been out recently of sixty will.
Speaker 6: Be Gushy and Prayer, which I think it's seventy one,
which is also really for Walka Matsu and then also
Inflatable sext all the Wastelands. Yeah, I think I still
have a line of sixties. Is walk A Matsu like
a Kogi Wakamatza directed film. But it's like I think
Jasper has hinted that maybe it's a family right situation
holding those back.
Speaker 2: Well inflatable sex Doll, I mean that's I was going
to look up to see like how many people have
seen that, But that's a pretty big.
Speaker 6: It was already well watched before they put it out.
Speaker 2: Yeah, I was gonna say, like it's been well watched,
like a lot of people have seen that.
Speaker 4: Well, I don't know, because he did did he do
Go Go? Second time? Version? Is it the same director?
Speaker 6: Go Go?
Speaker 4: Is okay? This acument your image? And so I think
that probably directed a lot of people to see it
after that DVD came out, probably.
Speaker 6: Which, like Wakamatza, should have been a Criterion eclip set,
Like I want more clip sets like that.
Speaker 4: Yeah, we Well we're trying to convince distri Picks slash
Melicin need to do eclipse set types of just films
with their trailers, maybe an essay just to get them
out there. I don't need a ton of extras, just
get them out there, nice looking, nice. I would love that. Actually,
a nice elis eclipse kind of set would be good
for like all of these that aren't the Novaks, you know,
I think like Slave, Widow, Boneless, Adolescent, the Bite. You
could put all of them in a little collection as
like American released pink films that are you know, under
a good title, not that.
Speaker 2: But yeah, I'm I'm a big fan of the bonus film,
like put it you know, oh, pick your your your
main feature and then put this as put one of
these as a bonus film, like they did with that
third that third Windows set they Pink Film three and four.
Maybe it was they put Forbidden Techniques as the bonus
film because it's the German dubs. So they were like, well, yeah,
well we have is this German brant? I mean it
looks amazing, but it's German. So maybe the people who purchased.
Speaker 4: That's what they have to do with like Love Rebellion,
the Sarno movie, it's only available in German subtitles, so
like put next for somewhere too.
Speaker 5: We're not ideas, folks.
Speaker 6: We we all four of us have ideas.
Speaker 4: Were money well ideas.
Speaker 5: There's that film from like the Impulse titles, Like there's
one film that we we had. It was the it
was a clip show, right, it was like a clip
all the all the films that are being released through Yeah,
and then on the DVD there's a bonus film that
is something like Lesbian Stewardess or something. It's like thirty minutes.
Speaker 6: Oh okay, you're talking about the Nakatsi trailer collection. They
randomly do adult video short on it. But also I
don't think they really build out what it actually what
it was. No for that side, okay.
Speaker 5: Yeah, because I remember that we wanted to get it
because we could say we watched that one film, but
the clip.
Speaker 6: We wanted to watch Ryoko wat Navee Lesbian Stewardess.
Speaker 5: Yes, yeah, that was like, oh, we're fighting for that one.
Speaker 2: No, so it was on there though, yeah, yeah, okay.
Speaker 6: But also Makaia would probably be a good candidate too,
Like there's enough of this director's films that are available
from different eras. It's like if people pull that different threads. Obviously,
like someone should be heading up Towa for their paint films,
especially in the seventies and eighties. Like I know that
Sato's Distorted Sense of Touch got restored in Japan and
has a DVD that's again obviously going to come out
in the world, right, but they should peel back the
layers of like what are pink films from toe?
Speaker 5: Right?
Speaker 6: Like having this great content. Also, I think like Toay
is not really fighting for these films and they might
be cheaper than the cots.
Speaker 4: I don't know, like Toe is easier to work with
than like Toho, Like they're they're vivistorically been easier to
work with, So I think, yeah, that makes total sense.
I don't know why people are going after those.
Speaker 2: Yeah, we've we've chatted a little bit about trying to
get model Micabre to do more toa stuff.
Speaker 4: That's yeah, because they did it in the Cops stuff.
So I feel like they could go back to Toe.
Speaker 5: I don't know why not.
Speaker 2: That's like your guys' gateway. You could bank Pete toombs
and haunted Turkish bath house for where you are today?
Speaker 4: Right, Actually, I just got to say, mon Micawber doesn't
get enough love. I do love and they really it's
it's it's Jared basically running that running that store and
the social media all by himself. I love Jared, And yeah, no,
they always put out good stuff.
Speaker 2: I'm trying to think what other read to pull here,
as you say to Koda, what else.
Speaker 6: I even writing notes on?
Speaker 2: Oh well, I wanted to ask you about this. Yeah,
I wanted to ask about this whole Cinema Epic situation.
So this was released through Cinema Epic. Are they still
in exist. Are they still doing anything? What's going on there?
Speaker 6: Active also the yes, so they are posting they weirdly enough,
did like their version of an Emmanuel film too, like
a more recent like to B esque production from a
few years ago.
Speaker 2: To be asked, I don't know, would be original, Ee.
Speaker 6: What's happening there? But please hit me up. But again,
I assume they would maybe have the real if it
wasn't like Gregory's collection, but it might be the distributor,
like the Japanese pink film distributor Cocoa Way, who'd still
hold the rights to it. Also, they are licensing titles
like they're still around, so it's like, okay, let's make.
Speaker 4: The jump to Blue Folks. Yeah, yeah, if you, let's
let's try to get some work on that.
Speaker 2: Yeah, that'd be good. I might have to reach out,
yeah to Gregory over there, see what's going on?
Speaker 6: But he also seems like he's been kind of burnt
out by like him trying over the years to make
these films happen, and maybe like the not buy back too,
I don't he would probably be wary or like almost
like I don't know, hesitant to like this newfound interest,
like is it gonna pan out right, It's true.
Speaker 4: Well, that pink line, there's a I will just say
there's a lot. There's a lot of releases planned on
that pink line. So like it's it's it's here to
stay for the duration, which is good news, but yeah.
Speaker 2: We're gonna have to there's you know, we're friendly now,
but it could get ugly between our warring podcast.
Speaker 5: Please a real East versus West situation. No, no, it
was exciting.
Speaker 2: We start bumping our stuff.
Speaker 4: Oh my god, Well it's already happened. I will say
that it's already happened. But the actually there's another hardcore
company that they bought that is that stuff is now
bumping the soft coorese stuff more so, you know, but
it's fine. But there's my My thing is though, like
I don't know, I always think of pink film. I
think of like sixties and seventies, but that's a completely
overside of my part because I'm not thinking of eighties
and nineties. So like the sauto stuff is all except
for muscle, which is like a masterpiece. Everything else is
like this. It feels late period, but maybe it's not.
Maybe it's a golden age that I'm just not aware
of because I'm I think it's because of the Nakatsu
of it all, where that is kind of the that's
been the forefront of pink film on DVD for a
long time, and so everything else has been overlooked. So
maybe the eighties was a period that I really should
be paying attention to as well.
Speaker 2: That's right, isn't isn't The Four Devils is all like
those those Four Devils are all like eighties filmmakers, right,
da Quota, Yeah.
Speaker 6: They come up in like mid late eighties into the
nineties too, so like once Roman Porno dies, pink film
is freed back to the independence. It's also like Soagi Amano,
you know my favorite you know, it's like that's her
huge era too, where she's doing like fifteen to twenty
films a year, right, So it's like it's a prolific
period for Sado. It's like the most unhinged, the most wonderful,
the most mad of pink film, the most insane, whipping
up bondage grower trains on the regular mixing with adult
video stars too. Like the best stuff of pink film
is like that era. Yeah to me, wow for other
people too, Like I know Jasper would have a preference
for like sixties and seventies too. Sure, I'm a little
bit more on Hinge as a person.
Speaker 2: Yes, that's where I'm at. Yeah, I think Cracy is too.
Speaker 4: Yeah, well I am just because I feel like that's
what has been available. So I feel like if this,
if that era is going to become more available, then
it's like and it's going to look it's gonna be
restored and it's going to be you know, have the
director involved, directors involved, were we remember Yeah, Yeah, I'm
like then I feel like, then that's that's exciting to
me because I feel like the sixties and seventies stuff
not to like poop poo it, but it's not.
Speaker 5: It's it's been around.
Speaker 4: So this new stuff is just like, oh, this is
a whole new area that like I have no knowledge of.
So that does make it very exciting to me.
Speaker 2: Yeah, like Synaps was putting out tons of stuff for
a while, all that Nakasu stuff.
Speaker 4: Yeah, yeah, they paved the way. Yeah they did Impulse
Pictures and Synaps.
Speaker 2: So yeah, I'm curious to see what happens with I
hope that Pink Line does do some classy seventies stuff.
Speaker 6: But that's just me, I mean, not the ones I
got hit up for.
Speaker 2: Yeah.
Speaker 6: Really, well, we'll see I love that.
Speaker 5: Well, I for didn't somebody just put out.
Speaker 4: Flower and Snake Restoration.
Speaker 2: It's only DVD, right.
Speaker 6: Flower and Stakes on Blu Ray. But that was one
of the most impulse to NAPS titles.
Speaker 5: Yoh yeah it was.
Speaker 4: That's right, because they only did a few on Blu Ray.
Speaker 6: Yeah, I mean it was set to do the whole
Flower and Snake set together. They could even do toys
continuations as well. I mean dream like wow, dream Era release, right,
I don't know.
Speaker 5: It's like to put Toe in Nakatsa together. That would
be like again, I don't think they would agree with that.
Speaker 6: I mean Sato is a similar situation now, Like I
don't know how they're gonna splice his Nakatsu titles but
this other archive because like Nakatsu is not gonna want
to be associated with Shintoho.
Speaker 4: Yeah, yeah, that's true. I keep forgetting about that. They're
a little more precious about it than American companies are
because you can you can kind of do that here
with different American distributors. Yeah, I think branding is more
important to those companies, especially they're still around. That's very true.
Speaker 6: Let's he for the best interesting.
Speaker 4: I know, fingers crossed, all digits crossed, well, but I'm
excited about it. I mean, that's that's the big thing
people were talking about with the slatest announcement was the
volume two. Very excited.
Speaker 2: Yeah, going back to kan makay I was going to
ask you, guys, you know what happened after the bites,
you know what's next for him?
Speaker 6: Going oh, okay, yeah, wow, I didn't even talk about him,
so okay. He came from educational films, he goes into
pink film, right, this whole virginny market. Then he by
seventy one on the same time Roman Porno launches, Toy
picks him up for pink film, but not even pinky violence,
more of like their cheaper like racket of pink films
that they distributed. And then it leads into Deep Throat
in Tokyo.
Speaker 2: What are some examples of those from?
Speaker 6: None of them are available though, either That's the thing.
It's like Toy doesn't I don't even know if Toy
saves the reels for them either. It's such an unclear,
right situation, where like they're bread and butter of Pink Film.
I'll send you some for like an afterthing, but I
mean I started like we like a list for it.
But yeah, it's like eventually Toy brings him in ken
U kaid It's like kind of saves the original deep
throughout the American one for Toy Distribution, where he does
a weird Frankenstein edit of it devil miss Jones and
original scenes for the like the whole pink film market.
So it's like all mid lost media like and like
Toy's proud of this.
Speaker 2: Yeah that sounds insane.
Speaker 6: Wow, But then it leads in a deep throw in
Tokyo where he does the more original film. Then it
also leads into like he's a NonStop producer for Pink Film.
Under a different pseudonym, he does v Cinema, which is
the big home video era that's now only getting talked
about their arrow, right yeah, and then.
Speaker 2: Leads directing through all this though he's directing and producing,
right Okay.
Speaker 6: And then he ends his career between like mainstream dramas
about like aging too before he dies. They are non sexual.
Speaker 2: Yeah, it's just crazy, like looking at his filmography, even
on you know IMDb or letterbox, like so much of
this just doesn't even have artwork yet. It's it's that
obscure or.
Speaker 6: I tried edit it ad anymore. Sorry, well a lot
of them are available.
Speaker 4: Yeah, yeah, you know IMDBA is about images. They're that
way for sex any any sexploitation or adult film title.
They don't want images up for those. No, literally.
Speaker 6: It Yeah, here's ahead and here's the title.
Speaker 4: Yeah exactly.
Speaker 2: Well, yeah, the bite was sixty six. He got started
in early. I mean sixty five was he had one.
I see one listed for sixty two, but sixty five
looks like, yeah, that's his educational side, he really, I
mean he's just still like baby ken Mukai right very.
Speaker 6: Early speaks to kind of his talent. I mean he
obviously money well spent. I guess that's his big thing too.
It's like he says, like, okay, to fail as a film,
it's to not like to lose money, right, And even
though they're actors, like recounting him too, they said like
he always had like a megaphone in one hand, and
they always imagined he had like an avacus, like the
scale from Greek mythology in the other like he was
always counting the money too. He's such a money man
and producer. Maybe he was the the most like a
tour driven, but he cultivated talent. He built up like
the lighting, the crew of the cinematography. All though his
money well spent, like it looked good regardless if it
wasn't artistic.
Speaker 2: Yeah, clearly like he was successful, right, his career looks
like I mean, to be that prolific and like go
I mean he was working till he died. It sounds like.
Speaker 6: I mean you can thank him for Sodo.
Speaker 2: Yeah, and Sodo was his you know, protege.
Speaker 6: Also, you have Giro Takaita, who won an Oscar.
Speaker 5: I know for what what was the departures Departures the
foreign okay, oh.
Speaker 4: Yeah, which I never saw.
Speaker 5: It's it's beautiful. It's actually really like it's not even
like nowhere near like a pink. It's just it's a
really aging. It's sad and it maybe.
Speaker 4: I remember the poster. I just never saw it.
Speaker 5: That's interesting watch it. After this episode watched I watched Wow,
I do pler departures at home when Dakota's not around.
Speaker 6: I guess speaking this director though, it is surprising. I
guess like a tidbit. His wife is a pink film
actress like tocaco a Cheetah, so she's also a mound singer.
He frequently cast her. She appears in Blue film Woman
Singing the Nightclub. It's weird that she's not in this film,
Like that's kind of odd. But I don't have a
reason for that. That's made this was just too weird.
Speaker 5: She was working, well, maybe.
Speaker 4: Maybe her scene was cut out for the US release.
Maybe he went if she was a sing well, I
don't know, did she sing in other movies?
Speaker 5: Yes, oh see.
Speaker 4: Then I wonder if maybe there was a scene where
she was singing it like a nightclub that the guy
went to, and it was like cut out because it
wasn't like.
Speaker 2: They didn't want to reseve that.
Speaker 4: I think a lot of American films they wanted like
the exoticism of you know, an Asian film, but they
didn't want too many reminders that it was an Asian film,
so like writing in Japanese or singing in Japanese and yeah,
they it's just crazy. They wanted their cake, and they
wanted to have their cake and.
Speaker 2: Eat or I think with something like Daydream, I think
it was successful enough because it was so like they
marketed as like, oh, come watch this weird Japanese movie.
You know, with this it's dubbed into English, which makes
it kind of awkward. It's like, I don't want if
I want to watch a weird Japanese movie, I want
to watch a weird Japanese movie. I don't want it
to be dubbed by Don Alderman.
Speaker 4: I don't want the animal dubbing my movie, you know,
I don't.
Speaker 5: Need that that brings a voice like how would that?
Like an English dub of watching in the realm of
census would like change the movie absolutely because it would
be like, oh, like hearing like you know, who would
they get to Billy the actress or the actor like
who the fuck knows? Right, But imagine like the bad
like oh, I'm going to like end you or something,
and you're just like there's no, like it just doesn't
sound right. Yeah, yeah, it wouldn't work. It wouldn't work.
Speaker 2: I would like to hear from Bob like the reasoning
behind you know, redubbing these, and I don't know, I'm
sure he I think.
Speaker 4: It's because he hated his audiences in a way that
I mean like he looked down on his audiences. I
think I think he thought that. I think he believed
the audiences for these movies were stupid.
Speaker 2: They're too dumb.
Speaker 4: Yeah, yeah, yeah, they weren't going to read somebtitles. And
also he was trying not trying to make like he
wasn't trying to make art or even really promote art.
He may have had films that were artists sic, but
like he wasn't promoting them that way. He was promoting
them as trying to appeal to like purran interests, as
local law enforcement would call it. So I think it's
different where like when you see Slave Widow and that
print has burned in NGOs subtitles because it's marketed as
something that's like an international import. So it's it's trying
to appeal to people that want to see Japanese cinema,
not just sex cinema. And I think that Kraussy's like, well,
this is a sex movie. We're gonna market it as
a sex movie, and I can't have Japanese in this movie.
Speaker 7: Yeah.
Speaker 2: Maybe I'm being naive and thinking that this would have
been more successful in its original Japanese dub, but.
Speaker 4: I'm much more cynical, because I know Krassy.
Speaker 5: I know from everything I've heard about Krassy.
Speaker 4: There's no way in hell he was going to make
this and release this as some kind of like artistic
statement or anything.
Speaker 2: Yeah.
Speaker 4: Yeah, trash heap from a man.
Speaker 2: I always seem to come back to her.
Speaker 5: She always wants to know everything, what I've been doing.
Speaker 1: I why I stay with her, the money she gives me.
Speaker 4: She knows I can't go back into that hot time.
Speaker 2: I hate her.
Speaker 5: She smiles so so prettily, but inside she's planning some
new corrupt exub bishops for her self and her friends.
Speaker 2: Alex put that note in here where he's like, yeah,
these didn't he bought these like so cheap? It was
a joke. I bought the rights for America, Belgium and
England for four thousand dollars. Then I'd sell the Belgium
in England for four thousand and we'd have America for free.
The bite was a good picture. Unfortunately, the Japanese films
didn't go over well here. He told that in an
interview with Mike Vrainy in called Movies number nine. So yeah,
clearly he is admitting that something went wrong here. Or
but yeah, who knows.
Speaker 5: Well, I was gonna say, it's like, because I think
Gentry you mentioned this earlier. It's like now we're seeing
these films, like we're seeing these films now like as
even though they're not artistic, right, they're not like intended
to be artistic. We're kind of seeing them as artistic now,
which kind of changes like the other perspective of these films,
like the intention, right. And then there's other films too
from the s expectation, even Pink, that are not artistic,
but then we consider them artistic because it's like, you know,
the way they did a scene or something like that.
So that just brings up that interesting thing to think
about with some of these films, like now the newer
audiences are going to see them either maybe as artistic
instead of it like just the regular like you know
you're gonna watch in jerk Off Tour or something you know, right,
or the original attention seeing these kind of films like
in the theater being like oh I'm turned on or
something right, mm hmm. It's like if you think about it, No,
I think that's true.
Speaker 4: I mean I think that's true of a lot of
the films that we talk about on this podcast, and
we talk, you know, about sexploitation, like we've talked about like, uh, well,
I don't know something I was. We go back to
Sarno as an example for everything. But Sarno's like that
where we watched Sarna's films and you're like, how are
these sex films? Because they're not sex films. They're like
they're melodramas with with actors and good photography and stuff.
So you wonder like, how are these presented as like
a sex film, so like an adults only audience, and
you know, and then so I think there are probably
examples in in the pink film genre where it's like,
well how is this mark? Could it just a sex
sex film audiences when it's like there's there's more to
it than well.
Speaker 2: The thing with that in these films with Sarno, it's
like he might have drew in the audience that just
wanted to pear sex film. But I think once they
were in there, I think they realized like, hey, wait,
this is actually really erotic. I actually a kind of
getting turned on by this, even though it's not like
wall to wall like sex scenes. So I think that's
the power of Sarno there is that he was able
to convert some of those people like, oh wait, I
actually really like this.
Speaker 5: Yeah, I mean that's why I could you could say
that a little bit about the Bite.
Speaker 2: Well, I mean like the hot like undressing lingerie.
Speaker 4: Maybe because there's enough scenes of like you know, voyeurism
and like sexual assault to like be like, oh, this
is this is my this is my cup of tea.
I love it. Cressy is just yeah, crazy is a
whole nother a person.
Speaker 2: Yeah, the girl, there's one scene in the Bite where
she's wearing like the sixties exploitation panties that you see
in like every American you know. It's like they just
had these things by the box load. Yeah, that's true.
Universal black lace panties keep it.
Speaker 4: Well even well even like I keep going back to
Slave Widow because I love that movie. But even like
Slave Woodow, look who's jerking off to Slave Widow? I
don't know.
Speaker 6: I mean that director is more of like.
Speaker 4: A Boneless is another one. I'm like, who's jerking off
the Boneless?
Speaker 6: They could try.
Speaker 4: It's just like and naked pursuit. I think you have
to be I don't know. I can't see people jerking off.
Speaker 5: To that either, you'd be surprised.
Speaker 4: I don't know.
Speaker 2: That's a very we're looking again, we're looking at this
through a modern line, no, but.
Speaker 4: I'm also looking through a modern homosexual lens. I don't
forget how disgusting straight people are.
Speaker 5: No sor but I forget about this.
Speaker 4: I forget about this, the degenerously of heterosexual men at
these theaters, and this in the sixties.
Speaker 5: I would say, like Naked Pursued, you see that kind
of theme, like what happens that film a lot in Nakatsu,
and there's done in different ways where it's like constant
and the way they do it, whatever director does it,
it's like you could tell probably somebody like got off
to that, for sure, you know.
Speaker 6: But then it's also like the guy is literally crying
at multiple points, so it's like, I mean.
Speaker 4: Now I know. I think that's why I didn't like
it as much. And that's the thing. I have seen
later films that are similar to that, where it is
just like a lot of sexual assault going on, But
I just didn't like the way it was handled Naked Pursuit.
It's just it's it's just very repetitive, but not in
like a visually interesting way for me.
Speaker 2: Yeah, it's the Ruffy, you know, clearly like the RUFFI
is all about sexual assault, but there is something about
the way the Japanese handles sexual assault that is feels
very different. I know where Casey's coming from. That is
something that you just have to I don't want to say,
like get used to.
Speaker 6: But it does people a lot like new to the
genre or even at the sado set too, It's like
I guess, like the lines of consent, it'll be interesting
like overall, like once more films come out, it's like
what the opinions are? I knew too, like anyone that's
like I see them reacting online too, Like there's people
sometimes ask like, Okay, could I come up with like
a list of like ones that don't involve assault, And
I'm like, I don't know. There's a lot of doobies consents.
Speaker 5: Is that list gonna be probably be five? Yeah, it's
just like I don't know.
Speaker 4: But then that goes in that ties into like the
sexual conservatism of a lot of the film of the
film scene now where it is kind of like, okay,
these newcomers to the sacho films and pink film in general,
where it's like this is a part of the genre
and it is kind of a thing where it's like
it seems.
Speaker 5: Glib to just be like, well, you guys are just
deal with it.
Speaker 4: It's like, well, I don't know, just there are ways
to approach it and kind of not deal with it.
See I can't say deal with it, but it's like
it once it becomes part of like the fabric of
the genre, it is very like Gentry said, it's like ruffies.
You just know that it's not going to be the
most politically correct or pro woman situation, and there's other
stuff that you have to take away from it surrounding
it that are more impactful or like it's like some
of its parts.
Speaker 2: I guess yeah. I know. Sam on Sam Deagan on
her podcast when they talked about the Angel Guts, I
think that they probably explained this a lot better than
I could, you know, with regard to how the how
the assault sort of frames the story involving the woman
and how her story progresses from there, you know, how
it changes them in ways both good and bad.
Speaker 6: Right, I mean, you'll see stuff that American cinema would
I guess like never do right too, like questions of
like how to react to it assault, like what's the
right way to react? It does kind of make how
our cinema I mean not' se expectation, but I guess
like more like how does like a drama, how does
Hollywood frame assault? How should a person react? Logically?
Speaker 2: Too?
Speaker 6: Obviously Japan doesn't react as well. And I guess also
to like, even the more consensual sex scenes, it's okay
to like, I guess maybe you could relate to this too.
It's like it's okay to enjoy watching sex. I feel
like when sometimes we talk about people don't want to
be like they're like, oh, it's the plot everything around it,
but you have to get through the scenes, like you
can enjoy watching well shot sex.
Speaker 4: Yes. I used to fast forward through sex scenes and
then I realize what am I doing. It's like you're
watching a musical and fast forward through the songs and
the dances. It's like everything around it could be great,
but that's a part of it, and so like, you know, yeah,
I just can't imagine doing that now. And I still
have conversations with people that have been fans for a
long time and they still skip through the sex scenes,
and I'm just like, Okay, well getting that, yeah, yeah, yeah,
I'm just like, But then they end up still liking
the movie, and I'm like, you might like it even
more if you watched the whole and not just the
parts that you feel comfortable with, and ask yourself, why
are you not comfortable watching the sex scenes? Like what's
why is that a problem for you?
Speaker 6: Yeah, so watch the bite. It's easy to watch.
Speaker 5: Yes, it is.
Speaker 12: The poor thing.
Speaker 7: But he needs me, He needs all the things I
give him. I must make him realize that without me
he is nothing. He can go back living in that garbage.
I'll make him douce that young waitress and bring her
to the villain. She looks like a virgin engine. She
might be entertaining for my friends.
Speaker 2: Did you the first time you watched it, did you
kind of see where it was going with a twist
at the end involving the daughter. I'm just curious, like
how telegraphed you felt that was.
Speaker 6: There's a lot of betrayal to like in pink film.
I mean, I'm surprised they do emphasize the billing the
daughter on like JMDB she's one of the people that
was credited. I'm surprised it wasn't more like a major
star or she a little bit more.
Speaker 2: Yeah, just shows up kind of randomly at the end.
Speaker 6: Oh it's my daughter.
Speaker 2: Yeah, right, and you kind of know what's gonna happen
to her if she's gonna show up this late in
the story, right.
Speaker 5: Yeah. I didn't like the first time we saw. I
didn't care for that, like twist, it just didn't like. Yeah,
I agree that they could have so many punch here
to do that, Like if it was going to be
a reveal, right, it needs to have some impact. And
I just thought it was like, for me, if.
Speaker 2: This movie was made like five ten years later, the
mom and the daughter and the jiggle would all be together, right,
and the mom and the daughter might exactly yeah, exactly,
that's what you're looking for, Chris, Right.
Speaker 5: No, No, I agree, Like, yeah, ten years later, they
would have like re really played with the script and
it would have been more impactful.
Speaker 2: But yeah, I agree, But for the era that it is, yeah,
I think it's effective enough. And I don't know, I
just think the movie looks great and the restoration looks
pretty good. That Cinematics did.
Speaker 4: From the one print. Yeah, I mean it looks good.
Speaker 6: There are more like prints of Kemu Kai from the
sixties era that do survive that, Like someone could hit up,
like again, work out a deal. There's one called flesh
Clock of Man and Woman, So again that could be like,
I just like, there's more here if someone did really
want to pick this up too and get more of
like a broader range of the genre.
Speaker 2: Yeah, that's not flesh Futon.
Speaker 6: Is it something that is available from a VHS rip?
Speaker 2: Oh?
Speaker 4: Is it?
Speaker 5: Because that's what I wanted to see. Okay.
Speaker 6: It's more of a comedy where like these country guys
go to the city and it also has like a
huge number of like pink foam cast in it. It's
but it's still black and white.
Speaker 5: Yeah.
Speaker 2: Jasper Sharp mentioned flesh Futon in his book, and so
I was looking at that earlier because he loves the titles.
Speaker 6: Well not Yeah, there's a great bodies becoming it's like
becoming the futon in quotes too there layered over each other.
It should be watched for that too.
Speaker 2: Yeah, Okay, that's great.
Speaker 6: Yeah.
Speaker 2: Ken McKay is just like there's just I mean, this
is the recurring stories there's just so many films to
to rediscover in in sexploitation. I don't know. I guess
we can just keep banging our drum for the stuff
we want to see and hopefully someone listens.
Speaker 5: And I was like, who's what we can do?
Speaker 6: Crocodile, stay closed, Crocodile.
Speaker 4: That would be the that would be the next step
for depth Crocodile. It's like, Okay, we've gotten enough Eastern
European stuff.
Speaker 2: I was gonna let's let's go.
Speaker 4: Let's let's go further and go to Japan.
Speaker 6: They did all the wasteland.
Speaker 5: Yeah they did. That's right, they did.
Speaker 4: What am I thinking, Yes, that's right, they did.
Speaker 6: I don't that's I'm curious how it's sold for them too.
It's like, did it do well? Did it not? Did
their audience respond to it? I don't know?
Speaker 4: Is that Did they put it on a limited edition?
Speaker 6: Do you remember it's limited?
Speaker 5: Yeah?
Speaker 4: Yeah, because usually I go by that, like if it's
what is limited? If it's gone from the website, then
it's like done.
Speaker 2: Does that mean a thousand?
Speaker 6: I have one hundred copies right here?
Speaker 5: All right? Right?
Speaker 4: Dakota ordered a ton just to support the company.
Speaker 5: It is just going to be like, you get a copy,
you get a those are those.
Speaker 4: That's your Christmas gifts this year. You're just disturbing those.
Speaker 2: You get a sex doll, you get a sex doll.
Speaker 6: You get it.
Speaker 5: You know we would do if we, if we, if anything,
would have done a sex and three one. I was like,
you get a sex and free you.
Speaker 2: Get Oh those but those import fees, that's gonna you're
going to be spending a lot this Christmas.
Speaker 6: Is import as a retailer.
Speaker 4: Oh nice, Like I keep seeing I keep seeing ads
for that on Instagram sponsored posts.
Speaker 2: What's their shipping threshold?
Speaker 5: Probably i'll get back.
Speaker 2: Well that's great, Yeah, I might have to pick that.
Speaker 4: The limited is fifteen hundred units for this, and they
say they're in low stock right now hopefully probably almost
inflatable sex doll. Yeah, so it's almost gone. And then
there's a standard one.
Speaker 2: Yeah, this is like a jumbo box the limited edition,
isn't it.
Speaker 4: Chris d is involved. God, I haven't thought about that
guy in a long time. He was another one who
was very involved with like releases of Japanese cinema. Well
he did that.
Speaker 2: Book to yea Our boss Our bosses on there, Ryan,
get a video, say.
Speaker 5: On the sorry Ryan cut that out?
Speaker 1: Yeah, yeah, yeah, yeah I did.
Speaker 5: Yeah, I didn't know if you were ready to wrap up,
but yeah, exactly.
Speaker 4: I've noticed that that we do that regularly, well where
gentry is like so last words and then we'll keep
going for another like fifteen minutes. And this might lead
to that because I wondered if y'all could give us
like five pink films that are a good like starter
list for people like off it's like off the top
of your head, putting you on the spot, or maybe two.
If five is too.
Speaker 5: Much, five is fine.
Speaker 6: It's just counting. Oh god, no, I know.
Speaker 4: I'm just like, you've seen how many, but I didn't.
I didn't know if there were five.
Speaker 2: You're like, okay, by which definition are we going rigid?
Like no, no, only.
Speaker 8: Going to call us up and like yeah like this
like guys, wow, okay, because well Casey already shout out muscle,
which is like it is the muscle entry.
Speaker 6: It's a great example of gay pink as well. It's
moody serious. I mean also someone's put off by I
guess like assault towards women. Watch muscle, Yeah, towards men.
Speaker 4: Exactly.
Speaker 5: Yeah, I would say, if you really want to start
into I would you know, because it's kind of a
it's out there, it got released, it looks great. I
will say that Apartment Wife, the Affair in the Afternoon,
that's a great first starter pink film.
Speaker 3: It is.
Speaker 5: It's classy era. It's that golden era of Nakatsu. It's
done well. It's very kind of melodramatic.
Speaker 6: Even eighty eight film fans have liked that movie exactly.
Speaker 5: It should say really, yeah, well we actually liked it too.
I think I thought, like first time we saw it
was like great, but on the restoration it just was
like it just kicked into another gear. The music it's
very jazzy. It's just the colors. I would start with
that one. That's like a good one. What's another one,
because there's some other titles, I would say, but then
you kind of have to get into them, get to
more pink here.
Speaker 6: I guess I do like a horror one, like an
easier one. Oh, I guess, like I guess a shout
out to It's like I I would say, Entrals of
a Virgin's great for a horror fan, but like the
one title, it's like I've kind of scared all the
Blue Raye people with is I mean, can I say
the R word?
Speaker 4: Yes?
Speaker 6: Oh okay, it's just called hard rape. So it's like
it's a Nakatsu's. I guess it's probably like their closest,
like it's a slasher, right, It's like, I don't know.
It's definitely freaked out multiple people when I mentioned the
title alone. But if if it was available and easy
to watch, I'd be like, watch that one just because
you're getting like a slasher that has a salt.
Speaker 5: Yeah, that's it. Is that the one that has like
the Jason character, like the yes? Yes?
Speaker 6: Also I guess something too there is like a Roman porno.
There's a Dorian gray riff called white Skin Glimmering in
the darkness. It's very moody, very gothic. Again, it'd be
like a dream future Mondo Micabo title.
Speaker 2: Yeah, oh yeah nice.
Speaker 5: Also, oh yeah, what do you got?
Speaker 2: And that's number five?
Speaker 3: Yeah?
Speaker 5: Go oh for me? I I think it's unhinged, but
I think it's Anybody could watch it, And a lot
of people watched it and said they actually liked it.
If you like Jallo's, which we do, and he Dakota
was like, okay, bos okay, zoom in sex Yeah?
Speaker 2: Is that the first of the zoom in series because
there's a whole bunch, isn't there? Yeah, I'm I thinking zoom.
Speaker 5: Up Murder Site, Murder Site.
Speaker 6: No, zoom in Sex Apartments is the first first.
Speaker 5: Yes.
Speaker 6: Also again, if Syndrome would like hit up well again,
if they hit up Nikatu right, but yeah, if they
wanted to do like a Jallo inspired Nakatsu set, they could.
And then there's also other ones that haven't been put
out before too, starring the same actress of zoom Up,
Sex Apartments and Sex Hunter. So there are accessible titles
that people could watch.
Speaker 2: M yes, well, and some of those were put out
by synaps or SS right and DVDs So.
Speaker 6: Tastic retitled by sineps, so they.
Speaker 2: Have like a built in audience. I feel like that
would be like, hey, I remember this when this was
put out in what was that twenty ten weile ago?
Speaker 5: Yeah? Further Yeah, because like Saame actress from Sex Apartments,
she started like a later other one too that was
kind of Jello ESK where she.
Speaker 6: Has the fur coats. Revenge.
Speaker 5: How's Revenge is another great one too, that's a very jello.
But I think Sex Apartment is like it goes even further,
it goes more into what's a jello in Venice? That's
where I would say, like laws but base.
Speaker 4: Okay, yes, well, actually that reminds me. Dakota has a
great list on Letterbox called Queering Jallo, which everyone should
like that list and use it as a watch list
because everything on that list is great. And I've actually
revisited jolly on that list and now I like them
because I read your reviews and I was like, oh,
if I watch it through Dakota's eyes, I actually really
liked this very inspirational.
Speaker 2: It is a very queer genre.
Speaker 5: I mean, yeah, really when you get down to it,
and I will, I'm gonna throw a bonus film for
you because eight thinks this is later Nikatsu. It's another
personal fave, and it's not. It has nothing to do
with the salt. So it's very it's very tasteful, it's
very cute. It's called a Tale of Happiness. It's about
an aging couple, like a couple who like decides that
they're cheating on each other. Then they realize that because
they cheated on these like on each other, they grow
closer together, and it's it's a it's a that sounds
like American.
Speaker 4: It's very.
Speaker 5: Like that.
Speaker 2: Is this like the straight story for pink film?
Speaker 5: No, oh my god, but yeah, I just throw them
because it's like you could see where like Later Nakatsu
is like much later, like eighty I think it's eighty seven,
eighty eighty eight.
Speaker 6: It's one of the last.
Speaker 5: It's one of the last, like in Porno. And I
think it's just something to like because nobody talks about
that and they want to see like they always hear
us talk about the.
Speaker 6: Well, the eighties is a weird pier in general, like
people kind of avoided for Blu Ray of Nikatsu. That's
why it was a big d with like Kawnie's recent
one too, like the fact that oh my god, we're
finally getting something it's not Angel Gods, like I mean,
I love that.
Speaker 3: Yes.
Speaker 5: Yeah. And also, while Casey could always hit us up,
we could give you more stuff. You want to go
unhint or you want to go stuffed.
Speaker 4: I know, well you got you sent me Man and Woman,
which I still haven't watched yet. I've only skipped through it,
and I'm like and you told me it was it
was like a low quality grip wherever. And I was
like this looks great, and yeah, I was like, okay,
I got to watch this. I have to watch the
German dubbed one too. But I also wanted to ask
if people haven't checked out two in the Pink Ou yet,
is what episode? Is there an episode or two that
you think are like good entry points for people who
are coming, who are discovering you guys, I.
Speaker 2: Know what I would say, but i'll.
Speaker 4: As a listener, Gentry, what do you say?
Speaker 2: Well, then Naomi Tani episode, I.
Speaker 5: Think, yeah, yeah, you like gush over her and that's
like hours. We're just like Tawny.
Speaker 6: Also, we chose like an inch title that you couldn't
release because of the dog.
Speaker 5: Oh yes, what what because we talked about rope cosmetology,
which there is a dog saying there's a beast?
Speaker 2: Oh yeah yeah yeah.
Speaker 6: Annie was a very committed actress.
Speaker 5: Meryl Streep would no, she wouldn't.
Speaker 2: She's just like, you know, I think Western audiences can understand.
She's like the queen, you know, the queen of pink film.
We have our queens over here, you guys always compare
to Joan Crawford. Obviously a few differences there, but like.
Speaker 4: A Marsha Jordan or Renee Bond sort of in American Exploitation, Yeah,
we don't really have an S and M. We don't
have like a BDSM adjacent person like Naomi Tani in
Americans Exploitation. We only have like a star system of
regular people who showed up in these movies. But I
feel like Nammutani is known for those the BDSM things,
and her interview in that book is actually terrific. And
it's really that's a very terrific interview that she gave
in that washer book.
Speaker 2: I want to say, like Georgina Spelvin maybe is a
hardcore Maine hardcore yeah, because she was like so prevalent
for such a long time and she kind of did
every I mean, she did some stuff.
Speaker 4: Actually maybe you know what, maybe Marilyn Chambers, because Marilyn
Chambers eventually became was in the S and M beyond
Dasad and ever attender moment where she gets like anally
fisted and stuff, and so she eventually really went nuts,
but with her boundary pushing. But yeah, that's interesting. Naom
Buttani is very unique in that way.
Speaker 2: But what would you guys say?
Speaker 6: Yeah, sorry, I guess our gay one too. We've talked
a lot about gay ping film. I mean, if someone
wants us to, I guess, like listen to something. I
guess you're not watching too, or maybe don't have access
to right. I don't know if I would start with
some of the weirder ones where we're getting from, like VHS,
but again, they're probably films that would sound crazy and exciting,
like who doesn't want to learn about enemas and vegetables or.
Speaker 5: Like raining rain, like raining waterfalls on one of them.
But I'll say all those things together. Yeah episode or
the mary O episode, or I the episode where we
talked about waterfalls, I would say, don't the first episode,
it's just like because we're no the Apartment Wife episode.
That's our first episode.
Speaker 6: We sat in front of a computer in press play
and didn't have a mic.
Speaker 5: We just started and then we just started listening all
the titles of Apartment Wife.
Speaker 2: Yes see, I like the I like the Apartment Wife series.
But I think for a first time listener would be like, well,
this is just too much.
Speaker 5: Yeah. Yeah, That's why I was like, don't go with
down and go with like stuff that's like okay, Like, yeah,
the tawny episode is great.
Speaker 2: It might be overwhelming.
Speaker 6: Yeah, talk about our gay teacher episode.
Speaker 5: That one's a fun one.
Speaker 6: Teachers, Yeah, because like we're just who doesn't want to
learn about lesbian schoolgirls? And I guess political terrorists, oh.
Speaker 5: My god, or like that's the thing.
Speaker 4: As I because full disclosure, I think I think I
told you guys. I have downloaded them all, but I
haven't listened to any of them yet because I want
to watch the movies first. But so basically to.
Speaker 2: Watch the whole Apartment series first.
Speaker 4: If anyone's listening to this and they're like me and
they haven't watched these movies yet, should that deter them
from listening?
Speaker 5: Should I just dive right in?
Speaker 6: No, nothing actually spoils, like well, I mean, we do
spoil like plots, but honestly, it doesn't ruin your experience
in a film whatsoever.
Speaker 5: Yeah, because like Gentry could attest to this, Like sometimes
when we talk about the films, then we go off
and crazy tangents and then I bring up wrestling most of.
Speaker 2: The time all the time, and then other times we.
Speaker 5: Talk about like I also mention other films that like,
rind me of this, and then we just kind of
wrap it up and talk about, like, you know, we
just have fun with they always do the awards at
the end, we like the best actress, the best animal.
You're supporting, No.
Speaker 2: I am. I appreciate the thoroughness, but I just I
would warn a listener that, like it's it's a lot
to take in if you haven't like at least sampled
some of these films.
Speaker 5: I say. Another one, another one to listen to is
a Suto ones because we've done sub.
Speaker 6: It's easy to watch too, Like that's not a hard
mine to see.
Speaker 5: Because we did we did the gay Souto and then
we did did we do?
Speaker 4: Oh?
Speaker 5: We did nakatsus.
Speaker 6: We also covered as lesbian one, which is great.
Speaker 5: Yes, which lesbion silen Oh okay, because I'm like one
of my favors from nakatsu is the Roman X one,
which is kind of a it's really really like raunchy.
Speaker 2: Woman in a Box. Did you guys do a whole
episode on that I can't remember?
Speaker 5: Yeah, we did Taboo Perversion X.
Speaker 6: It's the whole true crime side of I guess like
Roman X too. So like Woman a Box is based
on the colleens Dan kidnapping and it's double partner film.
It's based on a cannibal story from Japan. Yeah, as
one does right, make it sexy?
Speaker 2: Well, and there's a lifetime movie about it too.
Speaker 4: Didn't you guys mention that.
Speaker 2: I could listen them all?
Speaker 6: I know?
Speaker 2: I really like the Sadai Abbe one too. Again, that's
like very mainstream, Like everybody knows in the realm of
the senses, they know this. I mean, most people know
the story of Sadai Abbe so.
Speaker 6: Which is license now by Film Movement. Yeah, on the website.
It's not a secret, that.
Speaker 4: Is Yeah, that is interesting. I forgot about that. Huh.
Speaker 6: If they do any thing with it, I don't know.
Speaker 3: You know.
Speaker 4: See that's the thing. Well, we've been down that road,
lots of people not doing things the things they have.
Speaker 2: You've started prodding them, haven't you, Dakota alright.
Speaker 6: Give us yeah one.
Speaker 3: Uh.
Speaker 2: You guys haven't released your episode yet talking about your screening,
Am I wrong?
Speaker 5: We did, but also we're gonna do that. It's released,
but we had it unlistened because there was some issues
mostly I would say mostly me because I have a
big mouth.
Speaker 6: We didnt say anything negative. You didn't say anything negative.
Oh my god.
Speaker 5: I think some people were listening who were part of
the screening felt a certain way, and you know, and
what I said was like, okay, this way. What I
was saying was mostly all about like just the genre,
like the fandom, and also talk about art world, so
I kind of blended them together and they took it
kind of wrong.
Speaker 6: We also talk about why I like you like this too,
so I don't know also what they reacted to either,
but yeah, so very bad.
Speaker 5: So we're thinking maybe in December we're gonna list it
relistened again.
Speaker 2: Yeah, I'm losing my mind. Yeah, I'm like, I did
listen to it, and I'm looking at your I'm looking
at your feed and it's not on there, Like, yeah.
Speaker 5: It's funny. A lot of our letter Letterbox friends like
especially shout out to John Peters on Letterbox. He said,
I was like, He's like, you didn't say anything bad.
Speaker 2: Yeah, I don't remember anything.
Speaker 5: Yeah, yeah, but again we were playing.
Speaker 2: You just called out that one Letterbox reviewer for which one.
Speaker 4: Yeah, it's one of those kinds of conversations.
Speaker 5: No, no, no, there's many episodes where I always talked
about some kind of sorry for cust. I always talked
about like one we really care about language, Chris, all right, No,
there's always one letter box reviewer somebody like like my
feet somehow like always throw something and I always have
to mention it. And I was like, should I say
the name? And then they're like, no, don't say the
name of the person.
Speaker 2: It's not that hard to find. Just hit recent find it.
Speaker 4: I feel like that's probably drinking game for our podcast too, though, Gentry.
If anytime I anytime I have a soapbox moment to
complain about, somebody, take us take a drink, and I
think I think there's at least bore in every episode,
probably about somebody or some company. Yeah, but you know,
give me a microphone. I'll I can't control myself.
Speaker 2: We're honest podcasts. We're not going to sugarcoat it. That's
what they call pretty much.
Speaker 4: That's why that's why it was so funny. Chris, or
like name the podcast.
Speaker 5: I was like, I'm like, well, yeah, because like they don't.
Speaker 4: I don't like to name them because it hurts my mouth.
Speaker 2: No.
Speaker 5: Because also I was kind of saying about like another
podcast too on the recent episode, but I was like,
I'm not going to mention the name of the podcast,
but it was like, oh, there was some kind of
little little little thing here and there.
Speaker 4: But I was just like, okay, yeah, yeah, when Gentry's
pressed to stop, I'll.
Speaker 2: Tell you, well, Dakota, you're good at these things. Can
you give us like a final closing, closing comment on
the bite and Ken Mukai.
Speaker 6: Because I'm the only one who liked.
Speaker 5: Who is the best actress? Who is the best actress? Best? Well,
we know the best actor obviously, but best actress the
madam there you go. Yeah, yeah, barely, yeah, not the lead, not.
Speaker 2: The lead actor. I didn't think he was very good.
Speaker 6: He was there, he was yeah, but.
Speaker 2: Yeah, again, it's hard to tell because of the dubbings,
so you.
Speaker 6: Know, some random girth the bar that's the best actress
was in the background. That's it.
Speaker 2: The direction is good, the cinematography is good. I think
we can all agree on that.
Speaker 11: Yeah, yeah, absolutely, yes, yes, absolutely, Bob Cressy is jerking
it somewhere.
Speaker 6: Thank you for listening to hear more shows from the
Someone's Favorite Productions podcast network. Please select the link in
the description.
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