black tight killers
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yasuharu hasebe a former protégé of maverick director seijun suzuki would branch out on his own in 1966 and direct his first feature film black tight killers. he would take what he had learned from seijun suzuki, bold colors and pulp sensibility that he would infuse into his own films. part spy film and part pulp novel black tight killers was nikkatsu’s answer to the “james bond” films. the female assassin’s know as the black tight killers have assortment of deadly objects like blinding bubble gum, razor - sharp 7″ vinyl, exploding golf balls and exploding bra pads. this movie is more campy then serious and the beautiful cinematography makes up for the incoherent plot. even though the black tight killers isn’t as inspired as seijun suzuki’s films, yasuharu hasebe takes what he had learned from seijun suzuki and comes away with a style all his own .
the scream queens actress was wearing a tight black dress for the scenes and wore her long dark hair down down around her shoulders .
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the pace feels a little off for it to quite qualify as the pop art masterpiece it is going for, but scene by scene black tight killers is always imaginative, full of good staging solutions and shameless. one of the better bond knock offs of the time .
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black tight killers is given the anamorphic widescreen, which is letterboxed at 2. 35: 1. the source print exhibits scratches and grain, while the picture overall is quite clear and crisp with nicely rendered colors. the dvd shows no signs of major artifacting or compression problems .
honeymoon horror
stars: paul iwanski, bob wagner, and cheryl black .
ok, so maybe the genesis of black tight killers wasn’t quite that sordid and grand. but whatever happened, the end result was mind - blowingly cool, a heady concoction of saturated colors, bizarre camera angles, good - natured spoofing, crazy action, and sexy female assassins. standing in the middle of the maelstrom of cool, sporting a boss pair of chelsea boots, was nikkatsu’s most dependable leading action man: akira kobayashi. it’s tempting to classify black tight killers as another in the long line of usually entertaining james bond rip - offs being produced all over the world, and it would be naive (and wrong) to claim that the international smash success of bond isn’t the main reason black tight killers got made; but if you are looking for a true kindred spirit for this nutty gem, you really have to look to the legion of italian fumetti films — movies based on colorful, sexy, and violent comic book anti - heroes. it is within the ranks of diabolik, kriminal, modesty blaise, and barbarella that black tight killers finds its home, and believe me that home is going to have fantastic interior decor .
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the directorial debut of pop stylist yasuharu hasebe, black tight killers already features a very assured visual aesthetic. a live - action comic - book that explodes with colour and movement, seems somewhat narratively scrappy at first, but settles into a fairly compelling chase mystery with a bodycount to rival an arnie flick .
alyssa was wearing a gold top and black skinny jeans, as well as comfortable ugg boots .
there two extras on this dvd, the original theatrical trailer and a 20 - minute interview with director yasuharu hasebe as he discusses the film and his influences. there are extensive liner notes by chris d. black author of the upcoming book yakuza eiga: an encyclopedia of japanese gangster films 1956 - 1980. black tight killers is fun film that offers plenty of action and enough eye popping color that fans of retro spy thrillers should enjoy .
1932 - 2009. known for his work in the violent pink subgenre, he stands out for movies like assault! jack the ripper (76), rape! (76), rape! 13th hour (77) and raping! (78). other genre films by hasebe: black tight killers (66) and alleycat rock series (70) .
black tight killers was released theatrically in japan on february 12, 1966. it was released in the u. s. during this era. it was released in dvd format in japan in 2005. image entertainment released the film on dvd in the united states. this dvd has the burned - in subtitles which were part of the film' s original u. s. release .
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and like i said, even though the cast and crew are making a lark of a movie, hasebe never lets it collapse under the weight of its own self - awareness. he understands that the best spoof of the campy spy film of the 1960s also has to be a very enjoyable spy film, and black tight killers doesn’t forget to entertain. kobayashi, as usual, throws himself into the role’s physical aspects with gusto, and he and the girls who make up the black tight squad get to have frequent fights with fists, feet, guns, bamboo bazookas, and of course more mundane weapons like killer albums and ninja chewing gum .
) and even manages to score a date. unfortunately for him, but fortunately for the movie’s plot, yorkio’s deceased father happens to have hid a stash of gold from the last war, and it’s just as hondo is making progress with the girl that people start coming out of the woodwork to kidnap yoriko and find the gold. one of these groups are pretty standard issue international crime syndicate types. the other group are the black tight killers — a team of female assassins in black fetish masks, high heels, and hot pants .
he has entrusted his operations to a tight, tiny circle of executives, a handful at most. that circle will expand, greatly .
the whole thing is light, frothy, and totally ridiculous. black tight killers looks like some scamp replaced the crew’s cameras with kaleidoscopes — and yet, oddly, it’s far less convoluted than kobayashi’s 3 seconds before the explosion. that movie is kobayashi’s bond movie. this one is his flint movie, with a uch firmer finger on the pulse of the emerging youth counter - culture. i was thoroughly delighted with every single aspect of the movie .
jonathan crow of allmovie notes that the influence of hasebe' s mentor seijun suzuki can be seen in black tight killers. like suzuki, he uses the tropes of the gangster genre to create
a pop - art dreamscape
with
tail fins, flawless fashion, sudden and unexpected go - go dancing, cool jazz, and freakish violence
. hasebe' s quirky use of gaudy color is singled out for comment in the review, which judges the film to be
wild, decadent fun
.
in his survey of the pink film genre, steve fentone sums up black tight killers with ,
chix with guns. what more do ya need ?
jasper sharp writes that the plot is not especially impressive, but of hasebe' s visuals, he comments ,
there is not a single individual sequence here that fails to deliver enough great dollops of saccharine - coated eye candy to satisfy even the most jaded visual gourmand
. he concludes ,
this simply magical film is a hoot from start to finish
.
, two of the director’s off - kilter entries in his early 80s trilogy. obviously, nagatsuka was no stranger to weirdness, and he really cuts loose in black tight killers and seems to be shooting film with an insane mix of bond style suaveness, counter - culture avant gardism, and something that looks like film noir if noir had been able to drench itself in lurid colors. when nagatsuka and hasebe set themselves about creating a dream sequence, it’s ironic that the result is actually less insane and surreal than the film’s waking world .
chris hemsworth kicks off filming for the star - studded men in black spin - off as he cuts a sharp figure in london... 21 years after the first film hit screens
chic 60' s japanese crime adventure romp, thats chocked full of funky pop art flourishes and groovy music. while on leave, a military photographer hondo (akira kobayashi) hooks up with a stewardess named yoriko (chieko matsubar). whom happens to be on the underworlds radar because she likely knows the location of her late fathers dairy, he was involved with a huge gold theft years earlier. both hondo & yoriko get involved with a plot to retrieve the gold, and cross paths with corrupt government officials and a gang of go - go dancing, flick knife wielding, leather clad femme fatals known as the black tight killers .
there’s just one problem: the black tight killers are better getting killed than they are at killing. and so begins the movie’s primary running joke, and the thing that clues the viewer in to the fact that, while hasebe isn’t giving us a movie full of mugging and winking, he’s definitely planting it firmly in the realm of spoof — albeit the best kind of spoof (straight - faced, seemingly earnest, and an excellent example of the genre it is also spoofing). one after another, each of the go - go dancing femme fatales dies in combat, collapsing into hondo’s arms as outrageously melodramatic music swells on the soundtrack .
a braider may braid tightly so that the style lasts as long as possible, which is what most of us want, especially if we' ve saved up our hard - earned dollars to get the style. but tight tension is not good for your hair, hairline, and scalp. medium tension is best for fashioning braids; they may not last as long as tight braids, but your hairline will last much longer .
“he totally believed that women work harder and are stronger, ” res said. “he called them ‘killers, ’ and that’s his highest compliment. and he didn’t feel like he had to compete with them because he was a man and we were women. ”
the
black tight killers
are a group of go - go dancing ninja women who use 45 rpm records and bubble gum as weapons. the central character is a war photographer who meets an airline stewardess and unknowingly enters into an adventure for money smuggled into the country by her father at the close of wwii. the money is pursued by japanese yakuza, american gangsters and the title five with spirited action that very nicely reflects the colors and pop art flavor of the day. all is played with a tongue in cheek style that nicely parodies the spy adventure films of the time. enjoy the fun. supposedly also known as
don' t touch me, i' m dangerous .
as trump’s first executive, when he was first breaking away from his father to develop real estate in manhattan, sunshine would spend days bombing around the island with the boss in his black limousine, scouting properties .
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, one of my very favorite spy movies, and one in which the powers that be are hopelessly corrupt and idiotic, causing coburn to hide out among the hippies and culminating in him, an american spy, and a soviet spy realizing how moronic the whole thing is, and just walking away and having an awesome christmas dinner together. by the time coburn is wildly, joyously playing music in a psychedelic rock band, the gulf between his hipper, more subversive type of spy movie and bond’s old - fashioned squareness is vast. it’s probably no coincidence that bond was being marshaled by a bunch of old british men while flint and the black tight killers who lend their name to the movie were coming from a younger, more anti - authoritarian generation .
when we reviewed 3 seconds before the explosion, we stated that it was one of two nikkatsu studio espionage films released onto the home video market in the united states, both starring studio mainstay akira kobayashi. we also said that 3 seconds before the explosion, daft though it might have been, was the more conservative and conventional of the two. that’s because the second espionage film, black tight killers, was constructed out of some mad fever dream by director yasuharu hasebe and production designer teruyoshi satani after they stayed up all night at a psychedelic go - go cabaret, drunk on suntory whisky and overdosing on a steady stream of pop art and spy movies. when they awoke the next morning, two things had happened. one, their clothes had vanished; and two, they had apparently made a movie about a photojournalist who gets tangled up with a gang of black leather clad go - go girl assassins who fling razor sharp 45rpm records and are armed with ninja chewing gum, among other things .
has held up well over the years and looks just fine in this print acquired by the american cinematheque. the punchy colours couldn' t look any richer, while the scope framing looks just about right. the master was the only subtitled print in existence (there was no original english language release), so the subs are white and burned - in with touch and go results. besides, how else are you going to see it? it' s basically a sweet and silly little puffball of a movie, but black tight killers offers plenty of fun and action for spy fans, and lots of retro campiness for everybody else. the disc (packaged with extensive liner notes by chris d. from the cinematheque) also includes the original japanese trailer with occasional english pitch lines thrown in to make it more palatable for international viewers .
yasuharu hasebe' s black tight killers (1966) is a typical example of the nikkatsu aesthetic of the 60s and bears the stamp of his mentor seijun suzuki. it is a wonderfully camp james bond inspired action thriller with nikkatsu lead akira kobayashi in the lead as a vietnam war photographer who becomes involved in a kidnapping plot of his flight attendant girlfriend. there are several groups after the woman who is daughter of a man who is said to have a large cache of gold from okinawa during the war. one such group sis a band of sisters and cousins who hail from okinawa and are rightful heirs to the gold - they are ninja assassins and... go - go girls! there are several scenes with them getting down at clubs. the bold colors and striking original set designs call to mind those of suzuki' s 60s films like tokyo drifter and gate of flesh. it' s a lot of good 60s camp fun .
hondo first encounters the enticingly clad young women when they save him and his girl from an assault in an alley, though it turns out they only save him because they want to take him apart themselves. each of the girls has been trained in peculiar forms of ninjitsu that incorporate common items in youth culture — records, bubblegum, et cetera — as killing devices. but by far their most powerful attack is the “octopus pot, ” though if you have to go, it might as well be by getting crushed between the lithesome thighs of an attractive japanese woman. hondo finds himself on the foot end of an ass - kicking at the hands of these girls several times before he and they discover that they need to become allies in order to accomplish their respective goals: hondo to rescue yoriko from the thugs who want to use her to find her father’s gold, and the black tight killers to recover the gold and return it to its rightful owners .
hondo (akira kobayashi), is a photo - journalist who has just returned from an assignment photographing the vietnam war. he meets yoriko (chieko matsubara), a stewardess on his flight home. he convinces her to accompanying him to dinner. while they are eating yoriko notices a man who has been following them and when the man approaches yoriko she flees the restaurant. hondo chases after them he finds a group of female assassins are attacking the man who had been following them. the female assassins kill the man and hondo is framed for the murder. the black tight killers are a band of okinawan go - go dancing patriots who mission is to return the stolen gold to its rightful owners. after an alibi proves his innocence he is released from jail and he begins he search for yoriko by aligning himself with the female assassins to help him rescue yoriko from the bad guys. while two rival factions are at war over stolen gold from world war ii .
in this film kobayashi takes the lead as combat photographer daisuke hondo who, when his glamorous air stewardess girlfriend yoriko (matsubara) is kidnapped, follows a trail which leads to the momochi research institute, training ground to a bunch of catsuited female assassins - the black tight killers of the title. not long after a man claiming to be yoriko' s uncle enters into the fray with tales of hidden gold stashed away during the war, and before long daisuke' s american buddy lopez soon turns out to be not quite what he seems. it' s a race to the finish to find the hidden booty in which hondo' s life permanently hangs in the balance. however, whenever things look like they might get a little too rough for our clean cut young hero, there always seems to be one of these slinky ninja maidens on hand to bail him out, replete with their deadly arsenal of bubble gum to blind opponents and razor edged pop records doubling as shuriken .
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offers an equally dazzling display of pop art compositions, groovy music, and outrageous plot twists, all performed in tongue - in - cheek style by an enthusiastic cast. the title pretty much sets the mood, not to mention opening credits featuring a line of foxy femmes in skintight emma peel outfits go - go - ing their hearts out on day - glo sets out of a' 50s mgm musical. upon returning from a combat tour as a photographer in vietnam, hondo (akira kobayashi) goes out for a dinner date with pretty yoriko (chieko matsubara) only to see her abducted by a band of female killers in black tights. the assailants leave behind a dead man whose murder is pinned on hondo by the police, but fortunately a friend show up to supply him with an alibi. hondo begins to track down the missing girl and constantly runs into the black - clad assassins, who have a habit of showing up at convenient moments to either help or hinder him. are they evil pranksters, or is there some deeper conspiracy at work here ?
do not return to tight braiders: some braiders are notoriously hard on hair. once should be enough to tell you that this is someone who doesn' t care about the health of your scalp. hopefully, you live in an area where you have options, but if you don' t, you may need to rethink braid extensions as a regular hairstyle .
it’s at those moments that hasebe tips his camp hand, but again, as ridiculous as each scene is, no one ever cracks a smile or handles with anything less than the gravity due a tragic death. part of the reason hasebe handles the camp so deftly probably has to do with the fact that he apprenticed under inoue umetsugu, a man whose eye for the garish and grand conjured up some astounding camp moments that were, i think, never intended t be camp. inoue loved nothing so much as he seems to have loved a lavish nightclub scene, and he would over - indulge those with reckless glee. his best known movies — with hong kong’s shaw brothers studio, ironically, rather than nikkatsu — like hong kong nocturne and hong kong rhapsody are basically thinly sketched plots that serve as an excuse for inoue to stage insane nightclub scenes and musical numbers. it’s a shame the man never directed an indian film. while hasebe is a markedly different type of director than umetsugu, it’s also obvious that he picked up certain aspects of the elder director’s sense of style. few of hasebe’s movies don’t feature at least one extended nightclub sequence, and black tight killers in particular is a veritable nonstop smorgasbord of colorful weirdness .
the single
a bloody mess
/
the meaning of life
/
bang shang a lang
is not a high point for the spikes. the a side drags on for six whole minutes and is enough to put anyone to sleep. the version of
the meaning of life
on this single is pretty limp compared to the subsequent take with ian singing on colour in a black forest. and the last track is also unexceptional. unfortunately for me, this was the first spikes record i ever got, and it put me off to them for a long time until doug thomas finally cajoled me into giving colour in a black forest a fair listen. doug later admitted it was a mistake to keep the spikes name with this new lineup, and i’m sure ian would second that .
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but trump will follow four consecutive presidents who took considerable pride in the depth of their understanding of policy details. president obama has joked that he knows many areas of policy better than his aides do. president george w. bush, who had an mba from harvard business school, instituted firm top - down controls and insisted on crisp, clear lines of authority. he ran tight meetings and used his vice president, richard b. cheney, as a chief operating officer. president clinton was so detail - oriented that he often engaged aides in lengthy debates that they said felt more like seminars than decision meetings .
you have to remember that these words were spoken in 1986 at a time when nirvana were far in the future and grunge meant little more than dirty sounding music with some fuzzy guitar work. because colour in a black forest sounds like nobody’s idea of grunge today. it’s filled with wonderful songs like the funky
river of love
, the dramatic
leningrad
, and the eerie
spy in my house
, to name just a few. it’s a record of power and depth that’s as much a fresh new pleasure to hear the 50th play as the first .
i also made an appointment for an audition as singer for black sabbath but i chickened out and never showed. the nme and other music papers were full of vacancies for pretty cool jobs in bands, but i wasn’t really serious enough to bother too much and i had a return trip ticket back to aussie anyway. i saw the nomads in a dive in hammersmith and was blown away. there was about 20 people there. i thought their whole attitude and sound was great. i made a mental note to use these qualities in the spikes when i returned home in january 1985 .
colour in a black forest was licensed for release in england by the small indie, zinger records. it didn’t make much of an impression on the empire, but about a year after the release of the album, when ian was struck by the wanderlust again and appeared in london once more, his contact with zinger head paul baylis proved handy, since he put together a new band, the uvs, with baylis playing rhythm guitar under the name llewellyn. perhaps the strangest thing about the album that eventually resulted from this is to see the credits for the drummer…dave bunney, of the exploding white mice, another world class adelaide band. but what’s he doing in england? let’s give ian a chance to explain .
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but on to the spikes masterwork. colour in a black forest was their only full length lp. it was recorded in december of 1985 with the production / engineer team of doug thomas and kim horne. says doug :
i like the way kim works. like most engineers, he likes to fiddle around with his toys and get all the wondrous, huge sounds. i guess the main idea is to let him play with his stuff and then get on with it, say ok, kim, that’s enough, now let’s do it. he’s very good with recording. but production’s bull * * * * anyway, production’s something we should never give credit for ‘cos i think the true meaning of production is arrangement, construction of songs and additives, overseeing the whole thing. the spikes do that themselves .
confusing matters even further is that removed by decades from the point at which something that used to be cool stopped being cool, no one remembers that it ever stopped being cool. sean connery’s james bond, for example. they’re the epitome of cool again, because so few people remember how square bond and his high society beatles - bashing must have sounded in the 1960s. now, james coburn, sean connery, and dean martin are all part of the same “swingin’ 60s” spy genre, regardless of how different they and their philosophies may actually be. muddy the waters even further by adding their european counterparts to the mix. suddenly, bond is rubbing elbows not just with that counter culture freak james coburn, but also with diabolik in his black leather catsuit, tony kendall and his oozing playboy… you know, someone needs to invent a word to describe tony kendall in the
whilst it' s true that, despite an ingeniously neat twist at the end, the story is nothing to write home about, there is not a single individual sequence here that fails to deliver enough great dollops of saccharine - coated eye candy to satisfy even the most jaded visual gourmand. during yoriko' s initial abduction the screen pitches into a black void from which each of the kidnappers appears individually picked out in a different colour. car journeys take place against lurid backdrops of violent blues, reds and yellows. a nightclub scene is introduced shot from beneath a glass looking up at a trio of formation dancing babes. when the sassy golf - club swinging minx akiko falls into hondo' s arms, a touching seduction scene is rudely interrupted by an explosion of ninja girls who drag him screaming from his house, which (for no discernible reason other than the aesthetic) sports a giant swinging pendulum in the living room .
here’s ian’s perspective from today (1997) :
the live scene was still pretty healthy in adelaide at the time and the spikes were playing quite regularly. eventually i was coaxed on stage and i did a few numbers with them. so, after that i rejoined for a while. mick and i shared the singing (which was weird) and we played around town for a while and did a tour to melbourne. it was over there that i decided to get out on our return to adelaide. let' s just say mick and jim' s taste for the evil things that go with rock' n' roll were not to my liking. i told doug i was quitting and i had a batch of new material i had penned overseas. i wanted james on bass, and so doug and james quit too and we formed the spikes. (huh ?) an easier way of doing things than kicking jim and mick out i suppose. the spikes did benefit from jim and mick' s involvement though. we became nastier and dirtier. so roll on the full length album colour in a black forest .
meanwhile, on the dagoes front, the band had changed singers and released another single (
daunting
/
blood on my face
) which didn’t do well, and the dagoes split up again. ian had originally played on the recordings for this, but when the dagoes recruited a new bass player in nigel sweeting (credited as gino earthquake) they had him redo the bass track. in early 1982, doug thomas recruited ian and the turk from the dagoes, and they recorded a rejected track doug had written for the dagoes called
kill the prime minister
under the band name the assassins. money being tight, the single didn’t actually come out until 1983. it’s an odd mix, with the guitar way loud compared to the vocals. in tim kelton’s book underground in the city of churches doug thomas is quoted as saying :
i didn’t like the way he (ian) sang. it was ian’s first studio attempt at vocals, and he really lacked confidence. we couldn’t afford to spend any more time, so we just gave him two vocal shots, picked the best one, and i was never really happy with it until the remix. to me the lyrics weren’t so important - the lyric that is important is the very last line and there’s nothing else going on there - australia needs this man dead - that’s all i had to say, that’s what the song’s about. kill malcom fraser - he’s an arsehole .
and along with the straight up spies and private eyes, you get those insane costumed fumetti heroes and villains. guys in stretch fabric body stockings and combat boots, stalking around with lugers and stilettos (knives, not heels, though i wouldn’t have put it past many of them). chaos and anarchy. anti - heroes. increasingly incompetent authority figures. hell, even bond is an authority figure who thumbs his nose at the authority figures above him. all of these things, influencing and being influenced by one another — the results were beautiful, baffling, and bold. and no one wanted to be left out. though this mad, motley colored jumble of costumed villains, smart suited spies, and pop art sensibilities (or lack of) is generally regarded as the purview of europe, the uk, and the united states, it was hardly limited to those places. turkey adopted the jumble of styles and tropes with reckless abandon, and though their cinematic industry’s commitment to saving cash by shooting in black and white meant they couldn’t take full advantage of the eye - popping kaleidoscope of candy colors that defined the pop art look, they more than made up for it with endless energy, zest, insanity, and a hearty disregard for copyright and intellectual property. india, as well, embraced these sensibilities, albeit in movies that were largely inaccessible to outsiders who couldn’t quite grasp the schizophrenic blend of melodrama, stony - faced patriotism, family drama, romance, and singing and dancing. one westerners did start to poke around in india’s 1960s bond - mimicry output, they found quite a few gems, rough around the edges though they may have been, and an eye for garishly gorgeous over - the - top pop - art interior decor that remains unmatched to this day .
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a military photographer takes a cute stewardess out to dinner where she is promptly kidnapped. deciding that he has fallen in love with the girl, our
hero
decides to investigate her kidnapping himself .
hotel transylvania 3: summer vacation stars plan their dream summer getaways to some memorable movie settings .
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the head of a yakuza gang is being trailed by a mysterious, vengeful blind woman .
a street girl gang clashes with racist local gangsters after one of the girls starts dating an afro - japanese man .
kuroda (jô shishido) is a mob hitman who turns on his employers after being forced to execute his lover. joining forces with his similarly wronged brothers, hot - headed eiji (tatsuya fuji)... see full summary »
a wandering tough biker girl aids a female delinquent gang in their battles against an all - male seiyu group over a fixed boxing match .
a once - powerful yakuza clan disbands as a result of a police crackdown but one small group refuses to bow to police pressure, and launches a campaign to take over tokyo' s drug, prostitution, and gambling rackets .
jiro, an ex - convict, comes back to the street after eight years. the gang to which he belonged is nearly disbanded; only the aging boss in his sick bed remains. still loyal to the ex - boss, ... see full summary »
two friends who witnessed an organized crime murder are threatened by the local mob into keeping quiet .
the first feature directed by hasebe, on of nikkeatsu' s most talented directors in the late 1960s. a true pop art classic .
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prior to devoting their entire production to the roman porno line of slickly made skinflicks in the early 70s, nikkatsu' s output throughout the previous decade had been heavily oriented towards a youth audience, predominantly falling within two genres: the akushon eiga (action film) and the seishun eiga (youth film). the latter were influenced by american films such as nicholas ray' s rebel without a cause and richard brooks' the blackboard jungle (both 1955) and reflected the growing autonomy that teenagers were experiencing the world over through means of rock' n' roll music and fashion .
nurtured by the studio as a teen idol, the immaculately groomed akira kobayashi played the handsome lead in a number of these films throughout the sixties such as seijun suzuki' s early contributions to the seishun genre, young breasts (aoi chibusa, 1958) and the spring that didn' t come (fumihazushita haru, 1958), and action fare such as the wandering guitarist series (gita wo motta wataridori, 1959 - buichi saitoh) and the night mist (yogiri no bojo, 1966 - akinori matsuo) .
there' s some teasing semi - nudity initially cropping up a in nightclub act featuring a pair of gold spray - painted dancers, and yoriko is later stripped to her smalls and coated in white paint. the bond influence is tangible throughout, but when hondo is threatened with death by suffocation from gold leaf, such stylistic borrowings become a little more clear - cut. it would be a year before the debt was repaid when bond himself arrived in japan for lewis gilbert' s you only live twice .
the burned - in subtitles on the print rescued from the american cinematheque by chris d. , author of outlaw masters of japanese film, and put out on dvd by image entertainment, show that obviously yasuharu hasebe' s insanely stylised debut did get a us release at some point, but at times they are a little difficult to read against the garish colour palate - a minor gripe, as this simply magical film is a hoot from start to finish. well worth checking out .
a secret map leads to a fortune in gold, but war photographer daisuke hondo (akira kobayashi) is just attempting to get his girlfriend, yoriko sawanouchi (chieko matsubara), back from the thugs and gangsters who keep kidnapping her. luckily, daisuke is helped by a team of female ninjas armed with unusual weapons, such as deadly flying bubble gum and record discs that are as sharp as saw blades - - not to mention considerable go - go dancing abilities .
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daisuke honda, a war photographer in vietnam, meets yuriko sawanouchi, a stewardess on his plane back to japan. after drinking with her at a tokyo bar, he becomes involved in saving yuriko from assassination by stylish, female ninjas. when trying to rescue yuriko from kidnappers, daisuke discovers a group of foreigners are hunting for a wwii - era treasure hidden on an island by yuriko' s father .
squanders an incredible premise (all - girl gang of go - go dancing ninjas) on a kinda bland eurospy - meets - nikkatsu hybrid vehicle for akira kobayashi. the girl gang is amazing, so it' s a shame that they all get picked off one - by - one, just for the sake of helping kobayashi save the day .
it' s his first movie, but even here, hasebe' s sense of style, color and rhythm are just too good. the clear high points are the opening credits and the ultra - stylized dream sequence where chieko matsubara literally bursts through multi - colored voids while being chased by the titular gang. both sequences give suzuki a run for his money (and may even top tokyo drifter, also from 1966), and i kinda wish the whole film was like that. still - - despite my qualms, it' s a movie about a girl gang that' s armed with tape measure katanas and exploding golf balls. what more could you want ?
not quite as coherently edited or as solidly plotted as a lot of the other retro pulp - ism i' ve been indulging in lately, but it does have a team of go - go dancers / assassins that use tape measure and vinyl records as weapons, which goes a long way. the hero of the film is basically what if james bond was a war correspondent whose only mission was constantly rescuing the same kidnapped woman, and also he lives with q .
“boom! , boom! ... thats a plastic bomb. ” - yoriko (chieko matsubara )
hasebe makes full use of the nikkatsu studio in this pastel - drenched fun ride. with a barely - there plot and enough gimmicks to make gallagher jealous, this is a lighthearted and entertaining flick. hasebe' s eye for color, subtle anti - imperialist themes, and badass female characters foreshadow his later works .
nikkatsu mancrush akira kobayash - a war photographer raised as a ninja by yohei out of seven samurai, falls for a stewardess who gets kidnapped on their first date. whilst searching for her he encounters gangsters and a team of deadly female ninja, all in pursuit of some mysterious prize .
delirious and super stylish spy girl action with fights, sweet tunes and fab ninja weapons - like 7inch records. recommended .
la mejor manera de ver esta peli es como si fuera un musical, dejándose llevar por las fascinantes composiciones de color y música de hasebe, propias del comic o del cine pop italiano tipo diabolik. hasta el prólogo bélico parece una fiesta de fuegos artificiales. la trama de espionaje da completamente igual, pero los numeritos que se montan son puro placer estético .
this film is campy, but visually very accomplished for a debut. lots of great use of color and set design liven things up for a long time. but, eventually, the film falls into a somewhat repetitive formula; as main characters die off and say nice things about the protagonist every ten minutes, the experience becomes a bit tiresome. using stock characters and predictable plotlines, the film is racing towards its next cool setpiece. eventually, the film moves into settings that limit its ability as a visual showcase, a sad disappointment .
ultimately, i' d compare my experience to eating a 20 pc mcnugget order. i enjoyed it for a good while, but monotony and a sense of the film' s lack of nutrition eventually set in. i felt a little bloated by the film' s conclusion .
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black tight killers ( 俺にさわると危ないぜ ore ni sawaru to abunaize ) , literally - " if you touch me , danger " is a 1966 japanese film directed by yasuharu hasebe and based on the novel 三重露出 by michio tsuzuki . 
black tight killers (俺にさわると危ないぜ ore ni sawaru to abunaize), literally - " if you touch me, danger " is a 1966 japanese film directed by yasuharu hasebe and based on the novel 三重露出 by michio tsuzuki.
black tight killers (俺にさわると危ないぜ ore ni sawaru to abunaize), literally - " if you touch me, danger " is a 1966 japanese film directed by yasuharu hasebe and based on the novel 三重露出 by michio tsuzuki.