Sex and Fury (不良姐御伝 猪の鹿お蝶, Furyō anego den: Inoshika o-Chō): decades after her father is murdered, a pickpocket finally tracks down his killers. This one’s a mix of period revenge and softcore / (s)exploitation film – better known in Japan as the Pinky Violence genre. Unlike most exploitation films the visuals in this movie are often breathtaking: the entire film is framed perfectly, with creative camerawork, and sumptuous, colourful, pop-art combinations of sets, clothing and make up. I would love to see the damage that one of these visionary Japanese directors could do with today’s equipment and budgets. The set-pieces are equally astonishing; a butt-naked lady chopping her way through a gang of swordsmen in snow – it’s a true spectacle to behold, and never feels seedy. International star appeal comes from an infamous Western actress Christina Lindberg (Thriiller: A Cruel Picture), who delivers phonetic lines with little heart – definitely the weakest link in the picture. It may be unfair to compare as the lead actress Reiko Ike is sensational – she’s sexy, smart, dangerous, and you could get lost in those fiery eyes. There’s lesbians, slaves, gambling, drugs, sex, nudity, violence, fetish, swords, guns, nuns, blood… it’s a full house or B-movie buzz word bingo – and as for the ‘Sex and Fury’, the balance is tipped more towards the knockers than the knives. There’s only two real missteps in the film – the gay “ooohhh eeerrr” character (although he’s only in 2 scenes) and that the focus is split between 3 goodies and 3 baddies, which somewhat over-complicates what should be a straightforward revenge movie. In an era where the UK and US were churning out cheap and tacky Video Nasties with the odd notorious – censored – scene, Japan was putting out full-on high-quality exploitation films: containing 50% blood-fest, and 50% boundary-smashing sexualised nudity. Imagine you took a slasher film and gave leading parts to good actors, had a visionary director, and a major studio behind it! This is definitely part of the golden era of stylish, well directed, well acted, rock solid exploitation movies – 40 years old and still a highlight of the genre.
Below are a sample of screenshots / screencaps to give you an idea of the film’s style.
NOTE: In terms of visuals, set-pieces, story and tone Kill Bill borrows very heavily from this film (and more generally these keystone Japanese exploitation films), yet even today’s B-movie hero, Tarantino, couldn’t make a film ½ this ballsy.