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OP Eiga

From Wikipedia, the free encyclopedia
OP Eiga
IndustryPornography
FounderMitsuru Ōkura
Headquarters
Tokyo
,
Japan
ProductsPink films
Websiteokura-movie.co.jp/op
okurapictures.com

OP Eiga (オーピー映画えいが), also known as Ōkura Eiga (大蔵おおくら映画えいが) or Okura Pictures,[1] is the largest and one of the oldest independent Japanese studios which produce and distribute pink films.[2] It was founded in 1961 by Mitsuru Ōkura,[1] former president of film studio Shintōhō.[3] Along with Shintōhō Eiga, Kantō, Million Film, and Kōji Wakamatsu's production studio, Ōkura was one of the most influential studios on the pink film genre.[4] Among the many notable pink films released by the studio are Satoru Kobayashi's Flesh Market (1962), the first film in the pink film genre.[5]

Ōkura Eiga in the 1960s

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Mitsuru Ōkura was the president of the major film studio, Shintōhō, from 1955 until the studio's bankruptcy in May 1961.[3][6] He produced numerous films during this time, including Emperor Meiji and the Great Russo-Japanese War (1957), which held the Japanese box office record of 20 million admissions for decades, up until its record was broken by Hayao Miyazaki's Studio Ghibli anime film Spirited Away (2001).[1]

In keeping with his carnival barker roots, Ōkura had moved Shintōhō into exploitation film genres during his time at the studio.[7] Among the genres in which the studio specialized under Ōkura were horror, science-fiction, war, crime and sex films.[3][8] The same year of Shintōhō's demise, Ōkura founded the Ōkura Eiga studio.[6] Ōkura established his new studio by setting up production in Shintōhō's facilities in Setagaya, Tokyo which he had purchased with his own company.[8] Shintōhō employee Kouichi Gotō bought the studio's Kansai studio as well as the use of the studio name to start up a new enterprise, Shintōhō Eiga. After Ōkura, Shintōhō Eiga is currently the second largest pink film studio.[2]

The early titles produced at Ōkura Eiga indicate that the films from Ōkura's new studio continued the themes pioneered at Shintōhō.[8] Director Satoru Kobayashi's all-color 1963 film, The Mysterious Pearl of the Ama, for example, looks back to Shintōhō's boundary-pushing female pearl-diver films of the mid-1950s, starring Michiko Maeda and Yōko Mihara.[9] Kobayashi also directed ghost stories in the style of the films of Shintōhō's Nobuo Nakagawa, with titles like Okinawa Hanging Phanton Ghost Story (沖縄おきなわ怪談かいだん逆ぎゃく吊つり幽霊ゆうれい, Okinawa Kaidan Sakasazuri Yūrei) (1962), Ghost from the Continent or Ghost Story: Phantom Foreigner (怪談かいだん異人いじん幽霊ゆうれい) (1963), and Ghost Story: Cruel Phantom (怪談かいだん残酷ざんこく幽霊ゆうれい, Kaidan Zankoku Yūrei) (1964).[10] Kobayashi continued to occasionally make films in this style for Ōkura as late as 1995 with Erotic Ghost Story: Female Ghost in Heat or Lusty Ghost Story: Rutting Woman Phantom (色欲しきよく怪談かいだん　発情はつじょう女おんなゆうれい, Shikiyoku Kaidan: Hatsujō Onna Yūrei) starring actresses Nao Saejima and Yumi Yoshiyuki, who would become a prominent pink film director herself, releasing mainly through Ōkura.[11][12][13]

Kobayashi had worked with Ōkura at Shintōhō since 1954 and came with him to the new studio. Kobayashi's name in the history of cinema was ensured when he directed the first pink film, Flesh Market, in 1962 at Ōkura Eiga.[8] When the police confiscated the film, two days after its release, the studio quickly patched together another version from extra footage, and Flesh Market became a huge success.[5]

The assistant director on Flesh Market, Kin'ya Ogawa who had come from an old Kabuki family, was one of Ōkura's most important directors during the 1960s.[14] One of Ōkura's most experienced and prolific directors,[14] he made his directorial debut in May 1965 with Mistress (妾わらわ, Mekake) for Kokuei studio. This was the first film in the "Part color" format in which key scenes—usually sex scenes—were shot in color while the rest of the film was in monochrome.[10][15] Most of Ogawa's output during the 1960s was released through Ōkura.[10] Though Ōkura had established the pink film genre—called "eroductions" until the late 1960s—with the release of Kobayashi's Flesh Market in 1962, Ōkura would not devote its resources entirely to pink until after the failure of Kiyoshi Komori's big-budget war epic, The Pacific War and the Star Lily Corps (太平洋戦争たいへいようせんそうと姫ひめゆり部隊ぶたい, Taiheiyousensou to Himeyuri Butai) (1962), and the tremendous success of Ogawa's Female, Female, Female (雌めす・メス・牝めす, Mesu Mesu Mesu) (January 1965).[16][17]

At Ōkura, Ogawa initiated one of the most popular themes in pink film, the "urban paranoia" story. His trilogy of films beginning with Conception and Venereal Disease (1968) was an example of this genre, in which an innocent country girl is corrupted by life in the big city.[18] Ogawa also directed "pink kaidan" or erotic ghost stories for Ōkura, and it is with these titles for which he is best remembered.[10] Ōkura was involved in the international distribution system involving softcore pornographic films beginning in the mid-1960s. A 1969 report from Kinema Jumpo indicated that some of Ogawa's films for Ōkura, including 1966-06 Desires of an Abnormal Man (欲望よくぼうの異常いじょう者しゃ, Yokubō no Ijōsha) (June 1966) and College Coed's Forbidden Flower Garden (女子大じょしだい生せいの禁きんじられた花園はなぞの, Joshidaisei no Kinjirareta Hanazono) (September 1967) had been exported and shown in England.[19] Ogawa claims that his favorite of his films is Lustful Room in an Apartment (好色こうしょくマンション(秘ひ) 室しつ, Kōshoku Mansion-Shitsu) (November 1968), but most critics name Research into a True Virgin aka Search for a True Virgin (純じゅん処女しょじょしらべ, Jun Shojo Shirabe) (June 1968) as his best film. Both films were made for Ōkura.[20] Ogawa stayed with Ōkura for six years, joining Million Film in 1970 and later working at Shintōhō Eiga and Nikkatsu.[21]

To help fill the double- or triple-bill programs in his own theatres, Ōkura imported yō-pin or "Western pink" into Japan.[8] These were softcore sexploitation films of the type that were shown in western grindhouses and drive-ins. Ōkura also claims to have produced the first pink film directed by a woman. Kyōko Ōgimachi, an actress in Shintōhō's ama films of the 1950s, directed Yakuza Geisha in 1965. However Jasper Sharp reports that several pink film insiders are skeptical of this claim, as Ōgimachi was Mitsugu Ōkura's mistress, and he was known to treat her with favoritism.[22]

The Weissers write that standard Ōkura Eiga product of the 1960s was a low-budget affair with a forgettable plot which existed only to provide actresses to appear in the nude.[23] One of Ōkura's most popular actresses in their late 1960s output was the shapely Mari Iwai. Iwai was especially known for her roles in coming of age films.[24] Pink film queen Noriko Tatsumi appeared in films for Ōkura, including Love's Milky Drops aka Amorous Liquid (多情たじょうな乳液にゅうえき, Tajōna Nyūeki) (December 1967), made between the shooting on Atsushi Yamatoya's cult pink film, Inflatable Sex Doll of the Wastelands.[25] After her career got off to a bad start with cult horror director Kinnosuke Fukada's disastrous foray into pink, Pleasure Trap (Kairaku no Wana, Kokuei, early 1967), actress Keiko Kayama took the unusual step for the time of initiating a publicity campaign. Following this successful move, she became one of the leading sex film actresses of the era, starring in such box-office hits for Ōkura as Pleasure of Women (女おんなのよろこび, Onna no Yorokobi) (April 1967).[26] Ōkura gave future "SM Queen", actress Naomi Tani her first taste of the SM genre in Memoirs of a Modern Female Doctor aka Contemporary Medical Science on Women and Two Stories Of Sex (現代げんだい女性じょせい医学いがく, Gendai Joi Igaku) (May 1967), and her first role in a fully SM-themed film with Cruel Map of Women's Bodies aka Female Bodies in a Brutal Scenario (女体にょたい残虐ざんぎゃく図ず, Jotai Zangyakuzu) (October, 1967).[27]

Ōkura and OP Eiga in the 1970s and 1980s

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By the time the major studio, Nikkatsu took over the sexploitation genre in the early 1970s with its Roman Porno films, a distribution system for independent pink films had been established, with Ōkura and Shintōhō Eiga controlling most of the venues.[28] Ōkura's production arm was eventually named OP Eiga, while the distribution retained the Ōkura name.[29] Typical of the studio's output in the 1980s, director Kazuhisa Ogawa, with regular star Mayumi Sanjo specialized in a series of college girl films. This series had Ogawa seeking revenge for rape, but, unlike typical rape and revenge films, the first offense was not entirely unwelcomed, and the resulting revenge tends to be light-weight acts of humiliation.[30]

Rape Pornography (犯おかしの淫いん画が, Okashi No Inga) (February 1983) and Spoiled Relationship (熟なれすぎた関係かんけい, Uresugita Kankei) (August 1983) were unusually artistically done, thought-provoking films by regular Ōkura director Dai Iizumi.[31] The Weissers write that Jō Ichimura's 1991 film Lost Female Body (失うしなわれた女体にょたい, Ushinawareta Nyotai) is a "revolutionary" pink film which has acquired a cult following in the years since its initial release.[32]

Along with the exclusively gay-themed ENK studio, OP Eiga is one of very few studios to regularly produce gay pink film,[33] such as Kuninori Yamazaki's award-winning That's When Things Changed (そして、僕ぼくらは変かわった, Soshite Bokura wa Kawatta) (October 1993).[34] A former journalist, That's When Things Changed was Yamazaki's directorial debut. Praised by critics for its intellectual themes, it was not as heartily embraced by regular pink film audiences.[35] Openly gay actor-screenwriter Kouichi Imaizumi has become a key figure in the emergence of gay pink film by writing several scripts directed by Yumi Yoshiyuki for OP Eiga which help to bring a more realism to gay-themed pink films.[36]

OP Eiga today

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OP Eiga has not attempted to foster a "movement" such as the "Four Heavenly Kings of Pink" (ピンク四天王してんのう, pinku shitenno) or "Seven Lucky Gods of Pink" (ピンク七なな福神ふくじん, shichifukujin), though, at the beginning of the 21st century, four major pink film directors are associated with the company: Yutaka Ikejima, Yumi Yoshiyuki, Minoru Kunizawa, and Tarō Araki.[37] Neither has OP Eiga attempted to court overseas audiences, though Jasper Sharp asserts that OP Eiga's films would be popular with foreign audiences.[38] Nevertheless, OP Eiga continues to be a major force in the pink film genre, both because of its prolific output, and because its films are consistently named among the "Best Ten" of the year at the annual Pink Grand Prix.[38] At the 2007 ceremony covering the year 2006, for example. all three top films were from OP Eiga.[39][40] Best Films of the year produced by OP Eiga include Sad and Painful Search: Office Lady Essay (Tarō Araki, 2000), A Saloon Wet with Beautiful Women (Tatsuro Kashihara, 2002), Fascinating Young Hostess: Sexy Thighs (Tetsuya Takehora, 2006), Molester's Train: Sensitive Fingers (Yoshikazu Katō, 2007), and the most recent Best Film, director Yoshikazu Katō's Tsubo Hime Sopu: Nuru Hada de Urazeme (壺つぼ姫ひめソープ　ぬる肌はだで裏うら責ぜめ) (2009).[41] In recognition of its place in the pink film genre, the studio itself was given a special award in 1996.[42]

Personnel and output

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Directors

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Notable directors whose films have been produced or released by Ōkura Eiga / OP Eiga include:

  • Minoru Kunizawa
  • Shigeo Moriyama
  • Kin'ya Ogawa
  • Genji Shibahara

Actors and actresses

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Notable actors and actresses who have performed at Ōkura Eiga / OP Eiga include:

Films

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Notable films produced and/or released by Ōkura Eiga / OP Eiga include:

  • Flesh Market (肉体にくたいの市場いちば, Nikutai no Ichiba) (Satoru Kobayashi, 1962)
  • Cruel Map of Women's Bodies (女体にょたい残虐ざんぎゃく図ず, Jotai Zangyakuzu) (Masanao Sakao, 1967)
  • The Cursed Pond (Kaibyo Noroi no Numa) (Yoshihiro Isikawa, 1968)[43]
  • The Dismembered Ghost (Kaidan barabara yurei) (Kinya Ogawa, 1969)[43]
  • Sex Guy's Inn: Women's Wiggling Asses (性せい奴やつの宿やど　うごめく女おんな尻しり, Seiyatsu no Yado: Ugokumeku Mejiri) (Yutaka Ikejima, 2000)
  • Sad and Painful Search: Office Lady Essay (せつなく求もとめて　ＯＬ編へん, Setsunaku Motomete: OL-hen) (Tarō Araki, 2000)
  • Immoral First Love: Loving from the Nipples (初恋はつこい不倫ふりん　乳首ちくびから愛あいして, Hatsukoifurin: Chikubi kara Aishite) (Tarō Araki, 2001)
  • Private Lessons: Home Teacher's Breast (プライベート・レッスン　家庭かてい教師きょうしの胸元むなもと, Puraibeeto * Ressun: Kateikyōshi no Munamoto) (Minoru Kunizawa, 2001)
  • Sister-in-Law's Wet Thighs (義姉ぎしさんの濡ぬれた太ふともも / 義姉ぎしさんの濡ぬれた太股ふともも, Gishisan no Nureta Futomomo) (Tarō Araki, 2001)
  • Delivery Health Girl: The Moisture of Silken Skin (デリヘル嬢じょう　絹きぬ肌はだのうるおい, Deriherujō: Kinuhada no Uruoi) (Yutaka Ikejima, 2002)
  • Molester's Bus 2: Heat of the Over Thirty (痴漢ちかんバス２　三十路みそじの火照ほてり, Chikan Basu 2: Misoji no Hoteri) (Tarō Araki, 2002)
  • A Saloon Wet with Beautiful Women (美女びじょ濡ぬれ酒場さかば, Bijo Nure Sakaba) (Tatsurō Kashihara, 2002)
  • Adulterous Wife's Dirty Afternoon (不倫ふりん妻つまの淫みだらな午後ごご, Furin-zuma no Midara na Gogo) (Yutaka Ikejima, 2003)
  • Eighteen Year-Old, Uniform's Breast (十じゅう八はち歳さい、制服せいふくの胸元むなもと, Jūhassai, Seifuku no Munamoto) (Minoru Kunizawa, 2003)
  • The Girl Next Door: Taste of Short Steps (隣となりのお姉ねえさん　小股こまたの斬きれ味あじ, Tonari no Onesan: Komata no Kireaji) (Tarō Araki, 2003)
  • Irresistable Angel: Suck It All Up (悩殺のうさつ天使てんし　吸すい尽つくして, Nōsatsu Tenshi: Sūi Tsukushite) (Minoru Kunizawa, 2003)
  • Aspiring Home Tutor: Soiled Pure Whiteness (憧あこがれの家庭かてい教師きょうし　汚よごされた純白じゅんぱく, Akogare no Kateikyoshi: Yogosareta Junbaku) (Yumi Yoshiyuki, 2004)
  • Housekeeper with Beautiful Skin: Made Wet with Finger Torture (美肌びはだ家政かせい婦ふ　指ゆび責ぜめ濡ぬらして, Mihada Kaseifu: Yubizeme Nurashite) (Tarō Araki, 2004)
  • Picture Book of a Beautiful Young Girl: Soaked Uniform (美少女びしょうじょ図鑑ずかん　汚よごされた制服せいふく, Bishojo Zukan: Abusareta Seifuku) (Tetsuya Takehora, 2004)
  • Widow * Second Wife: Real Sucking Engulfing a Rare Utensil (後家ごけ・後妻ごさい　生なましゃぶ名器めいきめぐり, Goke * Gozai: Seishaburi Meikimeguri) (Shigeo Moriyama, 2004)
  • Wife Taxi: Crowded with Big Tits (人妻ひとづまタクシー　巨乳きょにゅうに乗のり込こめ, Hitozuma Takushii: Kyonyū ni Norikomu) (Yutaka Ikejima, 2004)
  • Lustful Wife in Black: Aching (欲情よくじょう喪服もふく妻つま　うずく, Yokujō Mofukutsuma: Uzuku) (Minoru Kunizawa, 2005)
  • Lustful Hitchhiker: Sought Wife (欲情よくじょうヒッチハイク　求もとめた人妻ひとづま, Yokujo Hitchihaiku: Motometa Hitozuma) (Tetsuya Takehora, 2005)
  • Miss Peach: Peachy Sweetness Huge Breasts (ミスピーチ　巨乳きょにゅうは桃ももの甘あまみ, Misu Piichi: Kyonyū wa Momo no Umami) (Yumi Yoshiyuki, 2005)
  • Older Office Lady: Using Her Seductive Tongue (年上としうえのＯＬ　悩なやましい舌した使づかい, Toshiue no OL: Nayamashii Shita Tsukai) (Yumi Yoshiyuki, 2005)
  • Miss Hotel Call Girl: Healing Induction (ホテトル嬢じょう　癒いやしの手てほどき, Hoterujō Iyashi no Te Hodoki) (Tetsuya Takehora, 2006)
  • Big Tit Sisters: Blow Through the Valley (巨乳きょにゅうな姉妹しまい　～谷間たにまに吸すいつけ～, Kyonyū na Shimai * Tanima ni Fuitsuke) (Yumi Yoshiyuki, 2006)
  • Hostess Madness: Unparched Nectar (ホスト狂ぐるい　渇かわかない蜜みつ汁じる, Hosuto Kurui: Wawakanai Mitsu-Jiru) (Yutaka Ikejima, 2006)
  • Fascinating Young Hostess: Sexy Thighs (悩殺のうさつ若わか女将おかみ　色いろっぽい腰こしつき, Nōsatsu Waka Okami: Iroppoi Koshitsuki) (Tetsuya Takehora, 2006)
  • Shōwa Erotic Romance: The Virgin's Bashfulness (昭和しょうわエロ浪漫ろうまん　生娘きむすめの恥はじらい, Shōwa Ero Roman: Kimusume no Hajirai) (Yutaka Ikejima, 2006)
  • Company President's Secretary: Hunting Big Tit Sexual Harassment (社長しゃちょう秘書ひしょ　巨乳きょにゅうセクハラ狩かり, Shachō Hisho: Kyonyū Sekuharakari) (Kuninori Yamazaki, 2007)
  • Fascinating Woman: The Temptation of Creampie (奪うばう女おんな　中出なかいでしの誘惑ゆうわく, Ubau Onna: Nakadashi no Yūwaku) (Yutaka Ikejima, 2007)
  • Lewd Priest: Playful Writing on a Woman's Body (ワイセツ和尚おしょう　女体にょたい筆ひついじり, Waisetsu Oshō: Nyotai Fudeijiri) (Shigeo Moriyama, 2007)
  • Widow Apartment: Big Tits' Aching Night (未亡人みぼうじんアパート　巨乳きょにゅうのうずく夜よる, Mibōjin Apaato: Kyonyū no Uzuku Yoru) (Yumi Yoshiyuki, 2007)
  • Molester's Train: Sensitive Fingers (痴漢ちかん電車でんしゃ　びんかん指先ゆびさき案内あんない人じん, Chikan Densha: Binkan Yubi Saki Annai Nin) (Yoshikazu Katō, 2007)
  • Adultery Addiction: Sensual Daze (不倫ふりん中毒ちゅうどく　官能かんのうのまどろみ, Furinchūdoku: Kannō no Madoromi) (Yumi Yoshiyuki, 2007)
  • The Sticky Taste of a Peach-Skinned Proprietess (桃もも肌はだ女将おかみのねばり味あじ, Momo Hada Okami no Nebari Aji) (Tetsuya Takehora, 2007)
  • Impure Uniform: Writhing Thighs (不純ふじゅんな制服せいふく　悶もだえた太ふともも, Fujunna Seifuku: Modaeta Futomomo) (Tetsuya Takehora, 2008)
  • Best Friend's Wife: The Black Panties of a Secret Rendezvous (親友しんゆうの妻つま　密会みっかいの黒くろ下着したぎ, Shinyū no Tsuma: Mikkai no Kuroshitagi) (Yutaka Ikejima, 2008)
  • Female Prisoner Ayaka: Tormenting and Breaking in a Bitch (女囚じょしゅうアヤカ　いたぶり牝めす調教ちょうきょう, Joshū Ayaka: Itaburi Mesu Chōkyō) (Naoyuki Tomomatsu, 2008)
  • Cousin White Paper: Aching Mature Lewdness (いとこ白書はくしょ　うずく淫乱いんらん熟じゅく, Itoko Hakusho: Uzuku Inran Netsu) (Tetsuya Takehora, 2009)

Bibliography

[edit]

English

[edit]
  • Cowie, Peter, ed. (1977). "Japan". World Filmography 1967. London: Tantivy Press. ISBN 0-498-01565-3.
  • Cowie, Peter, ed. (1977). "Japan". World Filmography 1968. London: Tantivy Press. ISBN 0-904208-36-2.
  • Sharp, Jasper (2008). Behind the Pink Curtain: The Complete History of Japanese Sex Cinema. Guildford: FAB Press. ISBN 978-1-903254-54-7.
  • Weisser, Thomas; Yuko Mihara Weisser (1998). Japanese Cinema Encyclopedia: The Sex Films. Miami: Vital Books : Asian Cult Cinema Publications. ISBN 1-889288-52-7.

Japanese

[edit]

Notes

[edit]
  1. ^ a b c "About". Okura Pictures. 28 September 2018. Retrieved 25 January 2019.
  2. ^ a b Sharp, p. 10.
  3. ^ a b c Stephens, Chuck. "Jigoku: Hell on Earth". www.criterion.com. Retrieved 2010-06-18.
  4. ^ Weisser, p. 20.
  5. ^ a b Sharp, pp. 46-47.
  6. ^ a b Sharp, pp. 10, 46.
  7. ^ Rucka, Nicholas. "The Death of J-Horror?". www.midnighteye.com. Retrieved 2010-06-18.
  8. ^ a b c d e Sharp, p. 46.
  9. ^ Sharp, p. 39.
  10. ^ a b c d Sharp, p. 58.
  11. ^ "色欲しきよく怪談かいだん 発情はつじょう女おんなゆうれい". Japanese Cinema Database (Agency for Cultural Affairs). Retrieved 2010-06-27.
  12. ^ Weisser, p. 130.
  13. ^ Sharp, pp. 59, 298.
  14. ^ a b Weisser, pp. 70, 107.
  15. ^ 妾わらわ (in Japanese). Japanese Movie Database. Retrieved 2010-06-19.
  16. ^ Sharp, pp. 47, 58, 204.
  17. ^ "雌めすめす牝めす". Japanese Cinema Database (Agency for Cultural Affairs). Retrieved 2010-06-27.
  18. ^ Weisser, pp. 86, 107.
  19. ^ Sharp, p. 177.
  20. ^ Weisser, pp. 258-259.
  21. ^ Weisser, pp. 70, 107, 257.
  22. ^ Sharp, pp. 294-295.
  23. ^ Weisser, p. 363.
  24. ^ Weisser, p. 81.
  25. ^ Weisser, p. 256.
  26. ^ Weisser, pp. 317, 318.
  27. ^ Weisser, pp. 138, 269.
  28. ^ Sharp, p. 203.
  29. ^ Sharp, p. 338.
  30. ^ Weisser, pp. 376, 388.
  31. ^ Weisser, pp. 327, 417.
  32. ^ Weisser, p. 246.
  33. ^ Sharp pp. 10, 305.
  34. ^ "Best Ten of 1993, 6th Ceremony 1993年度ねんどベストテン ＜第だい6回かいピンク大賞たいしょう＞" (in Japanese). P.G. Web Site. Retrieved 2010-04-16.
  35. ^ Weisser, p. 431.
  36. ^ Sharp, p. 306.
  37. ^ Sharp, p. 334.
  38. ^ a b Sharp, p. 333.
  39. ^ Sharp, p. 331.
  40. ^ "Best Ten of 2006 (２００６年度ねんどベストテン)" (in Japanese). P.G. Web Site. Archived from the original on 2012-08-05. Retrieved 2009-01-18.
  41. ^ "2009年度ねんどベストテン (Best 10 of 2009)" (in Japanese). P.G. Web Site. Retrieved 2010-03-25.
  42. ^ "Best Ten of 1996 (１９９６年度ねんどベストテン)" (in Japanese). P.G. Web Site. Retrieved 2009-01-18.
  43. ^ a b Lee, Walter W. (1973). "Reference Guide to Fantastic Films". Chelsea-Lee Books. Page 238
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