From the very first frame, the screen explodes into delirious super-saturated hues … – Mark Schilling
A film by Kan Mukai
Blue Film Woman is a feverish mishmash of horror, blackmail sexploitation and trippy nightclub sequences revolving around the daughter of a stockbroker who is brought to his knees by an unexpected financial crash. In order to stave off bankruptcy, he offers up his wife to his sleazy, reptilian creditor Uchiyama who, after prodding and pawing over her, locks her up in the shed at the bottom of the garden where his retarded son Hiroshi lurks in the attic. She manages to escape from his clutches in the nick of time, only to be mown down by a passing car. With her father now reduced to a gibbering wreck, it is left to daughter Mariko to seek revenge. Rising from her job as a nightclub go-go dancer to a high-class call girl catering for prosperous businessmen, Mariko deploys all the tools of her trade to bring down those responsible for her family’s demise.
One of the very first full-colour pink films, Blue Film Woman looks like it is making up for lost time. From the very first frame, the screen explodes into delirious super-saturated hues, the credits appearing over images from a mock blue film projected across the naked body of its starlet, newcomer Hashimoto Miki, with the screen flooded with prismatic blotches of primary reds and blues, all set to a psychedelic score dominated by bongos and sitars.
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