Limited Edition to 300 Copies. Rare Groove Sound from Toei and Nikkatsu 70's Japanese Sexploitation Movies By: Masao Yagi, Hajime Kaburagi and Ichiro Araki. The selction represents the best of music from the Pinku Eiga films, produced in the early 70s by Nikkatsu and Toei: killer wah wah, lightning paced drums, intense horns. A must for any collection.
Pinku Eiga filmmakers, an equivalent of the American sexploitation film genre, which was in itself a response to decades of repression: The uncovered flesh as an analogy of class uprising. Maybe two films can dispute the ownership of this unique genre: Market Flesh (Nikutai no Ichiba, 1962), which is the first proper pink film, and Daydream, a film directed by Tetsuji Takechi, which helped invigorate the genre in those years. The first one, which had its distribution halted by the Japanese police on charges of obscenity, was premiered roughly re-edited, and became a huge success in the Japanese cinema circuit. The storyline of the film was simple enough: three women kidnapped by a sadistic crazy man, and forced to entertain his co-workers and friends. Daydream was a whole film constructed on an artist’s elaborated fantasy with a woman in a dentist office, in which the dentist performs different kinds of abuse on her.
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The history of pink eiga started in the early 1960s, when the Japanese film industry underwent some major changes. In 1960, Japan produced a record 545 films. But cinema attendance was falling, and by 1962, attendance had dropped to half of 1958’s one billion visits. Attendance continued to falter, spurred by the rapid spread of television and the development of the leisure industry. This plunged the dominant major film studios into a crisis.

But unlike common pornographic movies, the pinku eiga genre started as a fantastic mix of new ideas and techniques which are still influential in today’s cinema. Avant garde, surrealism, extreme violence, s&m, pop culture and art guild cinema were all part of the same genre, all mixed in the same bowl, a recipient which would provide some of the best cinema that exists nowadays (The Embryo Hunts in Secret & Go Go Second Time Virgin (Wakamatsu, 1966), Daydream (Takechi, 1964)) and which was a school for a whole band of almost legendary filmmakers to come (Wakamatsu, Kiyoshi Kurosawa, Norifumi Suzuki, Ikera, and the prolific Satoru Kobayashi).

The uniqueness of pink cinema is, from a strictly historical point of view, that the industry indirectly supported avant-garde, filmmaking and cinema in general, and helped internationally renowned directors as Kurosawa Kiyoshi, Suo Masayuki, Sono Sion and Oki Hiroyuki to grow and develop their cinematic skills. There is probably no other country in the world where sexploitation film can claim the same years of cultural and artistic influence on film and filmmaking