Japanese Softcore: The Last of Tokyo's Pink Eiga Theaters
Tokyo Love Story is a Sabukaru series where we explore the love & sex industry of Japan, and take a deep look at what goes on inside and out of it. In this edition, we dive into the history of the pink genre [Japanese softcore erotic films]. Then, we sent one of our editors on a quest to review some of the last remaining cinemas screening these hidden gems.
Japan’s film industry in the late 1960s was in shambles, ticket sales were tanking, studios were operating on tight budgets, and a handful of the most successful film production companies were filing for bankruptcy. The cause? TVs by the midcentury were found in almost every Japanese household, providing a cheaper, more accessible alternative to going to the theater. The formulaic chambara [samurai action movies], yakuza-eiga [gangster films], and family dramas churned out by major film studios such as Toei, Shochiko, Nikkatsu and Toho weren’t cutting it anymore especially now that these familiar genres were found in TV shows.
What to do in a tight spot like this? For many major studios, Nikkatsu in particular, relied on the classic mantra “sex sells”, infusing their movies with titillating content, breasts, and bottoms as well simulations of sexual acts [without ever featuring anything hard core]. This fusion of surprisingly complex plot lines, and extensive dialogue, with a heavy dosage of soft-core pornography, would later be known as the “pink genre”.
Although the pink genre spawned a variety of sub-genres such as the professionally produced fantasy ridden Roman Porno/ロマンポルノ[short for romantic pornography produced by the big studios], pinku eiga/ピンク映画 [extremely low budget independent soft-core porn productions], and pinky-violence films [female led violent action moves mixed with soft-core porn], Japan’s strict movie censoring laws at the time forbid any actual footage of the act itself. Even the presence of a single pubic hair on screen was seen as the cause for a movie's complete ban from Japanese cinemas. What the pink genre lacked in actual graphic footage, it made up for with innuendos, strategically placed fog blurring out sensitive areas, and the use of some pretty odd phallic objects [long tipped guns, vegetables, and even shoe horns] to fill in the blanks.
Pink eiga’s popularity resulted in two seemingly opposing trends in the development of Japanese film: a steady flow of erotic movies [aimed at mostly straight men] following a standardized framework that was a cash cow for the struggling film industry and a gateway for new experimental content from up-and-coming directors to reach broader audiences. The pink genre's consistent bankability gave fledgling directors free rein to make bold and bizarre films. As a result, directors later renowned for their non-pornographic films, such as Koji Wakamatsu, Noboru Tanaka, and the legendary Sion Sono, were allowed to experiment with dialogue, soundtrack, and mise en scene as long as their movies followed certain guidelines.
These guidelines were: a sex scene roughly every 5 minutes, no fully graphic shots, a heavy injection of violence, and a budget of frequently only 3 million yen. To further cut corners, pink eiga productions often used non-actors and private homes or local bars instead of professional studio locations further adding to the genre's odd charm.
By the 1970s the soft-core pink films accounted for over 70% of all films produced in Japan. Undeniably, a lot of pink eigas are formulaic standard plots, featuring virgins gone bad, insatiable housewives, ravishing female gangsters, and more controversially women subjected to masochistic abuse through rape or incest. Pink eiga continues to shock today because no taboo fantasy is off-limits.
The enduring allure of the pink genre, and why some weirdos [me included] still venture out to the last decrepit theaters dotting Tokyo, is that the way the film-going experience from a bygone era is preserved. It’s cinematic nostalgia at its seediest, with movies screened on rickety projectors rolling 35mm film, triple features showing pink films back to back, vending machines selling cheap beer, customers who on average are 60 years old, and theaters with interiors like a time-warp from their 1970s heyday. Occasionally, in between the terrible acting or odd plotlines, you stumble upon a hidden cinematic gem that makes you glad you ventured out to the theater. Plus you can even bring your own snacks [if you dare to eat in these dubious circumstances]. Let Sabukaru take you on a brief tour of two of Tokyo’s last remaining pink eiga cinemas.
***Full disclosure, the pink eiga viewing experience isn’t for the faint-hearted, theaters still serve as active “cruising” spots for people looking for more than just watching a movie and other X-rated activities. Also, from experience [writing this article as a 20-something female] it’s advised that you go with a friend to decrease the chance of any unwanted interactions which will still ~probably~ happen anyways.
シネロマン 池袋 [Cine Roman Ikebukuro Theater]
The entrance to the Cine Roman Ikebukuro Theater
The first floor of the cinema, with posters of this weeks movie showings
The ticket machine is of the Cine Roman is similar to a ramen shop, with discounts for ladies and college students
The Cine Roman Ikebukuro Theater is by far the best theater to watch pink eiga. Located just a couple steps from Ikebukuro station, you could easily miss the small surprisingly clean theater located in the basement. The place looks pretty much like a dentist's office at first glance all shiny and white, but upon closer inspection, you can see posters of the current screening lineup. Instead of talking directly with an attendant, you can buy tickets from a dispenser.
To sweeten the deal, ladies and college students get a discounted ticket for a triple feature screening. Located in the lobby there are beer dispensing vending machines and you can bring your own snacks. As expected the crowd wasn’t filled niche film enthusiasts, but the expected 60 and above salaryman type. The audience was pretty mild mannered except for one confused guy who asked “what's a nice girl like you doing in a theater like this” and then tried to practice his basic English conversational skills with me in the middle of the film. Overall, I’d recommend this theater if you’re beginning your pink eiga journey, the place is less grimy than most Tokyo theaters and film selection was eclectic, a nice mix of well known features coupled with clearly amateur productions.
UENO Okura Theater
Poster’s showing this weeks lineup at the Okura theater
You can buy snacks at the counter or bring your own at the Okura Theater
The doorway before entering the screening room at The Okura theater
The Okura Theater in Ueno is probably the most well known of Tokyo’s pink eiga theaters. Built in 1951, it screened “Flesh Market” one of the first Pink Eiga ever made. Purposely indiscreet, the neon sign flashing “adult cinema” in lights and walls plastered with raunchy movie posters make it pretty clear that this is a pink eiga only theater. When I entered I was greeted by a wholesome-looking 70-year-old woman, who asked if I knew “what kind of theater” this was. After I quickly said yes, she shrugged and handed me my ticket. I was led into a salty smelling theater seating 40 people that looked like it had seen better days. Much like the interior, the customers were also over 60 years old and definitely not there to just watch a movie. I later learned that the theater [especially the basement] is an active cruising spot for guys interested in other guys. Nobody spoke to me, but I did get quite a few odd stares and hear a suspicious amount of shuffling in the back row. Despite the seediness of the theater and the clientele, movies featured were from the 70s-80s and pretty good in an artistic sense with funny dialogue and inventive shots that make you [almost] forget you were watching a raunchy movie.
Laputa
The lobby of the Laputa
The Laputa’s gift shop is suprisingly well curated
Laputa is easily the most stylish, clean, and approachable cinemas for watching Pink genre films. Not just showing erotic selections, it also shows seldom screened Japanese movies from bygone eras. Unlike the Okura and Cine Roman Ikebukuro, this theater isn’t a spot for “other” X-rated activities but mostly arthouse movie lovers. Laputa also has a gift shop of curated merch featuring vintage movie imagery. Laputa gives a solid albeit sanitized pink genre movie watching experience, so if your a newbie, a female watching solo or don’t want to be accosted by creeps while trying to enjoy a flick, this is the spot for you!
recommended PINK EIGA:
Whether you’re a newbie to the genre, or a seasoned viewer here are some of our favorites from across the pink genre spectrum.
Ecstasy of the Angels [1973] by Koji Wakamatsu
Lady Snowblood [1973] by Toshiya Fujita
Apartment Wife: Affair In the Afternoon [1971] by Shôgorô Nishimura
In The Realm of the Senses [1976] by Nagisa Oshima
Antiporno [2016] by Sion Sono
School of the Holy Beast [1974] by Norifumi Suzuki
Female Yakuza Tale [1973] by Teruo Ishii
Stray Cat Rock: Delinquent Girl Boss [1970] by Yasuharu Hasebe
