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Million Film
Million Film (ミリオンフィルム) was one of the early independent studios which produced pink films. Along with OP Eiga, Shintōhō Eiga, Kantō and Kōji Wakamatsu's production studio, Million Film was one of the most influential on the genre during its first decade. Many of the most prominent directors and performers in the pink film genre worked for Million Film.
Million Films was a subsidiary of Keitsū Productions, which ran a string of cinemas during the post-war years, including the Shinjuku Moulin Rouge, which Keitsū revived and ran as a movie theater beginning in April 1947. Late in 1968, Million began distributing films for other production companies, beginning with pink film pioneer Kan Mukai's Cruel Story of a Sex Film Actress (セックス女優残酷史, Sex Joyū Zankokushi) in September.
In its first year of existence, Million Film distributed films starring some of the leading performers in the pink film industry. Sex Drive (セックスドライブ), produced by Unimonde and released by Million in October 1968, gave future Nikkatsu Roman Porno queen Kazuko Shirakawa a role as one of lead actor Masayoshi Nogami's sex partners. Unusual for Nogami, who specialized in roles as rapists, Shirakawa's character is a willing participant. Produced by Yamabe Pro and released by Million in November 1968, director Jirō Matsubara's Orgy of Flesh or Bewitching of the Flesh (肉の競艶, Niku no Kyōen) was notable for teaming two of the most popular pink film actresses of the day, Naomi Tani and Mari Iwai.
While continuing to distribute films from other production companies, in 1969, the year in which the production company was founded, Million Film began producing films for Keitsū's theater chain. During the boom years of the pink film industry, in the mid- to late-1960s, dozens of small studios produced pink films. The major studios, including Toei, and especially Nikkatsu took over the sexploitation film in the early 1970s. This was a period of weeding-out of smaller independent studios, leaving only a few major pink studios. Along with Shintōhō Eiga and Ōkura Eiga (OP Eiga), Million was one of the few independent studios to survive this era.
Among the prominent pink filmmakers who worked at Million were prolific director Kin'ya Ogawa. In 1970, Ogawa came to Million from Ōkura Eiga, and after a short stay at Million, moved on to Shintōhō Eiga. Prominent female pink film director, Sachi Hamano shot her debut film at Million Film in 1971. Titled 17-Year-Old Free Love Tribe (十七才すきすき族, Jūnana-sai Sukisukizoku), Million released the film in September 1972.
Under his pseudonym Yoshikazu Kishimoto (岸本恵一, Kishimoto Yoshikazu), Sōjirō Motoki began directing films at Million with Sex No. 1 (セックスＮｏ．１) (December 1971), starring future Nikkatsu Roman Porno queen Junko Miyashita. Motoki's ties to the pink film went back to 1962, the year of the production of the first film in that genre. Motoki's Free Trade in Flesh (肉体自由貿易, Nikutai Jiyū Bōeki) was one of only four pink films made in 1962. Previous to his career in sex films, Motoki had been a producer at Toho where he was behind such major films as Akira Kurosawa's Ikiru (1952) and Seven Samurai (1954). Motoki continued directing for Million Film until his last film, Sensual College Girl: I Want to Give It to You! (好色女子大生 あげちゃいたい！, Kōshoku Joshi Daisei: Agechaitai!) (June 1977).
The year 1970 also encapsulated the brief pink film career of science fiction author Izumi Suzuki, who made a number of films with Million under the stage name Naomi Asaka, including A Virgin at Play (処女の戯れ), White Paper on the Violation of Prostitutes: Sexual Violence (売春暴行白書・性暴力を斬る), and A Woman's Sexual Development (女性の性徴期).
The survival rate of early independent pink films is very low, but the DVD company Ace Deuce Entertainment has preserved several early Million Film releases and made them available on home video. Yokohama Cheyenne: Woman Swamp Zone (横浜シャイアン 女の湿地帯, Yokohama Shaian: Onna no Shicchi-tai) and New Bride: Mixed Up Figure (新妻 乱れ姿, Niizuma: Midaresugata) (both 1974) are significant both for being examples of surviving early pink films from an independent studio other than Shintōhō Eiga. These are also among the earliest surviving all-color pink film productions. Both these films were produced by Akitaka Kimata's Pro Taka production studio and directed by his son Akiyoshi Kimata under the pseudonym Seiji Izumi (和泉聖治, Izumi Seiji). Both films show a light-hearted and easy-going style which contrasts with the darker style of the director and of Million Film productions in later years. The non-political nature of these two films contrasts with the politically charged pink films of the 1960s, such as those by Kōji Wakamatsu, which often tackled current events. Woman Crime Demon (女犯魔, Johan-ma) made by Genji Nakamura for his own Genji Pro, and released by Million in October 1977 shows a similarly relaxed style, though it does make reference to the political themes of earlier pink film, particularly the Anpo.
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Million Film
Million Film (ミリオンフィルム) was one of the early independent studios which produced pink films. Along with OP Eiga, Shintōhō Eiga, Kantō and Kōji Wakamatsu's production studio, Million Film was one of the most influential on the genre during its first decade. Many of the most prominent directors and performers in the pink film genre worked for Million Film.
Million Films was a subsidiary of Keitsū Productions, which ran a string of cinemas during the post-war years, including the Shinjuku Moulin Rouge, which Keitsū revived and ran as a movie theater beginning in April 1947. Late in 1968, Million began distributing films for other production companies, beginning with pink film pioneer Kan Mukai's Cruel Story of a Sex Film Actress (セックス女優残酷史, Sex Joyū Zankokushi) in September.
In its first year of existence, Million Film distributed films starring some of the leading performers in the pink film industry. Sex Drive (セックスドライブ), produced by Unimonde and released by Million in October 1968, gave future Nikkatsu Roman Porno queen Kazuko Shirakawa a role as one of lead actor Masayoshi Nogami's sex partners. Unusual for Nogami, who specialized in roles as rapists, Shirakawa's character is a willing participant. Produced by Yamabe Pro and released by Million in November 1968, director Jirō Matsubara's Orgy of Flesh or Bewitching of the Flesh (肉の競艶, Niku no Kyōen) was notable for teaming two of the most popular pink film actresses of the day, Naomi Tani and Mari Iwai.
While continuing to distribute films from other production companies, in 1969, the year in which the production company was founded, Million Film began producing films for Keitsū's theater chain. During the boom years of the pink film industry, in the mid- to late-1960s, dozens of small studios produced pink films. The major studios, including Toei, and especially Nikkatsu took over the sexploitation film in the early 1970s. This was a period of weeding-out of smaller independent studios, leaving only a few major pink studios. Along with Shintōhō Eiga and Ōkura Eiga (OP Eiga), Million was one of the few independent studios to survive this era.
Among the prominent pink filmmakers who worked at Million were prolific director Kin'ya Ogawa. In 1970, Ogawa came to Million from Ōkura Eiga, and after a short stay at Million, moved on to Shintōhō Eiga. Prominent female pink film director, Sachi Hamano shot her debut film at Million Film in 1971. Titled 17-Year-Old Free Love Tribe (十七才すきすき族, Jūnana-sai Sukisukizoku), Million released the film in September 1972.
Under his pseudonym Yoshikazu Kishimoto (岸本恵一, Kishimoto Yoshikazu), Sōjirō Motoki began directing films at Million with Sex No. 1 (セックスＮｏ．１) (December 1971), starring future Nikkatsu Roman Porno queen Junko Miyashita. Motoki's ties to the pink film went back to 1962, the year of the production of the first film in that genre. Motoki's Free Trade in Flesh (肉体自由貿易, Nikutai Jiyū Bōeki) was one of only four pink films made in 1962. Previous to his career in sex films, Motoki had been a producer at Toho where he was behind such major films as Akira Kurosawa's Ikiru (1952) and Seven Samurai (1954). Motoki continued directing for Million Film until his last film, Sensual College Girl: I Want to Give It to You! (好色女子大生 あげちゃいたい！, Kōshoku Joshi Daisei: Agechaitai!) (June 1977).
The year 1970 also encapsulated the brief pink film career of science fiction author Izumi Suzuki, who made a number of films with Million under the stage name Naomi Asaka, including A Virgin at Play (処女の戯れ), White Paper on the Violation of Prostitutes: Sexual Violence (売春暴行白書・性暴力を斬る), and A Woman's Sexual Development (女性の性徴期).
The survival rate of early independent pink films is very low, but the DVD company Ace Deuce Entertainment has preserved several early Million Film releases and made them available on home video. Yokohama Cheyenne: Woman Swamp Zone (横浜シャイアン 女の湿地帯, Yokohama Shaian: Onna no Shicchi-tai) and New Bride: Mixed Up Figure (新妻 乱れ姿, Niizuma: Midaresugata) (both 1974) are significant both for being examples of surviving early pink films from an independent studio other than Shintōhō Eiga. These are also among the earliest surviving all-color pink film productions. Both these films were produced by Akitaka Kimata's Pro Taka production studio and directed by his son Akiyoshi Kimata under the pseudonym Seiji Izumi (和泉聖治, Izumi Seiji). Both films show a light-hearted and easy-going style which contrasts with the darker style of the director and of Million Film productions in later years. The non-political nature of these two films contrasts with the politically charged pink films of the 1960s, such as those by Kōji Wakamatsu, which often tackled current events. Woman Crime Demon (女犯魔, Johan-ma) made by Genji Nakamura for his own Genji Pro, and released by Million in October 1977 shows a similarly relaxed style, though it does make reference to the political themes of earlier pink film, particularly the Anpo.