Kyôko Yashiro
Freelance reporter “Scoop” Machida is hot on the trail of a prostitution ring called the Black Line, when he is framed for the murder of a young woman. Forced to clear his own name, the handsome journalist sinks deeper into the Black Line’s rotten swamp of drugs, prostitution, and murder and finds unexpected help in Maya, a steamy female gambler familiar with the neon-lit streets, shadowy alleyways, and seedy nightclubs he must navigate. The closest film in the Line series to classic American film noir, Ishii’s Black Line is a pulpy assortment of crime film conventions including the starkly expressionistic black and white cinematography by Jûgyô Yoshida, a jazzy music score by Michiaki Watanabe, and a sleazy screenplay by Ishii and Ichirô Miyagawa.
The film begins strongly, with an atmospheric opening sequence, predating John Carpenter's The Fog by two decades, of shuffling ghost-like zombies, blood streaming from their faces, rising from the waves to drag the workers of a deserted shipyard,swirling with dry ice, to their doom. The ghost's main target however is the village kingpin, and employer of the local diving girls, Satomura (played by Juzaburo Akechi). When his wife and youngest daughter are abducted, it is up to his remaining daughter Nami (Banri) and her ama companions to get to the bottom of the mystery, which again revolves around sunken treasure and a gang of swarthy crooks.
Shintoho studio boss Mitsugu Okura was furious that actress Junko Ikeuchi had married against his wishes. In an act of revenge that could have come out of one of his movies, he cast her against the girl-next-door persona she had established to play a dancer who survives a great fall only to become a disfigured beast.
The most controversial film ever produced by Shintoho, Magatani Morihei’s horror thriller Bloody Sword Of The 99th Virgin (Kyujukyu-honme no Kimusume) is set in the mountains of Iwate Prefecture - a remote area that might be described as the Ozarks of Japan. The mountain folk are depicted as superstitious, blood-thirsty primitives, which struck traditionally discriminated-against locals and others in their community as discriminatory. Probably as a result, the film has been seldom screened in Japan but, contrary to some speculation, it has never been officially banned.
Director Teruo Ishi's crime action follows the investigative adventures of an undercover cop working with a prostitution ring. It's done in an unique documentary style.
The film marked Yōko Mihara's debut as the star of Shintoho's series of ama films, a role she took over from Michiko Maeda.
