By early ’71 Nikkatsu had shifted their focus towards Roman Porno films (which is basically sexploitation), their biggest star Meiko Kaji saw the writing on the wall and signed up with Toei, resulting in the classic exploitation movie Female Prisoner Scorpion #701 and it’s sequels. Toei decided to continue making more Girl Boss movies and handed the reigns to Norifumi Suzuki, a director not afraid to cater to the lusty whims and violent desire of the male audiences who watched these films (and the studio heads looking to market these films). Suzuki’s first effort in this arena was Queen Bee’s Counterattack and he brought with him an actress that would become synonymous with both Girl Boss films and Pinky Violence films in general, her name was Reiko Ike.
The first image we see in QBC is Reiko puffing on a cigarette and pouting like some B-Girl from a 1940’s pulp fiction cover. The following credit sequence shows Reiko and her crew wandering the streets, engaging in gang fights with other girls and taking drugs, it must’ve been a shock to the audience to see teenage girls engaging in such activities and then we get Reiko coming onto a businessman in the street, promising sexual favors in return for money and promises to introduce him to a young girl, Saseko Hayashi (Rena Ichinose), he takes her up on her offer and get’s in the young girl’s car while Reiko and her friend, Mayumi (Miki Sugumoto) get inside the trunk. Sawako takes the man back to an apartment where she sexually teases him before finally drugging him and letting Reiko and Mauymi into the apartment so they can go through his wallet, he only has 3200 yen (which equates roughly to $32). Reiko, Mayumi and Saseko are in the middle of attempting to steal a car when a gang of bikers arrives led by Eiji (Shinsuke Taki), he offers them a ride on their bikes or face the police, so the girls go for the first option. Reiko, Mayumi and Saseko almost get raped by Eiji and his crew but they’re interrupted by a local yakuza gang led by Jiro (Hiroshi Miyauchi) who deliver swift justice. Reiko tells Jiro she doesn’t have any money so she’ll have to sleep with him to pay off the debt. Post-coital Jiro tells Reiko he’s going to be a big man soon so she better get on the Jiro train, she rebuffs him and tells him she belongs to no man (yay feminism) and leaves.
A schoolgirl, Yuko Itogawa (Yayoi Watanabe) asks Reiko if she can join her athens gang, Reiko informs her she’ll have to pop her hymen and offers some lube before Yuko fingers herself in a public toilet, they go shoplifting afterwards. Back at athens HQ, the girls are having watermelon when Jun (Yuki Kagawa) the former leader of the athens gang arrives after a 5 year stint in a reform school. Jun secedes authority to Reiko for the time being but it’s clear there can only be one leader. It doesn’t help that Reiko eventually falls in love with Eiji (the sexual politics in this film are both fascinating and appalling) and has to fight Jun for the right to be the leader of the gang, after being punished by getting tied to a speedboat and dragged around the sea, meanwhile the Yakuza blackmail Eiji’s father (who is the head of pharmaceutical company) into selling them a chemical needed to create a new drug by holding Eiji hostage, forcing Reiko and Jiro to take on the Yakuza together.
Toei were clearly ready to move in a more exploitative direction compared with the previous entries. There’s a certain rawness present in this first film of the new series as the girls feel much more aggressive, they have more sexual agency. Suzuki later admitted that Reiko was only 16 at the time she made their previous movie Hot Springs Mimizu Geisha, he asked her to keep quiet about her real age and told her if anyone asks, she’s 18 (sneaky bastard) they even fabricated a new birth date for her. There’s a running theme of money and what it means to have it but Reiko and her Athens gang have their own form of sexual currency and they wield it with a certain amount of efficiency, there’s a scene where Mayumi get’s caught shoplifting and brought into the manager’s office, to their utter shock Mayumi takes off her shirt, it’s obvious this scene was filmed for pure titillation but it also it can also read as Suzuki’s contempt for authority figures as Mayumi goes one further and takes off her underwear as well leaving the two men in the office unable to even look at the sight of a naked girl and both Reiko and Mayumi use this to their own advantage. Reiko’s romance with Eiji is kind of puzzling, seeing as he tried to rape her but she seems to forgive him and they go on to have sexual adventures including a “bike fuck” whereby Reiko and her Athens gang each lie on a motorcycle and Eiji and his crew climb on and have a race, while having sex, the last one to come, wins. Norifumi Suzuki and Reiko Ike would go on to make other films together (they’d already worked together before this on the film Hot Springs Mimizu Geisha) but their first real collaboration starts here. Reiko Ike is a new breed of Girl Boss, tough, she truly gives no fucks (unless she wants to) and prefers to remain a stray dog living life on her own terms.
Suzuki and Reiko returned for another installment, Queen Bee’s Challenge which has Reiko playing Maki, the leader of a gang who call themselves the pearl gang. When one of Maki’s girls, Tomok (Miki Sugumoto), get’s into a scuffle with a rival gang, called the Black Lillies led by Yuri (Chiyoko Kazami) they punish her by holding her down, take off her underwear, shake a bottle of coke and shove it in her vagina after taking off the lid, it’s not pleasant as Miki’s screams will attest. Maki and Yuri meet in order to settle things, after the traditional greeting, both gang’s get into a mass brawl, which is broken up by Yuri’s ex Eizo (Tsunekiho Watase) an aspiring racecar driver. Maki and her gang spend their time hustling men, first by using a sexually experienced schoolgirl to give a handjob to a guy and then rob him (it ends with one of the most unsubtle visual gags I’ve ever seen) and then having Maki seduce a priest when she finds out a friend of her’s was cheated by him, said seduction includes undressing while he looks through a keyhole and standing naked in a bath while covered in bubbles, he can’t have her unless he pays her. Maki and Yuri’s feud continues, resulting in a final contest whereby they lie on the ground and a truck drives over them until one of them passes out, Maki wins but Yuri is still not satisfied and allies herself with the Kuroji yakuza group, which turns out to be a mistake as they’re only interested in selling Yuri and her crew into prostitution. Maki and Yuri are forced into an alliance and take up arms against the yakuza.
There’s always been an exploitative element to these films but it’s always been restrained, certainly in the case of Nikkatsu’s Stray Cat Rock series. Toei usually toed the line by offering the occasional flash of nudity (anyone but Reiko Oshida) and keeping the violence and sleaze to a minimum. Norifum Suzuki blew the doors off that idea, in the previous film there was a graphically staged gang rape (an unfortunate constant in these movies), erotica and tons of nudity, it’s like the floodgates had opened. Suzuki’s second effort continued this trend and pushed the envelope even further by staging scenes of violent torture, one involves Miki Sugumoto being all tied up and having drops of hot wax poured on her body, the other has Reiko hanging in a dungeon topless while being whipped with a chain, all in service to make us hate the villain and want to see his violent death all the more. It’s a shame Suzuki couldn’t craft a more engaging film, as the various subplots do nothing to advance the characters except show perverted men are and while Suzuki tries to paper over the cracks by adding more nudity and violence, he fails to create character’s worth caring about.
Norifumi Suzuki made a third film in this series called Girl Boss Guerilla which has Miki Sugumoto promoted from supporting player to lead actress and she proves to be every bit as charismatic as Reiko Ike.
Miki Sugumoto plays Sachiko, the leader of an all female gang of bikers called The Red Helmets, you know they mean business because they begin their day by running into a gang of male bikers (one of them even wears an easy rider t-shirt) and beating the crap out of them, then decide to raise some dough through nefarious means (Miki threatens to rape some poor guy if he doesn’t hand over his dough, she takes it and knees him in the groin). The girls decide to challenge the local gang of girls for their turf which leads to two quite intense fights, the second being Miki’s challenge to the local boss. She wins and takes over the turf. Reiko Ike watches from above and announces she’s the former boss, Reiko also has a brother who happens to be a Yakuza boss who disowned Reiko after she made him lose face. It comes to a head once the Tsutsui group discover the profits from a blackmail scheme and threaten Miki unless she pays up, she doesn’t, she’s beaten as a result. Sachiko is rescued by a local boxer, Ichiro (Tsunekiho Watase) and the red helmet gang follow Ichiro to his boxing camp, but the Tsutsui Yakuza put the squeeze on Ichiro for coming to Sachiko’s rescue leading to a bloody showdown.
The sexual politics of these films have always been iffy, there’s three kinds of men in this film, the love interest, who isn’t a yakuza and get’s a love scene with the leading lady at some point during the movie, the sex obsessed man who get’s seduced by the promise of sex and ends up getting drugged and getting money stolen from his wallet (if he’s lucky, he’ll get a handjob) and the yakuza, who exist solely to die violently at the end of the film but not before they commit horrible acts of abuse against the female characters. The character of Ichiro falls into the first category, a cocky, macho kind of guy who ends up getting more than he bargained for when he meets Sachiko, a female gang leader who is clearly not a fan of caressing the male ego, if she wants sex dammit, she’s going to get it and if he’s not in the mood, tough shit, she’ll physically assault him until he’s turned on and ready to go, it’s a weird, fucked up relationship (Neil LaBute couldn’t make this shit up) and could only exist in the pinky violence universe.
Norifumi Suzuki returned for a fourth and last time and delivered probably the best film in the series, Sukeban Onna Bancho (Girl Boss Revenge) and goes out with style as only Suzuki can.
The film opens with a bus traveling down a highway scored to an awesome funky groove, the bus holds a number of girls who are singing a mournful ballad, except Kanto Komasa (Miki Sugumoto) because she doesn’t give a fuck, her attitude doesn’t sit well with Ryoko (Ryoko Ema) who decides to put Kanto in her place and get’s a switchblade through her hand for her effort, Ryoko tries again but they’re interrupted by Maya (Reiko Ike) who introduces herself with the formal gang greeting, Kanto returns the favor. Their bus is stopped by another truck, and the guard’s let them out while they sort out what’s going on, it turns out Ryoko’s crew have performed a rescue and pretty soon the other girls get the same idea and take off. Maya heads towards a quarry which is about to be demolished with dynamite, she runs right into the heart of the quarry because she’s awesome. Kanto and a few the other girls manage to elude the guards and hitch a ride on a truck, Kanto’s heading for Osaka and she jumps off but the other girls, Momoko (Hiromi Sairaiji) Suzue (Misuzu Ota) and Ranko (Naomi Oka) decide she’s got what it takes to be their Sukeban and plead with her to take them with her. Kanto agrees and it’s not long before they’re in trouble with the local yakuza, Hokuryukai group, for pulling the old fly in the soup trick at a local restaurant which happens to be run by one of their men. Kanto is beaten and left in the street. It’s not long before Kanto runs into Ryoko again and they resume where they left off until the cops arrive forcing everyone to scatter, Kanto is given shelter by an amateur pornographer, Ichiro (Ichiro Akai).
Tatsuo Terogi (Hiroshi Miyauchi) a small time yakuza working for the Hokuryukai group, extorts money from a young man who happens to be the son of the tax chief, who happens to be on the Hirokuya payroll, which doesn’t sit well with his boss and he get’s a severe reprimand in the form of a beating. Ichiro relays all this to Kanto who decides to help Tatsuo by blackmailing the tax chief in the form of a pornographic movie with the tax chief’s wife in a starring role (staged of course by Ichiro and his friend, who tricked the wife into a sexual tryst). Tatsuo is none too happy at this (understandable, it won’t make things better for him) and berates Ichiro. The Hokuryukai are also in the sexual slave trade (as if there wasn’t reason enough to hate them) and go on a recruiting spree using Ryoko and her crew. Kanto set’s a trap for a gambling house run by the Hokuryukai by having the police raid it so she can grab the takings, which works until the Hokuryukai show up and she’s tied up and tortured again, and her crew are sent to the turkish bath, which is a cover for their slave trade operation. Tatsuo helps Kanto escape and she thanks him by asking him to sleep with her, which would’ve been fine with Tatsuo if Maya, his girlfriend hadn’t shown up at that very moment. Maya, stabbed Tatsuo’s boss, and now that he knows she’s back in town, he wants to see her, personally and he wants Tatsuo to bring her to him setting off the chain of events that will eventually lead to a showdown with the Hokuryukai group.
This is Suzuki’s best film in the series, and his last, he would go on to work with Reiko and Miki in other non-girl boss related films such as Terrifying Girls High School & Sex & Fury. This is the most action-packed film of the series as we see Suzuki stage a truck chase (Miki randomly grabs a guy and pulls him out of his truck, 20 years before the T1000 pulled the same stunt in T2: Judgement Day) and the explosive (literally) finale in which Kanto & Maya storm the turkish bath armed with dynamite, swords & automatic rifles dressed in style which brings me to another point, these films tend to get overlooked in terms of fashion, going back to the Stray Cat Rock series, Meiko Kaji was usually impeccably dressed in frilly shirts, a huge black hat and black slacks. In Revenge, both Reiko and Miki are decked out in a variety of different and colorful outfits, at one point Reiko, dressed in a psychedelic short skirt, engages in a fight with Miki and goes to battle dressed in bright blue pants and jacket, that I wouldn’t be surprised if she were a fan of ABBA. It’s an interesting aspect of these films that occasionally, there will be woman just as sadistic as any of the yakuza who exists only to torture the heroine or one of her crew and here we have a woman (who is not named) dressed in black wearing bright red lipstick, who delights in torturing women by shoving red hot pokers in their vaginas and sticking needs into the nails of a woman, Suzuki wisely used her sparingly as she makes all the more of a terrifying impression, witness her glee at digging her black clad boot into Miki’s breast. Suzuki could not have ended his run on a higher note than this film.
Norifumi Suzuki’s departure meant there was a vaccuum and it was to be filled by Sadao Nakajima, a film and television veteran who helmed the fifth entry in this series, Escape from the reform school with Miki Sugumoto also returning.
The opening scene of this film has Aoki Ruroki (Miki Sugumoto) on the run from two men, who finally catch her in a waterway and take her back to Shinai reform school, where she’s tied up and thrown into solitary, the man who caught her, Mr Koike (Kenji Imai) voices his displeasure by slapping her around which makes Aoki all the more defiant. A new girl, Ms. Tajima (Yuko Kano) is welcomed by Chairman Hadano (Nubuo Kaneke) in his office and then reveals she had a wealthy patron who donated 1 Million Yen to the school. As punishment for Aoki’s escape attempt the rest of the inmates have their usual food rations cut in half which makes things tough for Kyoko (Hiroko Isayama) Maki (Rika Sudo) & Yuki (Fujika Omori) as they were tight with Aoki and as a result, Kyoko is beaten in a fight with some other girls who resent being punished for Aoki’s defiance. Kyoko and Tajima visit Aoki in solitary to give her food but it’s kicked over by Kyoko who rebukes Aoki for her selfishness. A guard makes them leave and Aoki eats the rice from the floor while still tied. Aoki is released and let back into the room where Kyoko, Maki & Yuki are waiting. During a routine visit from the inspector’s, Chairman Hadano is confronted by a few of the girls who demand he feed them properly, which in turns into a violent protest. As punishment, he denies them access to food which forces Aoki, Kyoko, Maki, Yuki & Tajima into a plan of escape by knocking out the female guard, lighting fire to some paper in the hallway and taking off in a car while the guards are trying to figure out how to contain the fire. Aoki, Kyoko, Maki, Yuki and Tajima all go their separate ways, Aoki hitches a ride with car thief, Yoichi (Tsunekiho Watase), Kyoko goes home to her mother to discover the child she had, has died, Maki & Yuki tool around the city and Tajima ends up stabbing her patron and through various coincidences they all end up at this boathouse at the beach where they finally have a showdown with Mr Koike and he’s brought the entire police force with him.
The standard villains in these film’s are usually the yakuza but in a change of pace, the villain’s here are the authorities as represented by Shinai reform school. Shinai might look like a private school to the outside world but it’s basically a prison. In the Reiko Oshida films, the authorities were seen as bumbling bureaucrats but ultimately harmless here they are an oppressive force that you cannot escape from. Miki proves she can carry a film without Reiko Ike and she does so here with her usual archetype of the loner girl who doesn’t give a fuck about anyone. Sugimoto imbues it with a certain sense of fragility, especially when she falls in love with Yoichi, there’s a scene where she asks him if he could love her forever, he doesn’t know how to respond so she brushes it off with ‘I’m just kidding…” it’s a brief chink in her armor that reminds you she’s still just a teenage girl much like Maki & Yuki. It’s revealed early on that Maki & Yuki are 14 years old and a topless Maki attempts to seduce Yoichi, who can see this is wrong and rebuffs her attempt, leaving her in tears on the floor, such is the fragility of a teenage girl’s emotions (Yuki rebuking her by asking what would’ve happened if she got knocked up seems pretty callous, as is Yuki tossing a jumper at Maki while she’s still sobbing). It’s a shame Nakajima didn’t make another movie in this series as Escape from reform school is a solid effort.
The next film had a new director, Isuo Sekimoto and would be Reiko Ike’s swan song.
The film kicks off in typical Girl Boss style with Keiko (Reiko Ike) interrupting an amorous Yakuza boss and his mistress, who attempts to stab him, she blames him for the death of her older sister and only succeeds in stabbing him in the stomach and get’s sent to prison instead where she’s bullied by Miwa the Spade and her gang. Before Miwa is released, she let’s Keiko know she’s the leader of the sunflower gang and she can get her revenge anytime. Keiko spends the rest of her term there basically punching her way to the top of the food chain until she’s finally released, the other prisoner’s refer to her as Bancho (Boss). Keiko finds an old pal, Yuki waiting for her with another friend, Setsuko (Rena Inochise) and they immediately grab a bite to eat and several beers. They’re approached by some yakuza who have some business with Setsuko and take her away, Reiko stops them and tells them she’s Setsuko’s bodyguard. The club where Setsuko used to work tells Setsuko ran up a tab totalling 1 Million yen and she has to pay it back before they’ll let her go. Keiko offers to pay it, the club owner agrees but with the condition that they’ll keep Setsuko as collateral. Keiko agrees.
Keiko and Yuki make it their priority to find Miwa and cut a swathe through various girl gangs until they come face to face with the leader of the sunflower gang, Eri the Razor, who explains Miwa ran off awhile ago and hasn’t been seen since. Eri challenges Keiko to a fight to save face and loses. The remnants join Keiko and they go on a debt collecting mission, literally embarrassing men who owe Setsuko money into coughing up dough. Setsuko is threatened by Oshima into sleeping with a business associate, when she refuses he get’s violent but she’s saved by Keiko, who is taken out back and beaten by Oshima and his gang (stabbing someone will do that), before Oshima can get really get his kicks, he’s stopped by Kuriko Tatsuya (Tsunekiho Watase), a high ranking yakuza, who is helping Oshima which leaves him very displeased but he chooses to let it go. Eri, stinging from her loss to Keiko, get’s drunk and reminisces about her older brother who left her at the orphanage when she was a child. Keiko tries to seduce Kuriko as a way of paying off the debt by showing up at his hotel room half naked, he’s not interested (the man shows tremendous self restraint) and when there’s a knock at the door, he shoves Keiko into the bathroom. The club owner brings a passed out Eri into the room, the perceptive club owner notices he’s already got company and leaves him alone. Kuriko tears off Eri’s shirt and looks for a birthmark and a scar then asks Keiko to take Eri home. Keiko finally finds Miwa, who is now married to an auto wrecker, Kenichi, and threatens her with a blowtorch, but backs down after she see’s Kenichi step in to protect her and he agrees to let Keiko and her gang stay at his yard. Oshima try to convince Kenichi to sell his place so they can build a bigger factory but he’s not interested, this can only lead to bad things and a bloody showdown between Keiko and Oshima.
The opening sequence of this film has one of the most brilliant visual flourishes I’ve ever seen in this series as we see Keiko standing holding a knife, the background disappears into blackness and we’re left with Keiko and Oshima in a fight to the death in slow motion, she runs to the camera and blood covers the screen. It’s a shame that Isuo Sekimoto is unable to deliver more flourishes like that, instead sticking to the basic visual blueprint of these films which includes alot of handheld camera work and a montage set against a pop song. Sekimoto manages to inject a certain amount of grittiness in this movie among the more lighthearted moments as we witness a man in a porno theatre get a handjob while watching a dirty movie then get extorted outside and we get to watch a girl squat and graphically urinate in an alley before passing out (I honestly don’t think I’ve ever seen that depicted onscreen before). He also manages to stage the fight scenes in a visceral manner, one example is the fight scene between Keiko and Eri, it starts with knives but ends in a fistfight, Keiko hits Eri in the stomach twice so hard I’m amazed her first didn’t go through Eri’s stomach. This would be Reiko Ike’s final Girl Boss movie and although she carries the movie, it really could’ve served her with a better story but I think that’s a flaw in most of these movies, they’re pure style, for better or worse.
Toei were obviously impressed with Isuo Sekimoto enough to let him direct what would be the final film in this series, Girl Boss: Crazy Ball Game and in return he delivered a far grittier, brutal film. Sekimoto must’ve felt the series needed some fresh new blood and cast relative unknown Yuko Kano in the lead.
The opening scene starts off with a duel between two rival gangs, the blood orchid gang run by Mina (Ema Ryoko) and Wildcat Kyoko, leader of the Blood Cherry Blossom Gang, who defeats Mina. The police intervene and Kyoko ends up in Juvenile centre, when she’s released hooks up with Yuki (Ritsuko Fujiyama) an old friend who works as a taxi driver during the day and a nightclub hostess at night. Momoyomo (Harumi Tajimi) and Hiroko (Emi Jo) pull a con in a store by having Momoyomo wear a tight blouse which pops open while two young employees are distracted enough for Hiroko to shoplift. A woman asks Momoyomo to look after her baby while she hits the ladies room but doesn’t come back, leaving them with an abandoned baby, which they leave in a public restroom but Kyoko enters and get’s a better idea and has a woman burst into the funeral of a dead man holding the baby, the mourners shove money at her in order to shut her up. They leave the baby with a random old lady and give her money for necessities. Yuki arrives to tell them, two former members of their gang, Hanae (Keiko Aikawa) and Kaoru (Jun Midorikawa) have been forced into performing a disgusting, lesbian act (her words) for paying customers. Katsu, their boss, clearly unsatisfied by their performance, slaps them around and is about to engage in some raping when Kyoko holds a blade to his throat and forces him to sign a resignation letter.
Mayumi (Rie Saotome) a former member of Kyoko’s gang, now happily married, watches as her husband is hit by a car filled with yakuza goons and left on the side of the road. The yakuza drive on until they find Kyoko and grab her and she winds up at the mercy of Mina and her gang and boy, do they give her a welcome back party, beaten and tortured with a red hot poker, a young man, Goro (Noburo Shiraishi) comes to her rescue. Kyoko responds by ripping off one of Mina’s crew, Mari (Sanae Ohori) after she blackmailed an official. Mina is furious and vows to get revenge on Kyoko. Mina is also sleeping with Koike (Kantaro Suga) an ambitious Yakuza working for Tachibana (Toru Abe). Goro is caught operating on Tachibana’s turf and beaten by Koike, who throws Goro into the street in the pouring rain. Kyoko helps him but they can’t deny their passion. Mina finds out about a diamond company’s plan to transport 1 Billion Yen’s worth of diamonds in order to save their company and uses Koike to help her but it’s not long before Kyoko, Goro and her gang find out about it and get there first and pretty soon, they have Koike and the Tachibana corporation hunting them down.
This has to be the grittiest most brutal film in the series, that’s not to say doesn’t have lighthearted moments, such as a slow motion sequence involving Kyoko and her gang running towards the sea completely naked, Sekimoto even places the camera under each girl’s breasts as they bounce along towards the sea while a gentle ballad plays. Sekimoto might give us a moment of levity here and there but he also gives us scenes of unwavering brutality, which is saying something considering these films are notorious for tying up and torturing their leading ladies at some point during the film. The first scene which gives us an indication that Sekimoto is not fucking around, happens when Kyoko get’s kidnapped by Mina and her gang, it’s bad enough she get’s beaten but they throw in a hot poker (to be fair Suzuki already did this and had the hot poker shoved into a woman’s vagina, at least he had the decency to keep it offscreen) and we get to watch it pierce Kyoko’s flesh, she’s left a bloody mess, the second scene has Kyoko being graphically raped by Katsu and members of the Tachibana gang, it’s a harrowing scene, topped off by Kyoko’s bloodcurdling scream, the third and by far most brutal scene is watching a member of Kyoko’s gang get beaten to death by Koike and the Tachibana gang, the scene is edited for maximum impact as you feel every hit, even Katsu and Mina are shocked to discover she’s dead while Koike could give less of a fuck. It would’ve been interesting to see Reiko Ike or Miki Sugimoto play the lead in this film as the role was clearly written with either one in mind, to her credit, Yuko Kano does her best to fill Reiko’s very big shoes and while she isn’t terrible, she lacks both Reiko and Miki’s charisma. This feels like a far more confident effort from Isuo Sekimoto, it would’ve been interesting to see him make another film in this series.
Throughout the entire series, Reiko and Miki have been the series largest strength’s, whatever the weaknesses of the story and script, they manage to carry the film through sheer charisma, which is a rare commodity. Reiko is basically the Japanese Pam Grier, she just radiates badassery whenever she’s onscreen, even in her personal life, she was the personification of the characters she played in the girl boss series as she was arrested for drug offences towards the late seventies and illegal gambling which forced her to quit the entertainment industry and disappear cementing her mythic status. Miki followed suit but in a far less controversial manner as she married a high school classmate who became a successful businessman and she went on to become a nursery teacher. These films were never meant to stand the test of time but despite the exploitational elements in these films (at the end of the day, that’s what they were) they presented the audience with girls who did not conform to society’s standard’s of traditional femininity, they were wild, violent, beholden to no man and loyal to a code that the authorities would never understand.