Ike Reiko - Breaking Taboos in Japan’s Pink Film Underground

In a country, where a half-hidden kiss in the movies made national headlines for its obscenity, the existence of pornographic media is assumed to be scarce, almost none. However, when it comes to desires, Japan has always been undercover.

Post-war Japan, especially the 60s, was in shambles, and Western influences slithered past the tight constraints of Japanese society. Eroticism and erotic media were on the rise, but the nature of it was subdued, toned down in the beginning. However, unlike traditional pornography, Japan’s pink film was stylized to perfection. It was subversive and representational, as it provided a platform for desires to be identified and associated with. Soon, it would transcend its Western erotica counterparts with its deviance, storytelling, complex and engaging plots and stylistic cinematic choices.

Interestingly, this is not Japan’s first encounter with the “obscene.” Japan’s covert, yet surprisingly artistic relationship with sexuality goes way back to the Edo period, with Shunga or sexual pictures, typically seen in woodblock prints and book illustrations. Hence, erotica and sensualism were always a big part of Japanese culture and society-you just had to look for it first. Pink films or Pinku Eiga have always been a topic of debate, and the actresses working under this subgenre faced heavy criticism and exploitation.

However, one phenomenal and highly talented character took the industry by storm with her striking face and melting voice. Ike Reiko was one of a kind and became a central figure in the booming world of Japan’s pink film industry.

Pinku Eiga And Pink Violence

Post-war Japan came off as submissive, restrained, a picture of anything but extreme. But beneath that polished surface, extremities lived quietly, hidden under the night light and tucked inside narrow alleyways. One of these subcultures was the pink film, something people spoke about only after dark. Pink films boomed in the 60s, with storylines and style that mimicked Western movies like Fatal Attraction and Basic Instinct. Historically, the development and the existence of the pink film can be traced back to the movie Flesh Market (1962). Independent studios ran the show, making these films on minimal budgets, sticking to a format: roughly an hour long, with a set number of sex scenes. Shot mostly on 35mm film, these studios later moved to projectors as demand grew. Labeled as “soft porn,” pink films often blurred lines, part erotica, part psychological thriller.

When it comes to sexploitation, nothing portrays it better than “pinky violence” movies. Koshoku Rosen or pinky violence was a subgenre born out of the broader pink film movement, known for its gruesome mix of sex, comedy and torture. Despite being such a taboo topic, Toei Studios became the frontman for peddling pink violence movies. Heavy use of S&M was seen in the filmography, and the tropes were often centered around the bad girl or the delinquent girl, and sukeban girl groups. Girl-on-girl scenes were quite well received with the audience.

Pinky violence wasn't just Toei’s excuse to peddle torture porn; the movies were shot with precision and a unique artistic eye. Compared to their Western counterparts, Japanese pink films were often more poetic, even when they were chaotic-and their explicitness was concealed by a general tenderness and softness very characteristic of the society they were born of.

Enter Ike Reiko

Like many women who stepped into the pink film spotlight, Ike Reiko’s debut came wrapped in a haze of exploitation and cinematic chaos. Debuting under the violent umbrella of Toei Studio, Reiko appeared in the fourth installment of their self-created series, Hot Springs Geisha. Like many pink film actresses of the time, Reiko masked her age, claiming to be older than she was to secure a spot in the series. When the truth came out, it stirred controversy and backlash, but it also drove up viewership. Her installment of Hot Springs Geisha ultimately became one of the franchise’s most successful films.

Reiko has faced her share of backlash over the years, especially for films featuring girl-on-girl scenes. Still, her work stands out for several reasons. Reiko is a remarkable actress who effortlessly commands every scene she appears in, clothed or otherwise. While her work is mostly within the pink film genre, her mastery of physical expression and presence sets the tone for each film, showing a level of skill that goes beyond the limits of the genre.

Soon, Reiko shifted toward films rooted in the subgenre of pink violence. She began taking on roles that revolved around delinquent sukeban gangs and themes of S&M. Her popularity grew quickly, and she became one of Toei’s highest-paid actresses, headlining some of their most profitable franchises, including Girl Boss Guerilla and Terrifying Girls’ High School. She also appeared in Kinji Fukasaku’s Battles Without Honor and Humanity; a major departure from pink cinema. Known for his gritty explorations of the yakuza world, Fukasaku’s casting of Reiko signaled something more: her talent clearly extended beyond the narrow confines of the pink film industry.

Eroticism and Rebellion in Film

Reiko Ike’s most groundbreaking film is arguably Sex and Fury, released in 1973 and distributed by the Toei Company. The film is a defining example of eroguro jidaigeki, an erotic period drama blending sensuality with stylized violence. Its storyline is striking: Reiko plays a young woman who adopts a new identity after witnessing her father’s murder as a child. As an adult, she moves through the shadows of society—working as a pickpocket, gambler, and navigating the criminal underworld. Her character is fierce and self-assured, trained in martial arts, firearms, and self-defense.

The narrative escalates into scenes of intense action, violence, and sexual tension. Reiko’s character stands out as a compelling case study of the pink film heroine: while heavily exploited by the genre, these women often embodied traits that were surprisingly progressive, even radical. Her role raises a larger question about the portrayal of women in 1970s Japanese cinema: were these characters truly empowered, or was their strength merely a facade to serve the male gaze?

After all, despite her resilience and rage, Reiko’s character is ultimately stripped; literally and symbolically. What could have been a story of female vengeance became another spectacle for voyeuristic consumption. Still, within those limits, performances like Reiko’s hint at a deeper resistance, one that exists in the margins.

In Girl Boss Guerilla, the pink violence genre comes into full force. Once again, Reiko takes on the role of a tough, delinquent girl at the center of a fast-paced, eccentric, and intensely violent plot. The film reflects how female characters in pink cinema are often portrayed as icons of rage, power, and overt sexuality. Yet, a deeper contradiction emerges; these stories are almost always written by men. The women in these films don’t truly own their sexuality; they perform it, often for male profit and pleasure.

The presence of Catholic iconography and recurring schoolgirl fetishes further complicates the narrative, revealing a problematic undercurrent that the industry continues to indulge in. The film also includes elements of rebel biker gang culture, with sequences featuring women riding motorcycles topless; a stark visual of freedom wrapped in exploitation.

Despite these tensions, pink films rarely lack creative expression. Girl Boss Guerilla, like many others in the genre, leans into bold storytelling, eccentric visuals, and stylized excess. The artistic flair is undeniable-even if the intent behind it remains conflicted.

Voice Of Desire

We wouldn’t expect a pink film actress to have the voice of an angel, but Reiko’s transcendental voice is something she’s still remembered for. Kokotsu no Sekai, translated as You, Baby, was a collection of her songs released as an album in 1971. Already labeled a sex symbol by the industry and public alike, her move into soulful music marked a subversive and unexpected shift. At the time, most women associated with the rigid confines of the pink film world weren’t given the freedom to explore anything beyond it. They were often reduced to a single image, viewed negatively and boxed in by the public’s perception.

The album Kokotsu no Sekai was a masterpiece of spoken word poetry. Blending traditional Japanese music with modern storytelling, Reiko succeeded in expressing her pain, desire, and yearning through this one powerful album. Her voice was as sensual as her body language in films, and listeners found themselves just as enthralled by her vocals as they had been by her on-screen presence.

The cover art sparked controversy in Japan, as Reiko was featured nude. But if one takes the time to analyze the cover, the sheer pain and vulnerability in her expression becomes clear. This industry, when stripped of its glamour and fast-paced life, reveals itself to be hollow and sad. Women come to work here with the promise of liberation and freedom, only to soon find themselves in chains. In this context, Reiko’s voice and her music serve as a quiet rebellion against the one-track-mind industry that is the pink film genre- one that sees women as nothing more than extensions of people’s fantasies.

Price Of Provocation

The art of provocation has always been both highly profitable and exploitable. At the end of the day, we make do by catering to other people’s desires; sexual or otherwise. The legacy of the pink film has left a lasting impression on cinema in the years that followed. Eroticism, violence, and sexuality have all continued to be explored in films over time. Directors like Lars Von Trier and Gaspar Noé, along with their films, have had a similar impact on audiences as pink films once did.

However, like all highly talented artists, Reiko flew too close to the sun and then burned out. After releasing her album in the 70s, she was arrested for gambling and other highly illegal activities. Soon after, Reiko stepped away from show business altogether.

Her situation should force us to look closer at the darker side of the industry and the toll it takes on women, both psychologically and physically. What must go through their minds and bodies for them to present themselves like that to us? This is a question that extends beyond the pink film industry, touching every industry that turns women into spectacles rather than recognizing them as real, complex individuals.

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