(1974)
Dir - Norifumi Suzuki
Overall: GOOD
One of if not the first prominent nunsploitation work to emerge from Japan was School of the Holy Beast, (Seijū gakuen, Convent of the Sacred Beast, The Transgressor), which is typical in its shock value yet bordering on art film in much of its aesthetic. Co-writer/director Norifumi Suzuki would immediately follow this with his first of several in the action/comedy Torakku Yarō franchise; comparatively more lightweight then his adherence to pinky violence here. On paper, many of the set pieces and plot points are assuredly ridiculous with rape, incest, lesbianism, and torture all played for boundary-pushing effectiveness. Yet the sly, satirical aspects of extreme religious hypocrisy are at the heart of the agenda. Several Sisters of the Sacred Heart Convent are caught engaging in lustful, self-serving, blasphemous, and/or sadistic acts, punishing and ratting each other out while Yumi Takigawa's vengeful protagonist is determined to bring the whole house of cards down. Remarkably stylized, Suzuki's use of music and Masao Shimizu's camera work in capturing evocative visuals takes center stage and it is this striking presentation that separates it from the heard of other conceptually similar additions to the sub-genre.
(1976)
Dir - Ho Meng Hua
Overall: MEH
While it nearly redeems itself with an ultra spooky zombie-fest finale, The Shaw Brothers Black Magic 2, (Gou hun jiang tou, Revenge of the Zombies), suffers from a combination of goofy and lackluster attributes in a similar fashion to the initial movie from the previous year. Once again featuring the director/screenwriter team of Ho Meng Hua and Ni Kuang respectfully, (as well as many of the same actors now playing different roles), this stand-alone sequel recycles a similar plot of a bad guy charging people money for spells while taking shady tactics to get them under his power once the business transaction is done. There is also another good wizard to counter him, though this fellow is reduced to a few scenes and quickly meets his end under Lo Lieh's more powerful, undead-raising magician. Most of the enjoyment here is basking in the campy production values and loose plotting. The makeup effects are frequently embarrassing and one hilarious rear projection scene would look just as thoroughly unconvincing back in the silent film era. Also, the characters are morons from top to bottom with the script hardly making any logical behavior a priority as such things would inevitably get in the way of the steady combination of boring dialog exchanges and unholy set pieces. There are some highlights to be found as well as unintended humor, but not a significant enough amount of either.
(1978)
Dir - Nagisa Ōshima
Overall: GOODContinuing in the trajectory established with his infamous, quasi-pornographic art film In the Realm of the Senses, Japanese New Wave director Nagisa Ōshima followed it up with the comparatively less daring yet still explicit Empire of Passion, (Ai no Bōrei, In the Realm of Passion). Once again collaborating with actor Tatsuya Fuji and the French production company Argos Films, this story's focus on tragic lovers incorporates the kaidan tradition of vengeful spirits, here taking the form of a well-meaning rickshaw driver who is murdered by his wife and her jealous lover before being thrown down a well. As the title would suggest, the doomed protagonists are primarily driven by sexual passion for each other as Kazuko Yoshiyuki gives into Fuji's persistent flattery and initial assault. Both parties exhibit obsessive, psychological dependence on each other throughout their prolonged affair and while their behavior is certainly not meant to garnish universal sympathy, their all-too-human faults still resonate in such an extreme setting. Ōshima stages every supernatural encounter in a hushed manner, with eerie lighting and sparse music that makes them exceptionally moody and fitting for the overall naturalistic tone. It works both as a simple, chilling ghost story and as a provocative exploration of traumatic lust, so it stands as a benchmark exploitation film that is far more respectfully gripping than all-out sleazy.
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