6.1/10
196
7 user 4 critic

Tokugawa irezumi-shi: Seme jigoku (1969)

High demand for tattooed geisha generates an entire industry for their "production". Europeans pay more for tattooed beauties. Against this background, and considering the gorgeous tattooed... See full summary »

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Cast

Credited cast:
Teruo Yoshida ...
Horihide
Masumi Tachibana ...
Osuzu
Asao Koike ...
Horitatsu
Yumiko Katayama ...
Yumi
Mieko Fujimoto ...
Otatsu - Daikoku-ya Owner
Haruo Tanaka ...
Samejima
Rest of cast listed alphabetically:
Mitsuko Aoi ...
Okinu
Gannosuke Ashiya ...
Onikichi
Reiichi Hatanaka ...
Tattoo Artist B
Shin'ichirô Hayashi ...
Genzô
Kiyoshi Hitomi ...
Daikoku-ya's Visitor B
Yusuf Hoffman ...
Clayton
Yoshihiro Igarashi ...
Tattoo Artist A
Yukie Kagawa ...
The Head woman of a prison
Kei Katayama ...
Prostitute A
Edit

Storyline

High demand for tattooed geisha generates an entire industry for their "production". Europeans pay more for tattooed beauties. Against this background, and considering the gorgeous tattooed women develop the history of confrontation between two highly skilled masters of tattoo.

Plot Summary | Add Synopsis


Parents Guide:

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Details

Country:

Language:

Release Date:

2 May 1969 (Japan)  »

Also Known As:

Inferno of Torture  »

Company Credits

Production Co:

 »
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Technical Specs

Sound Mix:

Color:

(Eastmancolor)

Aspect Ratio:

2.35 : 1
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User Reviews

 
Tattoos, tattoos, torture, tattoos
29 December 2008 | by (Frankfurt, Germany) – See all my reviews

A film about obsessions on bondage and tattoos, disguised as historically adequate treatment of an inglorious episode in Japans long gone past. It's ingredients are violence, brothels, tattoos, female whorehouse bosses, tattoos, mean pimps, even meaner prostitutes, tattoos, whips, knives, drugs, torture and tattoos. The main theme is the transformation of young girls' skins into pieces of art, depicting both abstract and figurative motives, the latter mainly dealing with death, birth, violence and other more or less disturbing themes. Compared to other far eastern films from the same exploitation category, the violence seems almost moderate. The narration, in a fairytale-like old fashioned style, is, of course, a child of it's time. In total, the film's not so good, but not so bad either; it is not very original, but still (in a positive sense) light years away from the commercial cinema we have today – which is intriguing since films like this, in their days, were themselves first and foremost done to make money.


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