Warning! Safe for Viewing at Work!

I started four new DVD stubs this morning: ALB-101 - ALB-104 In the afternoon I finished the categories for the ALB- DVD directors. I will start adding studio / director categories to the actress articles later. I got a Boobpedia-related question in an Email concerning Sara Aikawa. The question related to her 2008 Radix / Tiara DVD Pocha Pocha Princess Pretty: Splendid!, and the new release I mentioned a few days ago. IZM only uses the name "Sara" in its DVD promotion, but according to her profile at Arzon, she is indeed the same person. A little more research turns up her full name used at the IZM site, which links also to her blog, and to all the IZM DVDs in which she has appeared (quite a few it turns out). Let me first just say, she is one gorgeous lady. Just take a look at the image at left. I know, after ticking the "Adults only" box to this blog, that I'm under a moral obligation to provide raunchier material. But, my God, just look at that face! Isn't she gorgeous? (On the other hand, if I were to post this at Wikia, Brother Brandon would delete it as "Pornographic"... Brother Brandon, you see, considers any image of an attractive woman to be "Pornography"... but that's another story...) Add to that face what IZM purports to be the biggest butt in the Japanese Adult Video industry, and I don't know how I managed to overlook this beauty before. I made up for this negligence by starting a bio for her in the evening. After that I turned in for the night.

After having seen the Tim Burton / Johnny Depp film, my son was interested in seeing some of the original TV series (1966). I didn't mind taking a look at it myself, for old time's sake, so we watched the first episode, when Barnabas returns to Collinwood. My son wasn't very impressed with it-- I wouldn't imagine many teens these days would be-- but it brought back lots of good memories for me. I wouldn't mind seeing the whole series again someday. I see the the entire series is coming out in one huge coffin box. It's priced at $600. My budget is more in the Mill Creek Entertainment range (on sale, with a discount coupon), so I'll wait for the price to drop... er, plummet... before I buy it. Fortunately it is DVD, while everything is going Blu-Ray these days, so maybe that will help make its value bottom out quicker...

Oh, Nurse!

I started four ALB- articles in the morning, finished up to ALB-100 in the evening, then spent most of the rest of the evening online hour re-naming the new screenshots, and preparing some of the DVD covers which were not yet ready. I looked around my usual sites during my final quarter hour or so online, and it was a pretty generous day in the JAV-BBW-sphere. More images from Tamaki Yasuoka's WZA-004 continue to trickle out onto the Net. The beautiful LUU posted a few new images at her cosplay page, and MAGURO posted more of MAGURO-029. Above, left we see a scene from this DVD in which two gents are complimenting nurse Shizuko Fujiki on her absolutely gorgeous... eyes...

Yasuoka Bound

I got back into the Munekyunkissa project this morning, starting articles for ALB-091, ALB-092, and ALB-093. The discovery of the evening was a new set of screen-caps from Tamaki Yasuoka's JAMS DVD: Tit-Fuck Skill Update (パイズリスキル更新 - Paizuri-skill koushin; WZA-04). This set consisted of a boob-binding and -fucking scene. Performing under the name Tomomi Nagamine, we see the jolly and eager Ms. Yasuoka preparing for her apprenticeship in this skill-development seminar, over on the left. I see that this is the twelfth post in which I have managed to put an image of Tamaki-san. Has it become apparent yet that she is one of my all-time favorite models?... I started out the afternoon session by setting up some categories for the video Directors, and for the future model articles. I noticed that in the reference citation for the information on the DVDs, I had put a DVD item code in the link to the Arzon mainpage. So I spent the rest of the session un-screwing that screw-up. Still feeling poorly at night, I went to bed without any BP work or even a show.

The Lady Confesses

I spent my afternoon and evening sessions ownloading the screencaps I'll use for the next batch of ALB- articles, as well as the 50 or so early ones started without screencaps. Exploring the realm of BBW JAV after my Boobpedia work turned up some new screencaps from the new IZM DVD release-- ICD-187-- featuring the abundant Ms. Hiyoko Makino. We see one over on the left.

The evening's entertainment consisted of the dubious pleasure of The Lady Confesses (1945). I was busy preparing myself a scotch & ale during the opening credits, and so didn't see that the lead actor was Hugh Beaumont. Consequently, I spent half the film thinking, who is that... who IS that... until it finally came to me... "That's the BEAVER'S DAD!" The movie was not much to brag about-- another PRC quickie. It wasn't a noir-- none of the conflicted characters, moral ambiguity, narrative and stylistic experimentation, etc. of that genre-- but more of a straight, old-fashioned, if inept who-dunnit... Which I've never cared much for. The mystery is solved with some blatant and unbelievable plot manipulations. Characters change from "good" to "bad" and vice-versa at the drop of the hat, as the plot mechanics require. And not only that, the lady never even confesses ferchrissakes! What a rip-off! Neverthless, its compact duration (64 minutes) and constantly-moving plot at least staved off boredom. Check it out at the Internet Archive if you've a mind to. A middling Five stars out of Ten from me.

Dark Shadows

I went out to see Dark Shadows, a film I've had some apprehension about... Tim Burton is a director I like sometimes and dislike at others. After having seen the trailer to Dark Shadows, I had the lowest expectations for this one. I thought, "Oh God, fish-out-of-water jokes. Silly-'70s jokes. Easy laughs, been done a thousand times. Why would Burton think that was a good take on Dark Shadows? Especially if, as claimed, he was a fan of the original series?" And the critical commentary I've read seemed to confirm the worst. Well, happily, my misgivings proved to be unfounded. It's a good one. Not the best Burton-Depp collaboration (that would be Sweeney Todd; 2007) but a good one. Yes, there are a few little fish-out-of-water asides. But why not? Given the story of a man coming back into the world after 200-- well, 198-- years in confinement, the original TV series could have used a little of that too. (I haven't seen it since the '60s, but I don't remember any such joking.)

The overall story itself is relatively serious, pretty close to the original (as I remember it anyway), and as respectful to the original material as it could be while being comedic. The humor is affectionate towards the story, rather than broadly satirical. I'd feared the cheap, sneering, "Weren't they stupid / Aren't we clever," kind of mocking of another time period that often passes for comedy. Instead I found the reconstruction of the '70s to have a touch of the wistful, nostalgic quality which Burton's better films sometimes have. Actually the plot's problems stemmed from this faithfulness-- there was too much plot crammed into too short a film, almost as if Burton couldn't bear to let go of any of the original. These storylines were stretched out for weeks in the TV series. Burton was merciless in cutting out extraneous material in his screen adaptation of the musical Sweeney Todd, to the good of that film. Dark Shadows could have used a similarly brutal eye for editing. And a minor quibble: I wish the advertised cameos by four original cast-members (including the late Jonathan Frid) had been more than just a quick walk past the camera. I caught Frid, but there wasn't enough time to see David Selby, Kathryn Leigh Scott and Lara Parker. This will require use of the pause button when it comes out on DVD. I also wish they could have used some of Bob Cobert's original music, which was quite popular during the run of the TV show. It even had its own album release which was pretty rare in those days. The opening strains of the score did seem to make passing reference to the TV show's main theme, but that may have been my imagination anticipating it... Anyway, some good points, a few bad points, overall a respectable Seven stars out of Ten from me.

I remain on my Boobpedia editing freeze-out because I have no screenshots prepared for the next ALB- articles I want to start. Through Google Images, I located decent screenshots yesterday at the Munekyunkissa site, but I can't access that site this weekend, so I will have to download them later-- probably Monday, then start back to work Tuesmorn. I know I could start working on another BP-project, or start the articles on the Munekyunkissa actresses (which will be the next step in the ALB- project anyway), but then there's no rush. This is a leisure hobby. And by doing it slowly, methodically and with pleasure, I won't get screwed up and forget where I was. Instead I'm spending the online time today polishing up, finishing and publishing some posts here at "Hail, Hail Boobpedia!"... and rather enjoying it... My searches around the 'Net today turned up this site, which provides the new images you see at left and right, of the lovely but elusive Erika, who appears in DVDs by IZM. There were rumors at that Japanese babble-site (2channel?) asserting that Erika and the cosplayer LUU were the same person. I think we can lay those rumors to rest now. LUU has (in my opinion), a prettier face. Even more damning, Erika has (in indisputable fact), a much heftier arse. LUU's sit-upon is rather skimpy for a big girl. We'll have to do a comparison some time to lay this malicious scuttlebutt to rest once and for all. The rumor continues that Erika (and by extension LUU) are also "Megaton Mami" of the DVD "巨女痴犯 ビックマウンテン女 メガトン魔美" (IZM; IKD-10). I haven't yet investigated this work thoroughly, but this whole controversy calls for some investigative journalism to be tackled in a later post.

Born to Kill

Started three more ALB- stubs in the morning (ALB-080 - ALB-082), which, due to my continuing cold, was the full extent of my Boobpedia activity today. I did go online in the evening to take a look around some JAV-BBW sites, and found something to warm the cockles of my heart: The image you see at left, of the unjustly under-used Hiyoko Makino. As far as I know of the magnificent Ms. Makino, her only starring appearance was in her December 2011 debut, in the aptly-titled IZM DVD, Unusually Huge Tits (ただごとではない大爆乳 - Tada-goto de wa nai dai-bakunyuu). As you can imagine, I've kept a watch for more from Makino but have turned up nothing so far. She does keep a blog, but, as seems to be common with these models, she uses it mainly to make a record of her daily eating habits. This is no sillier, I suppose, than a record of one's film-viewing habits, but it would be nice to see more images of this gorgeous lady... So this one DVD starring her is just one of the many gifts from BBW-auteur, Ryudai, for which appreciators of the full-figured Asian female form should be eternally grateful. In connection with this release, Tokyo Topless featured Hiyoko-chan in this layout, oddly, with her face removed. I don't know the reason for this face-hiding, but it is pretty common at Tokyo Topless, even with models, like Hiyoko-chan, who already have and continue to show their faces in videos and photo sessions...

I felt crappy last night too, and not in a mood for Internet work, so I went to bed and watched Born to Kill (1947). Like a few recent viewings, it was slightly disappointing after the praise I'd read for it. I've always liked the star, Lawrence Tierney. The reason usually given to explain his limited success in his acting career is that he was as big a bastard off-screen as he was on-screen, so no one wanted to work with him. After seeing this one, however, I have to admit he was actually more of a "presence" than an actor. Sure, he scowls and growls and intimidates well, but he's pretty much on that one note all the time. In this one, rather than his usually likeably despicable criminals, he's completely unlikeable-- a repulsive, psychotic, narcissistic sociopath.

As in some of the recent films seen, a couple of the actors in minor roles make the film much more enjoyable. Esther Howard, again as a tough, boozy old broad (we last saw her in Dick Tracy vs. Cueball; 1946). The great Walter Slezak as a portly, prissy, Bible-quoting sleazeball private eye. (One of his better lines: "As you grow older, you'll discover that life is very much like coffee: the aroma is always better than the actuality. May that be your thought for the day.") The always enjoyably slimy Elisha Cook Jr. also helped raise the quality. (Quoth Cook to Tierney: "You can’t just go around killing people whenever the notion strikes you. It’s not feasible.") The female lead, Claire Trevor, like Tierney, was just plain unlikeable-- scheming, manipulative, greedy-- and not in as entertaining and over-the-top way that Jean Gillie was in Decoy (1946). It's hard to fault the movie for those two characters because they were what they were, which is what they were supposed to be. The film did have its fair share of thrills, as promised in reviews, but it still left me with an overall feeling of slow, talky, soap-opera... Robert Wise could certainly handle film noir, but this (his first in the genre?) is the weakest of the three I've seen so far. The other two are The Set-Up (1949) and Odds Against Tomorrow (1959)-- both top-notch films. I have high hopes (not overly high, I hope) for his The House on Telegraph Hill (1951). Overall, I found Born to Kill worth watching, certainly, but not quite top-drawer noir or Wise. A respectable Seven stars out of Ten from me.

My Ass-Man Godfrey

I started a few more ALB- (Munekyunkissa) stubs this morning (ALB-064 - ALB-067), the total boob-count weighing in at one G-cup, two I-cups, and a K-cup. We see the lovely, but unnamed K-cup girl starring in K-cup Amateur Nakadashi in Aomori over there on the left. In the afternoon I added some more Arzon info to the list of future articles.


Still feeling under the weather last night, I went to bed early, watching My Man Godfrey (1936) before sleep. Now here's what pisses me off about Godfrey: If I'd never heard of it, and put it on with no knowledge of its history, it would have probably been a mildly amusing little hour and a half and I would have gone to sleep with a smile. Instead, I know that it was one of the most highly praised and (almost)-awarded comedies of its time-- a time when Laurel and Hardy, The Three Stooges, W.C. Fields, the Marx Brothers were in their prime. A time when Keaton, Chaplin, Langdon, and Lloyd were still very much alive and capable of doing more great work given the opportunity. It was a time when the "lesser" comedians included such greats as Edgar Kennedy, James Finlayson, the amazing Charley Bowers... And how many Academy Awards were these comic geniuses given? Chaplin got a couple of honorary-- but then he was Chaplin. Other than that... I think Laurel & Hardy got one, and that's it. The greatest era of American film comedy (after the '20s), and the critics were honoring pretentious, prissy, leisure-class screwball comedies like Godfrey, and sneering at the really funny people who were really making the country laugh.

OK, that's off my chest. Now, about Godfrey: Yes, it was all pleasant, light and enjoyable. I really never did care for Powell as a comic actor. I tried to get into the Thin Man series once, but quit about half-way through the second. Too... pleasant. I can't claim to be a Carole Lombard fan either. But a couple of supporting players made the proceedings more fun than they would have been in their absence. There is Mischa Auer in full "Mad Russian" mode, as a leech who has attached himself to the rich & crazy family. There is Eugene Pallette as Auer's enemy, the long-suffering, loud-mouthed, blustering patriarch of the family. If the movie had been more about them, and less Lombard & Powell, it would have suited my simple and earthy tastes better. And it would have been funnier... Six stars out of Ten from me... I only wish director Gregory La Cava had let me brainstorm with him. I'd recommend retitling to My Ass-Man Godfrey, and having the dapper gent sneak around Chinatown and Little Tokyo peeking at solidly-built ladies such as Shizuko Fujiki (left, in a scene from Kokujin nami no kyôi no koshi-tsuki! Hôman kyojiri kangofu-san - 黒人並みの脅威の腰付き！ 豊満巨尻看護婦さん; MAGURO-029; May 2012). If the Breen Office had turned a blind eye, there is no doubt in my mind it would have then WON four Academy Awards rather than just been nominated! No doubt whatsoever.

She'll be Comin' 'Round the Mountains...

I continued the Munekyunkissa project during my time online today-- got up to the 63rd DVD in the series. Highlights of today's crop worthy of note include Kumiko Hayama in J-cup Amateur Nakadashi Miku (September 2009), Kyoko Nakano in I-cup Amateur Nakadashi Kotone (November 2009), Miharu Izawa in I-cup Amateur Nakadashi Misuzu (December 2009), Yume Sazanami in K-cup Amateur Nakadashi Miyoko January 2010), and long-time favorite Yuuki Manaka whose face is mostly eclipsed above left in N-cup Amateur Nakadashi Atsuko (November 2009).

I also took my son to see The Avengers today. After all the hype, I was a bit disappointed. It was a typical comic book movie, and actually kind of boring-- I actually had to fight to keep my eyes open during the last hour of non-stop action... That is the fault of so many contemporary U.S. films: Too much action. No pacing. It's the reason I've never been able to get into Hong Kong action films. Japanese and Korean films (the ones that don't ape Hong Kong or current U.S. films) have plenty of over-the-top action and violence, but they also have pacing. Sergio Leone picked this up from Japanese film. Long, slow build-up, then POW! Non-stop POW! POW! POW! creates no tension or suspense. It becomes the opposite-- a tranquilizer. The best of these comic book movies so far, I think, was last year's X-Men: First Class. It's the only one where I've really cared about the characters, rather than the BANG! ZOOM! POW! aspect (which I never care about). Funny thing is, I wound up talking about these comic book movies to a co-worker, and he said X-Men: First Class was the one film of the group he didn't like: "Too slow." Most of the others just blend into one blur to me... I see IMDb users have voted The Avengers the #29 movie of all time which says a lot... about IMDb users... Although, to be fair, I see some really worthy films on the list, which would not be on a typical public list... Anyway, Avengers had its moments. Samuel L. Jackson and Robert Downey Jr. are always fun to watch, and they're in fine form here. Mark Ruffalo as Bruce Banner / Hulk was particularly good. I'd have probably liked it better if I'd gone in expecting just another comic-book movie. Six stars out of Ten from me.

The BBW-est Show on Earth

Due to a cold, I've been tired and slept in later than usual, so I didn't go online during the morning. I spent my afternoon 20-minute session adding some more info on the Munekyunkissa videos to continue that project later on. My little time online in the evening was spent browsing for new AV activity of interest. I came across a few more precious images of the lovely Karen Toudou (in her DVD code QND-017), and Tamaki Yasuoka (at left, in DVD WZA-04).


The evening's entertainment pleasure consisted of The Smallest Show on Earth (1957), with Peter Sellers as Percy Quill. Charming little British film, with Sellers before his international stardom. In fact he was in a supporting role in this film. He played an old projectionist in the run-down theater inherited by the actual star of the film, Bill Travers. Seller's characterization was similar to his disguise, as Inspector Clouseau, in that hilarious scene in The Pink Panther Strikes Again (1976) where he poses as a dentist, and both he and Dreyfus get high on gas, laughing hysterically as his rubber nose is melting off. Dreyfus, realizing who it is, still laughing uncontrollably, yelling to his henchmen, "Kill him!!! KILL HIM!!!" Anyway, Smallest Show on Earth was a satisfactory way to spend an evening. One line stuck with me-- Francis De Wolff as Hardcastle, the owner of the big theater who wants to buy out the little theater mumbles in a gruff Scottish accent in reference to Margaret Rutherford, "I remember when she was a wee slip of a thing, pretty as a picture... A B-picture, mind you..." Seven stars out of ten from me.

Могучая кучка (The Mighty Handful)

I spent most of my online time today starting the Munekyunkissa project. I managed to get about 30 DVD articles started. Highlights of the day's work included Sakura Kawamine in K-cup Amateur Nakadashi Yumi (September 2008), Hitomi Matsumoto's AV debut Q-cup Amateur Nakadashi Hitomi Matsumoto (October 2008), and today's featured image, that gorgeous double-handful, Mitsumi Nanao seen above left in M-cup Amateur Nakadashi Natsumi (March 2009).

Two Dicks are Better than One

Having already seen two, I enjoyed the other two of RKO 's four-film Dick Tracy film series today. I never was much of a Dick Tracy fan-- the comic strip, or the Warren Beatty film (I do seem to recall enjoying the '60s cartoon show 50 years or so ago, if anyone out there remembers that). Anyway, all four of these films are actually fine, quirky little noir-tinged B-pictures. The first in the series, Dick Tracy, Detective (1945), had Mike Mazurki as the villain, Split-Face. He's a fine actor, and perfect for the role, but not given much to do, unfortunately. Morgan Conway as Tracy looks less like the comic strip character than does Ralph Byrd in Dick Tracy Meets Gruesome and Dick Tracy's Dilemma (both 1947) but he has more "presence", and a more of a film-noir anti-hero gruffness about him.

Conway returns in Dick Tracy vs. Cueball (1946), which is listed as one of the "50 Worst Films of All Time" by that disgusting right-wing blowhard Michael Medved-- so that's a badge of honor. That brain-washed zealot no doubt judged it based on some crack-pot reactionary political agenda-- I don't know, was Chester Gould one of those New Deal "commies" who caused so much trouble for Uncle Adolf? Anyway, like the other films in the series, it's another solid little b-movie crime-fantasy. In this one, Dick Wessel plays the lead criminal. With an obvious skin-head wig, he makes a suitably cold, oafish, but menacing presence. The real scene-stealer in this one is Esther Howard as Filthy Flora, owner of the Dripping Dagger, a fine drinking establishment. She's a tough-as-nails old broad who winds up one of Cueball's victims, as seen in the lobby card above right.

These old b-films-- the noirs, the comedies, the horror films-- point out the advantage of the one-hour film duration. They've got nice little gimmicks which are worth seeing for an hour, and they're short enough not to need to be padded with extraneous material and become dull. Like the old U.S. grindhouse and drive-in exploitation films, the Japanese Pink film genre keeps to this compact duration. It's too bad the U.S. film industry has become so bloated and self-important in the superficial aspects-- budget, special effects (CGI), etc. while becoming thematically increasingly geared only towards adolescents and younger... If Hollywood today could give us double-features of films as compact, mature, alluring and solidly-constructed as the old B-movies, or as Max Body's own Miss Asato (seen above left), then I'd be happy. (Ha! And you were beginning to think I wouldn't be able to work an image of an Asian BBW into this post!)

Tempest in a T-Cup

The Boobpedian world has much to celebrate in two new releases. First, the return for her third appearance of the amazing, the colossal, the stupendous T-cup, Haruki in Dokusen! Chônyû shijô saidaichi T-cup! Daichi o yurugasu kyodai chibusa ga dai fukkatsu! 144-senchi Haruki 26-sai (独占！ 超乳史上最大値Tカップ！ 大地を揺るがす巨大乳房が大復活！ 144センチ はるき 26才; BOMC-045).
Apparently she has been on a diet, which is not always considered a good thing to the Dekkappedlian aesthetic. However, by slimming down a little, Ms. Haruki seems to have only emphasized her curvaceousness.




Second, Oppai label has finally made a discovery worthy of its name in the traffic-stopping L-cup-laden torso of Mlle. Sakurai in Chakui fechi bakunyû watashi, kiteiru hô ga hazukashiindesu (着衣フェチ爆乳 私、着ている方が恥ずかしいんです; PPMD-019).

Heavy Lifting Done!

Except for 5 posters I still can't identify, I've finished the last task of the Pink Film Archive projects: identifying and sorting 1,380 posters at the Nakamura Eigeki site. Lending an appropriately hushed, but intense solemnity to the occasion, the task was completed while listening to Arvo Pärt's Te Deum album. If any boob-fans out there are looking for a good entry into Pärt's oeuvre, I recommend this one without reservation. The only thing now remaining is the starting of entries for the new films illustrated by the Nakamura posters, then my Pink Film Archive projects are, basically, done! Constant maintenance will be required, of course-- new movies, and newly-discovered posters of old films, including scanning some images from books and magazines in my collection. There is also a fairly large backlog of images of older films (1960s & 1970s) needing to be cleaned and uploaded.

I began this project of accumulating images of posters to several thousand Pink Films back in 2006, mistakenly thinking that Wikipedia would welcome this kind of dedication to an encyclopedic coverage of a film genre. After learning otherwise, and shopping around for some place to offer this work, I started the Pink Film Archives at Blogspot in October 2011. And uploading that work is now, basically... DONE! No need to worry now about the loss of those hours spent locating, sifting through and identifying those posters, in the event of sudden incapacitation, death or even disk crash. My legacy is secure... Yet, as if to remind me of the impossibility of the project ever truly being finished, I see that OP Eiga has just put out their monthly crop of four new large poster images-- three new films and a re-release.

Now that the heavy lifting is over, let's sit back and watch Miss LUU do her own heavy lifting in this image from her blog. She makes the job seem so much more pleasant.

Coco-chan wa koko

In Boobpedlian news, the fine folks at IZM have announced their latest opus, Muchimuchi man-niku TANK (むちむち満肉ＴＡＮＫ - IZM-184) starring the imminently qualified Ms. Coco (left and below).











The completion of uploading the backlog to my Pink Film Archive nears today as I finish the first run-through of the Nakamura Eigeki sorting project: the numerical listing of posters. Now I just have to run through the alphabetical lists-- which sometimes have slightly better images and fuller film descriptions-- and sort them into my film files, then I'm done with this part of the Pink Film Archive work. Still remaining will be only smaller projects: Cleaning old posters and scanning images from books and magazines... and, of course, eternal vigilance and constant updates... and linking it all into IMDb...

All the Boob News that's Fit to Print

As far as work on the Pink Film archives, I spent most of the week sorting and categorizing several dozen large (400px) Pink film poster images from Shizukatsu Theatre. I had dug them up out of a search through the Internet Archive a few years ago, back when I was under the mistaken impression that "the sum of human knowledge" included Japanese cinema, cult films, and softcore erotic cinema, and that contributions to these realms of knowledge would be welcome. Anyway, that work is not wasted, since these posters will soon be posted at my Pink Film blog(s), and eventually linked from IMDb. I'm back to sorting through the Nakamura Eigeki 181-px posters now.

Several events in the Japanese branch of the Boobpedian universe demand our attention today. Since CNN has probably neglected these news stories, allow me to present them. First, the great Miyabi Hayama made her final public appearance today, according to the IZM blog. Say goodbye to Miyabi, above right. Gone but never to be forgotten.

Though Ms. Hayama's magnificent presence will be sorely missed, IZM's stable of big, beautiful, bouncy babes still thrives. Iori Kuroki announced a new IZM DVD, Bakunyû chi-fujin (爆乳痴夫人; ICD-183). Madam Kuroki would probably be much more a favorite of mine had I not seen images of her smoking... Smoking, piercing or tattoos... Dekkappai just says, "No". Dekkappai says "Yes" to booze!





The grand Ms. Sara Aikawa, at right, appears in her new IZM DVD Chô shiri nikukai (超尻肉塊; ICD-182). And below, our protagonist in the video measures up the Herculean labor ahead of him.












Meanwhile over at the JAMS' blog, new images of the always-welcome Tamaki Yasuoka have been posted. Here she is, at left, in her JAMS DVD, WZA-04.

Pink Wives

Enjoyed the Pink comedy, The Japanese Wife Next Door (2004) with my wife and a sip of 18-year Chivas this evening. The scrumptious Reiko Yamaguchi (right) stars in the title role, giving both an adequate acting job, and enough sex appeal to keep the usually boring sex scenes interesting. Apparently, from what I can determine, this is actually the second film in the duet which Jasper Sharp translates/reviews as "Family Gets Rude". This one is Family Gets Rude Chapter 2: Unequalled Limits (淫乱なる一族　第二章　絶倫の果てに - Inran naru ichizoku: Daini-shô: Zetsurin no hate ni; 2004; theatrical poster: below, left), re-released in 2007 as Sex family 2: Hanayome wa do-inran (セックスファミリー２　花嫁はド淫乱; theatrical poster: below, right). The story concerns a young guy who unknowingly marries a nymphomaniac. Their acrobatic sex wears him out, so she then screws around with his father, next his grandfather, and even works her way over to his frigid sister. It's a good thing the family didn't have a dog! Good old "Mister Pink", Yutaka Ikejima, directed it from a script by his own wife, the prolific Kyôko Godai.
Ikejima's presence also provides this Pink Eiga DVD with some interesting, enthusiastic and informative extras. Eight out of Ten stars from me. My wife enjoyed it too, though she claimed she didn't. Yeah, right, if she doesn't like Pink films, why did she insist I put on Whore Angels after it?

More Toudou with Karen

I spent most of my online time today polishing and posting a few entries to this blog. While doing so I came across a hoard of new pictures of the always-welcome Karen Toudou from her QDN-08 DVD. A considerable percentage of my time online was spent capturing these. Above left you see just one of the many fine and upstanding images from this haul. And at right you can see one more offering from this evening's crop, in which she is relieving some of the strain from her over-stuffed kimono. It's back to Pink Film Archive work tomorrow-- I'll probably start by posting the findings from the past week.


Last night's delving into the realm of B-cinema brought up I Am a Criminal (1938), another in the long and prolific, but lackluster filmography of director William Nigh whose career I seem to be unintentionally following lately. This is actually an above-average effort from the director, for Monogram Pictures. It starts out looking like a typical crime film, as its title, reminiscent of I Am a Fugitive from a Chain Gang (1932) led me to expect. But after an early, talky showdown between the new DA and the town's big racketeer, it took a left turn at Albah-koiky and turned into a warm-hearted little buddy-film between the racketeer and an orphan. The ending was actually rather touching. Seven stars out of Ten-- So far in our survey of Nigh's oeuvre, this is his career high-point.

Bulbasaurus Rex

I spent the day's online time making a big push to get the Nakamura Eigeki poster identification project completed. I made a pretty good dent in it, getting up to the last poster (#1399) but I have to go back and pick up a few pages of posters that didn't have text linked to them, which will make their identification much more difficult. The next step, after finishing with these numerical listings, will be to go through the alphabetic listings and swap out any posters that have better resolution. The alphabetic lists also sometimes have better identifying text-- including plot summaries.
I also downloaded the new batch of 15 large posters from the same site today. I found quite a few new films and posters. A highlight of the day's work was a new poster to the 2006 film Hadaka no sanshimai: Inkô in its 2010 re-release as Tonari no sanshimai yari kurabe (隣の三姉妹　やりくらべ; seen above left). Starring the lovely Sakurako Kaoru (right) and picking up awards for Best Film (10th), Best New Director (Yasufumi Tanaka) at the Pink Taishô, and Pearl Prize at the Pinky Ribbon Awards, it sounds like one worth looking for.


In anticipation of the announced Cheech & Chong reunion film my son has been interested in seeing one of their old films. I found a cheap copy of Cheech & Chong's Nice Dreams (1981), made an Easter gift of it and watched it with him (with Korean subtitles on for the wife). It was the first time for my wife to see one of these-- They were no doubt banned in Korea at the time of release, drug humor being off-limits. She laughed at times, but after the film claimed not to be at all favorably impressed. Come to think of it, even in the wilder Japanese cinema-- as extreme as it can go into sex and violence-- I can't think of any film genre there comparable to our own esteemed drug comedies. As I remember from the old days, Cheech and Chong's films usually started out with a few mildly funny little bits, then drifted off into dull aimlessness. Actually I think this is the first time I ever made it through to the end of one of their films. I wonder if the reunion film is going to be of the same low quality as these old brain-dead comedies, or if the ensuing decades will bring some improvement to their work together... Stupid, gross-out comedies can be fun, of course. They don't need to be god-awful. In fact I enjoy a good one now and then. We'll probably go and see the new one when it comes out no matter the reviews. I'll be prepared for the worst, but hold out dim hopes for better. As far as the old one we saw today: Got a couple real laughs out of it in the first half hour, then was bored for an hour. Six out of Ten. My son's at the age where he's a little too old for an Easter egg hunt, but he's still young enough to be disappointed not to have the Easter egg hunt, so the Cheech and Chong DVD made a good compromise. They now join his other not-to-be-emulated role models Harold and Kumar. Meanwhile, in these pics from her blog, the gorgeous LUU dons a Pokémon get-up to remind dear old Dad of innocent days not so long past. The thought of spending time playing with a couple Bulbasaurs never looked so tempting...

Much Tôdô About Karen

In Boobpedia-worthy news, at left heavenly Karen Toudou announces her upcoming Hyperedge DVD: QDN-17. Ah, full-figured, intelligent-looking Asian women in glasses. Have I mentioned yet my great, life-long fondness for these? And Karen is one of the loveliest such models in the industry. I'm sure we who admire this type all look forward to further news from Ms. Toudou, and wish her well in her future career. Shall we use this as an excuse to recap her work to date? Yes, let's!


She first burst upon the scene in September 2007 inaugurating BBW-specialist director Timio Juvorenup's JAMS New Sexy Zone series with the DVD Ultra Buxom Woman!! Akiba Super Tits Girl (ウルトラボイン！！アキバ系超乳女子 - Urutoraboin!! Akibakei chônyûjoshi; SND-01). She seems to have stuck with JAMS throughout her DVD career. In March 2008 she appeared in the the studio's Three Sets of Super Tits: Made In Busty Girl (３連超乳　－メイド　イン　ボイン－ - 3-ren chônyû: Meido in boin; SND-04), and at right we see her preparing for some heavy dusting in the December 2008 Big Boobs Dance 2 (Bodirasu 2 - ボディラス2; FGB-02).




In February 2009, she appeared in Glamour Idol Obscene Filming Association (グラマーアイドル淫虐撮影会; Guramaa aidoru ingyaku satsueikai; JXD-30). At left she prepares for action in the January 2010 release, Spit and Big Boobs Married Woman (Tsuba guchu boin tsuma: Muchi kosu hatsujô bokki kui Tôdô Karen - (唾ぐちゅボイン妻 むちコス発情勃起喰い　藤堂カレン; VOL-02).










At right she harries her poor working-stiff of husband, just home from the office and can't get no rest! in I Married Big Woman. She Eats Boners! She is Busty Covered with Saliva!! (Okusama wa kyo-onna: Bakushiri bokki kui! Tsuba-guchu boin! ! - 奥様は巨女 爆尻ボッキ喰い！唾ぐちゅボイン！！; April 2011 ; QDN-08, translated title courtesy of Fetish World)... Poor guy!







And above, in her last known appearance, before the one we are all now anticipating, the tables are turned on her. In this scene from the September 2011 Pocha Queen series DVD, Plump, Busty Woman! Marshmellow Body (ハミ乳豊満女子！おさまりきらないマシマロ膨張ボディー - Hami-nyuu houman joshi! Osamari kiranai mashimaro bouchou body; FAT-004) dear Karen takes a rest, unwittingly laying out too tempting a morsel for a fellow to resist.

After this reminiscence of Ms. Toudou's work, the evening's movie entertainment saw me returning to the theme of '30s horror icons mis-cast as Asians. (See March 7, when I took a look at Bela Lugosi in The The Mysterious Mr. Wong). Last night I saw The Fatal Hour (1940) with Boris Karloff as Mr. Wong, detective (no relation to Bela's Mr. Wong, evil coin collector). Karloff takes a different tack from Bela in playing Chinese. Bela hammed it to the hilt, putting on a "Chinese" accent, which came out very bizarre since it was colored by his own thick Hungarian accent. Karloff, on the other hand, plays Mr. Wong as... Karloff, pretty much. He's a bit more soft-spoken than usual, but other than that it's just Karloff. Interesting, except that Karloff doesn't look Chinese by any stretch of the imagination... I have it in a horror collection, which seems odd, since the film is just a middling-to-passable little poverty row mystery. Nothing horrifying about it except for the mis-cast Karloff when there were no doubt dozens of real Asian actors who could have played the role, and the murders inevitable in such mysteries. This is the fourth in Karloff's Mr. Wong series, directed by Monogram Pictures' competent, but pedestrian William Nigh. I give it a solid Five out of Ten.