A perverted loner roams the rafters of a boarding house in 1920s Tokyo in Watcher in the Attic, directed by one of the Nikkatsu‘s top Roman Porno filmmaking talents, Noboru Tanaka, peeping on the unusual sexual antics of its residents in this dreamlike tale of voyeurism, obsession and murder drawn from the “erotic grotesque” literature of Japan’s foremost master of mystery and the macabre, Edogawa Rampo.

Watcher.in.the.Attic.1976.BDRIP.576p.x264.AAC.KJNU.mkv

General
Container:  	Matroska
Runtime: 	1 h 16 min
Size: 	1.78 GiB
Video
Codec: 	x264
Resolution: 	1024x418 
Aspect ratio:  	2.450
Frame rate: 	23.976 fps
Bit rate: 	3 000 kb/s
BPP: 	0.292
Audio
#1:  	Japanese 2.0ch AAC LC @ 160 kb/s
#2:  	English 2.0ch AAC LC @ 167 kb/s (Commentary with Amber T. & Jasper Sharp)

https://nitro.download/view/184252293222B16/Watcher.in.the.Attic.1976.BDRIP.576p.x264.AAC.KJNU.mkv

Language(s):Japanese, English
Subtitles:English

The post Noboru Tanaka – Edogawa Ranpo ryôki-kan: Yaneura no sanposha AKA Watcher in the Attic [+Commentary] (1976) first appeared on Cinema of the World.

A true-life tale of a broken woman whose hedonistic tryst with a high-class restaurateur resulted in a horrific crime of passion that littered Tokyo headlines in 1936.

A Woman Called Sada Abe.1975.576p.BDRip-AVC.ZONE.mkv

General
Container:  	Matroska
Runtime: 	1 h 16 min
Size: 	1.82 GiB
Video
Codec: 	x264
Resolution: 	1024x434 
Aspect ratio:  	2.35:1
Frame rate: 	23.976 fps
Bit rate: 	3 000 kb/s
BPP: 	0.282
Audio
#1:  	Japanese 2.0ch FLAC @ 397 kb/s

https://nitro.download/view/DF37137CD4B506A/A_Woman_Called_Sada_Abe.1975.576p.BDRip-AVC.ZONE.mkv

Language(s):Japanese
Subtitles:English, Japanese, Russian

The post Noboru Tanaka – Jitsuroku Abe Sada aka A Woman Called Abe Sada (1975) first appeared on Cinema of the World.

Little known 1980’s exploitation flic with violent ending

During the Second World War, a young man from a secluded village is denied the chance to serve in the Japanese army through his tuberculosis. Highly intelligent, although isolated, he lives with his kindly grandmother. Taking advantage of the times he enjoys the company of several married women, but once news of his disease spreads he becomes increasingly socially ostracised and plots revenge…

Masato Furuova, the star of this film and who plays the alienated Tsugio, committed suicide earlier last year. This seems cruelly apt, as Village Of Doom (aka: Ushimitsu no mura) is a film full of images of death, whether of a body hanging under a tree, spilled poison, gunshot wounds, stabbings or a shotgun barrel entering mouths, although the principal violent events occur at the end. Starting as a film in which Tsugio helps to send a friend off to war and then, after being denied active participation in the real struggle overseas ends up bedding several war wives almost by accident, it ends with him shouting “Banzai!” again – this time to himself, before marching off on a bloodthirsty campaign of his own. Between these two pivotal events is the story of a tubercular youth faced with his physical disadvantages, as well as the frustrations of living in a small, presumably in-bred village. Here, it is said, blood kin sleeps with blood kin and unwanted outsiders are “buried in the hills.” During the war there are “always lonely women” the results of their liaisons, it is suggested, being dropped in the river. In many ways this is a return to the isolated and feudal Japan of the past: inward looking, where feuds were brought to bloody and formal climax.

Director Tanaka spent a good deal of his early career in the Japanese porn industry before branching out onto more ambitious and complex subject matter. Village Of Doom betrays some of these origins, as Tsugio’s early encounters are filmed in characteristic fashion (there is notable finger-fellatio scene which is dwelt upon) and his serial bedding of those lonely wives, their husbands serving conveniently overseas, would be standard fare for a sex comedy. However Tanaka and his screenwriters have a different tale to relate, one whose success depends to great extent on how sympathetic their lead character is, rather than any libidal considerations. And it’s a brutal story, based on a novel, but which one feels might just as easily been inspired by real wartime events. Tsugio’s actions are staged in such specific and grisly fashion that they feel like a reconstruction of a case; whether or not this is true, there is no doubt that they provide a powerful conclusion.

Of Tsugio it is said, “geniuses like you come once in 100 years” although no real evidence of his intellectual quality is offered outside of his obvious sensitivity. Placed in the care of his grandmother (his parents presumably dead) he dwells morosely on his brief sexual ascendance in the village and then his humiliation, real or imagined, at the hands of various inhabitants such as village lout Tadaaki. Compared to absent warriors like Mamoru given such a rousing send off at the start, or his school friend Tetsuo, continually borrowing money to visit whores in the outside world, he always feels inferior. But Tsugio is indeed the presiding genius over much of the events that rock his small world. His decision at the end to “go to war … and become a devil,” is something of a cathartic act, one by which he establishes his own value just as, in one perverse sense, it defines his village.

Featuring several prominent female roles, the drama is performed adequately, although it must be said no one is outstanding. It’s a film that has every suggestion of being made quickly, although arguably the rough-edged quality works in its favour. Particularly effective are the Tsugio’s scenes with the love of his life Ysuyo (Misako Tanaka), as well as the final few moments when, blood-spattered and satisfied, he confronts the inevitable. The end of the film is what will gain it any notoriety, although it is considerably less sadistic and flamboyant in the staging that would be instanced today. As a chunk of rare 1980s’ Japanese exploitation cinema, and by a name otherwise unknown to many viewers, its worth seeking out.

1.25GB | 1h 45mn | 865×468 | mkv

https://nitroflare.com/view/0E275D7F01ABB53/Village_of_Doom.part1.rar
https://nitroflare.com/view/0285C4CECE4F01F/Village_of_Doom.part2.rar

Language(s):Japanese
Subtitles:English

The post Noboru Tanaka – Ushimitsu no mura AKA Village of Doom (1983) first appeared on Cinema of the World.

There’s a Nobura Tanaka masterpiece lurking behind this lurid title. Today many critics feel Tanaka was the best director in Nikkatsu’s pink film stable, but in the 70s his work was constantly overshadowed by other studio masters like Chusei Sone and Tatsumi Kumashiro. This film was his first major “break-through.” Despite the “objectionable” necrophilia scenes, the movie was applauded by the mainstream press, praised for Hideo Murota’s remarkable performance , and honored by the Japanese Academy of Films and Motion Pictures and Kinema Jumpo as the best film of 1979.

3 boys drunkenly rape a woman named Emiko, the wife of a man they’ve developed a friendship with. She dies of heart failure during the attack.Her chicken farmer husband, incapable of dealing with her death tends to her corpse as though it were still alive completely unable to accept her demise.

Director Tanaka is no stranger to obsessive and twisted love stories (also see Secret Chronicles:She Beast Market [1974] and his Showa trilogy (e.g Sada Abe: Docu-Drama, Watcher In The Attic & Beauty’s Exotic Dance:Torture!) but this film benefits strongly from a terrific performance by Hideo Murota, in a major comeback role. After playing a villain in numerous features throughout the 60’s, he was imprisoned for cocaine poessession in 1971. Upon release from jail, Murota met a cold shoulder from his former friends and studio executives. Nikkatsu offered him a pink job amid a flurry of negative press. Sagaciously they teamed Murota with Noriko Kurosawa, a mainstream actress bolstering a lofty reputation, and added director Tanaka to the heady mix. Without compromising their position on roman-porno, the studio produced a major pink film which triumphantly crossed into the japanese mass market. This was one of the first pinku eiga to succeed on a grand scale.

1.58GB | 1h 36mn | 844×352 | mkv

https://nitroflare.com/view/F485A48518C0960/Rape_and_Death_of_a_Housewife_%281978%29_–_Noboru_Tanaka.part1.rar
https://nitroflare.com/view/5E04F5C294619E1/Rape_and_Death_of_a_Housewife_%281978%29_–_Noboru_Tanaka.part2.rar

Language(s):Japanese
Subtitles:English (muxed)

The post Noboru Tanaka – Hitozuma shudan boko chishi jiken AKA Rape and Death of a Housewife (1978) first appeared on Cinema of the World.

The second of Nikkatsu’s trilogy of softcore melodramas looking at prostitution in various Japanese cities, this dark look at ritualistic temple sex in Edo from director Noboru Tanaka is quite a departure from the light, comic tone of Chusei Sone’s Maruhi: Joro Ichiba. Resembling nothing so much as an Asian version of all those Roman-set Italian sex films of the 1970s, the film deals with various members of Japanese royalty subjecting women to sadomasochistic sexual practices in the temple for supposedly religious reasons. Rie Nakagawa stars with Yuri Yamashina, Moeko Ezawa, and Hijiri Abe.
~ Robert Firsching, All Movie Guide

758MB | 1h 16mn | 864×368 | mkv

https://nitro.download/view/FC9969B45807124/The.Hell.Fated.Courtesan.1973.DVDRip.x264.mkv

Language:Japanese
Subtitles:English (muxed)

The post Noboru Tanaka – (Maruhi) jorô seme jigoku AKA The Hell-Fated Courtesan (1973) first appeared on Cinema of the World.

The series really hits its stride by the third film, Nami, which is both the artistic pinnacle of the Angel Guts cycle and a roaring good time for devotees of outrageous cinema. A spate of sexual assaults motivates tenacious reporter Nami (Kanuma) to investigate the victims and the circumstances of the crimes, but her probing leads to the awakening of some very dark impulses within herself. Chasing down the girls with her crew and indulging in masturbatory bathtub fantasies afterwards, Nami eventually crosses the line when she prods one subject into sheer insanity.

Featuring one of the most delirious third acts in ’70s sex cinema (involving thunderstorms, a mad nun, a morgue, and a dildo attack), Nami maintains a respectfully disdaining attitude towards rape but veers so far into the flat-out surreal that it’s impossible to swallow as a “realistic” statement like its predecessors. Each scene becomes more stylized than the last until the viewer is submerged in a series of fantastic, surreal set pieces which blur the line between fantasy and reality; the last ten minutes in particular could have stepped right out of a Jodorowsky film. Don’t miss.

http://nitroflare.com/view/85B68E9324EF0C8/Tenshi_No_Harawata_-_Nami.avi
http://nitroflare.com/view/5CCA59E4E7CD8DF/Tenshi_No_Harawata_-_Nami.idx
http://nitroflare.com/view/C13568203292FE4/Tenshi_No_Harawata_-_Nami.sub

Language(s):Japanese
Subtitles:English (.idx/.sub)

The post Noboru Tanaka – Tenshi no harawata: Nami aka Angel Guts: Nami (1979) first appeared on Cinema of the World.

Watcher in the Attic is a 1976 Japanese film in Nikkatsu’s Roman porno series, directed by Noboru Tanaka and starring Junko Miyashita.

In 1923 Tokyo Lady Minako is the owner of a shabby boarding house with a collection of bizarre characters for tenants. Gōda, one of her tenants, spends most of his time in the attic spying on the other tenants through holes he has drilled into the ceiling. During one of his peeping sessions, Gōda witnesses the murder of one of the tenants at the hand of Lady Minako. Gōda becomes obsessed with Lady Minako, and determines to commit a grotesque murder in order to prove to her that he is her soul mate. He kills another tenant – a priest – by dripping poison into his mouth through the ceiling. A series of grotesque murders follow. The film ends apocalyptically with the Great Kantō earthquake which kills both of them during their intercourse.

http://nitroflare.com/view/865E1A2770F0CB5/Watcher_in_the_Attic_-_1976_-_Noboru_Tanaka.mkv

Language(s):Japanese
Subtitles:English

The post Noboru Tanaka – Edogawa Ranpo ryôki-kan: Yaneura no sanposha AKA Watcher in the Attic (1976) first appeared on Cinema of the World.