GIRL BOSS GUERILLA

An Asian takes on the infamous Women-in-Prison films of the 70s and 80s, Girl Boss Guerilla is an adventurous exploitation fans wet dream. Immersed in fetishistic violence and sex, this example of the Pinky Violence genre -- a cinematic hybrid of action-packed crime and kinky eroticism -- runs rampant with gang violence, female action, and fetishistic cat-play. Directed by the legendary Norifumi Suzuki, most infamous for his Nunsploitation entry Convent of the Sacred Beast. Reiko Ike and Miki Sugimoto star in this third film in the 'Sukeban' series, lending authenticity to the purely exploitative action. Featured in Panik House's 2005 Pinky Violence Collection, this exhilarating trash epic doesn't pretend to be high art or mainstream entertainment. In fact, it abandons itself to carnality and oft times comical violence. Plot is of secondary consideration, over-shadowed by explosive action and melodrama, and Suzuki uses this to his advantage. From the outset you understand that this is movie offers a catalogue of titillation, with surface action replacing character development and theme. This raging hormonal fight-and-fuck fest is sure to draw the ire of feminists and socially conscious folks everywhere!

Sachiko (Sugimoto) and her 'Red Helmet' gang of female bikers leave Tokyo for the 'Gion' Festival. Engaged in several pulls for power that mirror their collective schemes while there, the girls make easy money via prostitution and blackmail, enjoying their rise in power until the local female mafia/yakuza are alerted to their presence. As a fight between both factions occurs, Nami (Ike), a former boss of the Kyoto Female Yakuza (and the sister of Nakahara), watches. Retiring from gang life earlier to live on her own terms, Nami also abandoned her sister Kyoto, estranging her from her own brother. When Nami befriends Sachiko at the Gion Festival, a race to take over the criminal action of the neighborhood ensues, with Nami and Sachiko struggling against high level criminals for their yakuza turf.

Suzuki Norifumi's third 'sukeban', Girl boss Guerilla is a blistering hybrid of the Yakuza sub-genre with W-I-P sensibilities. This debacle of nudity, knife-fighting, and revenge female fighting lacks any clear faith in humanity. Nor is this the point. Lightning quick action, skin, and blistering (and often cheesy) action is the order of the day. The director blends lurid surface action with taut narrative tension. Considered by self-appointed moral censors and guardians of good taste affronts to decency, 'Pinky Violence' movies rarely pretend to be anything other than sensationalistic exploitation, yet within their exploitative souls often lurk more meaningful themes. Modern freak shows of cat-fights and betrayals, they indulge in excess with an enthusiasm that celebrates the void. At the same time a bizarre, cruel sense of humor lightens up the drama. Mirroring historical power struggles of its time, a surprisingly relevant political/social context supports the story. The semi-tragedy of humiliation, death, and the lyrical poetry of violence is a devastating drama cast amidst an exotic, grimy backdrop. Girl Boss Guerilla is both a celebration and re-imagining of one of the few aesthetic forms which dare ask in unconscious sub-text why we enjoy experiencing vicariously impulses that we likewise distrust.

Girl Boss Guerilla is presented in 2.35:1 widescreen, anamorphic ally enhanced. Panik House, assembling one of the more original collection of rare Asian titles out there, treats the movie's visual integrity with its expected respect and technological polish. The movie looks superb. There is no pixelating here, nor grain. Colors are strong and sensual, with strong distinctions between the back ground and foreground of the compositions. Audio is in original Japanese language with optional English subtitles in Dolby Digital 2.0 Mono. The resulting dialogue and score are clear and satisfying.

Extras aren't as extensive as other releases by the company but what is enjoyable. The theatrical trailer is featured, followed by galleries of Promotional Art and Production Stills. Biographies for Norifumi Suzuki, Reiko Ike, and Miki Sugimoto are followed by production notes. The most substantial extra is the Audio Commentary with Matt Kennedy and Wayte Doyle, both of whom are well informed and engaging, focusing not only on this particular sub-genre but expounding on various aspects of Asian cinema at large. Both gentlemen are lively, and are allowed the time to dig deeply into the history of the movie, the cultural context, and particular aesthetic merits of the director. A sticker inside the box concludes this satisfying slice of vintage Pinky Violence.

Review by William P. Simmons