Stray Cat Rock: Sex Hunter!

With the most salacious title of the series and a director (Yasuharu Hasebe) who would go on to make some of the more notorious 'violent pink' movies of the '70s, Stray Cat Rock: Sex Hunter sounds like it should be a thoroughly tasteless sleaze-fest, but in reality proves just as mediocre as the previous two entries (Delinquent Girl Boss and Wild Jumbo), being another unexceptional gang drama with attractive actresses acting tough unconvincingly.

The beautiful Meiko Kaji returns, this time as Mako, leader of the Alleycats, an all-girl gang who clash with male gang The Eagles, whose leader, Baron (Tatsuya Fuji), has a hatred of African-Japanese people. When one such mixed race man falls for Alleycat Mari (Mari Koiso), Baron and his men react with violence, but are seen off by young stranger Kazuma (Rikiya Yasuoka), who has arrived in town looking for his sister Megumi. Mako takes a fancy to Kazuma, who is also mixed race, which upsets Baron even further, since he also has the hots for the top Alleycat (although impotency prevents him from proving his manliness). Rising tensions lead to punch-ups and random acts of violence, culminating in a shoot-out at a U.S. airbase.

There are a few moments in Sex Hunter that definitely offered Hasebe the opportunity to cut loose, but the director plays it safe this early in his career, delivering very little of the shocking sexual violence that typifies his more infamous work: those looking for jaw-dropping scenes of deviancy are advised to move on... there's nothing much to see here. The majority of the film consists of much posturing from both sides, some musical interludes (including a couple of numbers by mixed-race girl group Golden Half), mild drug-taking, and lots of driving around Tokyo in jeeps. The racially charged plot adds a modicum of interest, but this third Stray Cat Rock movie - regarded by many as the best in the series (which doesn't say much for the others) - still left me wanting.

Revered Grindhouse Maestro Yasaharu Hasebe's dynamically delirious, dizzyingly delicious, street fighting fillies fun-a-thon 'Stray Cat Rock: Sex Hunter' is yet another fiendishly fascinating, darkly downbeat, luxuriously lurid, freakishly freewheeling, thug-trashing thrill-spiller from The Nikkatsu Corporation. As always, the breathtakingly beautiful, exquisitely elegant, sartorially sublime sin-siren Meiko Kaji demonstratively makes for one of the most mesmerizingly magnificent mistresses of midnight mayhem that ever sultrily stalked the silver screen! Watch agog as these super-sexy, knife-sharp savages, led by slinky switch-blade sister supreme Meiko Kaji stridently slash their sweetly sinuous way into psychotronic celluloid history! With its fabulously furry fuzz-tones, kaleidoscopically crazy visuals, eye-poppingly hyperbolic mise-en-scene, and gut-punchingly stark conclusion, 'Stray Cat Rock: Sex Hunter' is a luxuriously lurid, heroically hard-rocking, glamorously girl-frugging gang banger that you won't want to miss!

On the face of it, this is a very "violent youth" type of exploitation film but there are some very interesting social matters running through the film. It revolves around the relationship between Japanese, occupying Americans and the "half" offspring of the groups.

There are interesting contrasts. Baron's gang runs around in American military jeeps yet we see through flashback that Baron's hatred of "halfs" may spring from his sister being raped by a US serviceman. His gang sets up a "party" with foreigners but they are the most ugly and brutish types imaginable. We have these ugly stereotypes of whites on the one hand yet the soundtrack features an on-cameras role by the group "Golden Halfs", five attractive "half" japanese women.

This is all packaged in a fantastic Suzuki style "exploitation "film. Great use of color and composition mark the influence of the Seijin Suzuki style on the director Hasabe. A great film for any "Violent Youth" fans.

You never really know what to expected with these early 70's Japanese Pinky Violence/Exploitation movies, but the absolute last thing I ever expected to find in a film lusciously entitled "Stray Cat Rock: Sex Hunter" was a socially relevant and thought-provoking allegory on topics such as racism, female liberation and brotherhood. There are a handful of "Stray Cat Rock" movies, but apparently "Sex Hunter" is the most widely available one and also the most superior one in the cycle. I'm certainly tempted to believe that, because what I saw was a compelling film from start to finish; - albeit with a exemplary crowd-pleasing elements like sexy eloquent girls, grotesque moments at comedy and kitschy musical interludes. Most bizarre, however, is the surprisingly low amount of explicit violence and gratuitous nudity. The main emphasis here lies on plausible story and the increasing tension between the rivaling gangs/sexes. The unearthly beautiful Meiko Kaji (later she became Japan's most successful exploitation actress thanks to "Lady Snowblood" and the "Female Prisoner: Scorpion" series) stars as Mako, the leading lady of an all-girls gang known as the Alley Cats. The girls are tough and independent, but they nevertheless still stand in the shadow of "The Eagles". They are a male gang, led by sadistic Baron and driving around the city in military jeeps. The Eagles are a bunch of racists, particularly against the half-bloods (the offspring of Japanese women and American WWII soldiers) who're allegedly stealing their women. The hard-boiled Mako is also falling in love with a half-blood, named Kazuma, but he actually came to town to look for his long lost baby sister. "Stray Cat Rock: Sex Hunter" turned out to be much more compelling, suspenseful and memorable than we (my fellow cinema mate and I) dared to anticipate. I love it when that happens! Director Yasuharu Hasebe may perhaps be most (in)famous for his downright deviant exploitation-porn movies, like "Assault! Jack the Ripper" and "Rape!", but this undoubtedly must be his best movie. Besides, if you're really looking for weird stuff, you'll still enjoy the inexplicably theatrical denouement and the numerously shameless attempts at product placement by Coca Cola.

Even though Stray Cat Rock: Sex Hunter was only released third in the Nora-neko rokku series, it was actually filmed back to back with the second entry Wild Jumbo and marks Yasuharu Hasebe's return as director in the franchise after Toshiya Fujita who would also make the fifth and final movie besides the second one. After the light, even comedic Wild Jumbo, Sex Hunter is a step toward the darker mood of the original film and carries a strong anti-racism message despite the lurid title that makes the film seem sleazier than it really is.

As with the previous movies, Sex Hunter deals with youth gangs in a big city in Japan. This time the story focuses on two gender-based gangs: the girl gang led by Mako (Meiko Kaji) and the guys' gang called the Eagles led by Baron (Tatsuya Fuji). The two gangs can somehow get along with each other, but tensions are created by the relationship of Mako and Baron and especially the latter's intense hatred for people of mixed race. The girls cannot accept the Eagles' assault campaign against their half-blooded friends, such as Kazuma (Rikiya Yasuoka) who has come to the city to look for his long-lost sister, and eventually things escalate with dramatic consequences.

As already mentioned, the mood is significantly darker than in Wild Jumbo. There is more nudity, blood, drug use and sexualized violence (even an outright "rape party"), even though in general the title "Sex Hunter" can be called exaggerated. Nevertheless, the film is still a recognizable Stray Cat Rock movie as all the trademark elements are there: extremely groovy psychedelic rock and jazz music, lots of aggressive driving in roofless Jeeps and some camera trickery to heighten the intensity of certain scenes. The use special camera techniques has been toned down from Wild Jumbo though; this time the only specialties are some flashy editing and a diminished screen size that forces the mise en scène to seem very cramped and crowded but also starts to get annoying after a while. But as said, gimmicks are not used as extensively as before and most of the movie is conventionally good-looking and well shot.

The story about the Eagles' racism adds a welcome societal touch to the plot, as does the tragic ending at an abandoned watchtower (why he fires those last shots is open to interpretation). The girls' friendship and the roots of Baron's racism in his childhood also belong among the more interesting plot lines and could have actually deserved more screen time at the expense of some of the action. On the other hand, stylized visuals are what these movies are known for, philosophical and plot-hole-free stories not as much. In any case, Meiko Kaji and Tatsuya Fuji, the staples of the franchise, are as fun to watch as always; in addition I especially liked the appearance of the girl pop group Golden Half in the psychedelic club scenes (keeping up with the movie's theme of racial acceptance, the group was known for its members being of mixed heritage themselves).

I guess it largely depends on personal tastes if one prefers the serious Sex Hunter and Delinquent Girl Boss to the more lighthearted Wild Jumbo. As for myself, I like all of them but might ultimately give an edge to Toshiya Fujita's entertaining caper story. For anyone interested in Japanese tough girl gang cinema, all five films are recommended viewing though. Sex Hunter appears to be the most well known of the five based on the number of IMDb votes and reviews (perhaps the title attracts fans of Hasebe's rape-themed pink films?) but I maintain that the other four Nora-neko movies are cool too if you like this one. Good entertainment with a serious undercurrent.