Nora-neko rokku: Onna banchô

This film begins with a young female motorcyclist named "Ako" (Akiko Wada) riding into an area of Tokyo known as Shenjuku. It's then, while stopping at a red light, that she encounters a group of motorcyclists who give her a hard time before riding off once she confronts them. Not long after that she gives a ride to a female hitchhiker named "Mei" (Meiko Kaji) who unexpectedly asks to get off in an obscure area not too far away. Curious as to why she would want to get off in such a desolate place, Ako watches from a distance as Mei joins several other young ladies and leads them into a fight against another female gang. At first, everything seems to be going fine for Mei's gang but then the tide of battle turns as the same men that harassed Ako suddenly appear and join Mei's opponents. Realizing that Mei and her gang are about to be seriously hurt, Ako rides into the fray and creates a diversion which allows everyone but Mei to scamper away. Then, with Mei on the back of her motorcycle, the two of them ride off as well. Not long after that, Ako learns that Mei's boyfriend "Michio Yagami" (Koji Wada) is in serious trouble with the same male gang that attacked Mei and gave Ako a hard time prior to that. So, once again, Ako gets involved--but this time the situation becomes even more dangerous than she could have imagined. Now, rather than reveal any more, I will just say that this was an entertaining action film which suffered somewhat from a couple of unrealistic scenes which would almost certainly never happen in a city as populated as Tokyo. But that's the motion-picture industry for you. Be that as it may, I enjoyed this film for the most part and I have rated it accordingly. Slightly above average.

The first part of the Nora-neko rokku ("Alley Cat Rock") series was originally Nikkatsu Studios' answer to the rivaling Toei Studios' Delinquent Boss series, but spawned four sequels thanks to its popularity. I haven't seen any of the entries in the Toei series, so I don't know how the Nora-nekos do in comparison, but in their own right all five of them are very entertaining bad girl movies.

Onna banchô, the first movie in the series, takes place in Shinjuku, Tokyo where rivaling youth gangs are constantly trying to one-up each other in toughness. An all-girl gang led by Mei (Meiko Kaji) gets involved in dangerous circles when Mei's boyfriend Michio (Kôji Wada), wants to join a powerful yakuza organization called Seiyu but inadvertently loses the gangsters' money in a fixed boxing match. Of course, Mei's gang is not going to leave him to the gangsters, especially when helped by an enigmatic and independent female biker called Ako (Akiko Wada).

The film is known for its visual look that captures the spirit of the era pretty neatly. Many scenes take place in a psychedelic rock club with colourful lights and bands performing psych-rock, soft schlagers and folky guitar ditties. The non-diegetic score is totally groovy too, as are Akiko Wada's song scenes, be they related to the plot or not – the movie was the film debut of the deep-voiced singer of Korean heritage, so I guess some singing was to be expected. The downside of the ultra-cool atmosphere is that at many points the screen looks way too dark, making it difficult to see what exactly is happening (or perhaps it was just my old television set). What I appreciated about Yasuharu Hasebe's direction is that he keeps camera trickery (weird angles, quick zooms, filters) under control, only using special techniques moderately and not in an overly distracting manner.

The plot itself takes place within less than two days and involves many fights, chase scenes and tough talking, staying quite entertaining for the shortish runtime. The street fighting may not look as tight as actual martial arts flicks, but does its part alright. Some of the torture scenes look a bit nasty, especially the blow torch part, but overall the mood stays pretty light compared to some real exploitation sleazies. One of the best scenes is definitely the big chase between Ako's motorcycle and the roofless "Fellow Buggy" of the yakuza underboss Katsuya (Tatsuya Fuji) that is not stopped by narrow tunnels, shopping malls or even staircases, either descending or ascending.

Looking behind the first-hand crime plot, there is a strong feminist undercurrent in the film and the portrayal of the girl gang members' friendship is one of the most important themes. I would not call the movie the strongest of character dramas out there, but at least the charismatic Akiko Wada carries her scenes at ease (too bad she doesn't appear in the sequels). I also liked the self-confident performance of Tatsuya Fuji who is probably best known for playing the lead part in Nagisa Ôshima's controversial sexual drama In the Realm of the Senses a few years later.

I am far from well-versed in Japanese youth gang movies, but I think Stray Cat Rock is certainly entertaining enough to be recommended to anyone who is interested in the genre. The sequels are worth seeing too if you like the first one, but Delinquent Girl Boss (or whatever its correct English title is) may be the best starting place to the series after all, even though the movies are not really connected in terms of plot. A fun flick, in any case.

'Stray Cat Rock: Delinquent Girl Boss (1970)' tells the story of a drifter who rolls into town and aligns herself with an all-girl gang, soon helping them overcome the threat of a male gang working with corrupt cops. Though Meiko Kaji would go on to star in all four of the flick's follow-ups, it's actually Akiko Wada who plays the title role here. She's an androgynous, no-nonsense biker with a strong singing voice and an equally strong loyalty to the new friends she has only just met. The plot plays out almost like an old western, with a mysterious stranger wandering into town and getting wrapped up in some sort of local trouble before wandering back out again. Filmed with an abundance of unmistakably seventies style, the movie carves its own unique place within its genre. It's typically an energetic and lively experience. However, despite its relatively fast pace, it often feels somewhat 'slow'; it meanders a little during its calmer moments and its actual plot takes a while to properly kick in. Having said that, it is enjoyable. Its low-budget doesn't dampen its effect, even if it is usually rather evident. It's a solid film with a refreshing focus on strong female characters. 6/10

This was utter boring, there's no other way to put it. She's beautiful as always albeit physically not very beliveable in the role of a street fighter, but the ending result is just yawn inducing, with no real story or characters to speak of. I'd rewatch Blind Woman's curse over this anyday, at least the campy parts of that were amusing.

In the first of what would become a successful five-film series, Stray Cat Rock: Delinquent Girl Boss is a passable and sporadically entertaining introduction to the 'girl gang' genre and one of the key entries in a series of films known as 'pinky violence'. Anchored by a performance of undeniable presence by Akiko Wada, who plays a no- nonsense biker and who surprisingly didn't appear in any of the sequels, the film gets bogged down by a plodding series of events and set-pieces that are too free-spirited for it's own good, and lingers far too long on various pop performances from flavour-of-the-week bands.

Plot-wise, the film doesn't have much going for it. Ako (Wada) is a drifter who picks up Mei (Meiko Kaji - later to play the eponymous Lady Snowblood (1973)), who is caught up in a beef with a rival girl gang. A fight ensues, and Ako chases away the gang and the various yakuza that have gathered for the entertainment. It becomes apparent that Mei's boyfriend Michio (Koji Wada) is caught up in a plot with the Seiyu Group, a powerful Yakuza organisation, to throw a boxing match. Naturally, things don't go quite to plan and Michio is hunted by the Seiyu Group, but not if Ako has anything to say about it.

Visually, the film is often splendid, using ultra-chic locations, split- screens and obscure camera angles that give it a trippy aesthetic. It's colourful yet undeniably grim, encapsulating the rebellious hippy spirit that undoubtedly made it's way over from America in the late 1960's. Reversing the usual gender roles, the Stray Cat girls are a rather repulsive lot, even though they plays our heroes, and Ako especially berates men for being weak if they refuse to stand up and fight, even when one is beaten to a pulp during a boxing match. It's certainly interesting thematically, but as a piece of entertainment, it's often extremely dull, stretching out it's wafer-thin plot when it should be giving us girls kicking ass.

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