Zero Woman: Red Handcuffs (1974) – Review

In the 1960s, a rather bizarre genre exploded into Japanese theatres called “Pink Films,” which were movies produced by independent studios that included nudity (hence ‘pink’) and most often dealt with sexual content. Then, in the 1970s, major studios started producing a line of what came to be known as “Pinky Violence films,” and while these films still had the sexual element, they focused more on action and gore. Enter Hiroo Matsuda’s Zero Woman: Red Handcuffs, a quintessential entry in the genre.

Based on Tōru Shinohara’s manga “Zeroka no Onna” Zero Woman: Red Handcuffs tells the story of a disgraced cop sent on a most perilous mission. The film opens with a shocking and brutal sequence in which Rei (Miki Sugimoto), the titular “Zero Woman,” wearing her signature blood-red handcuffs, executes a man in cold blood. The man, as it turns out, was a high-ranking politician who had raped and murdered a young woman, but her superiors are none too happy with this, telling Rei, “Your sense of duty is too strong” and she is unceremoniously packed off to prison. Lucky for her – if anything in this film can be considered lucky – her punishment is short-lived as she is offered a way out by the authorities. In exchange for her freedom, she must embark on a dangerous mission to rescue a politician’s kidnapped daughter from a gang of ruthless criminals.

“If you should choose to accept this mission…”

The main villain in this movie, one among many, is the sadistic and unpredictable ex-con Nakahara Yoshihide (Eiji Go), who along with his ruthless gang psychos, rapes the daughter (Hiromi Kishi) of a rich and prominent politician Nagumo Zengo (Tetsurō Tamba), but it’s when the rape turns into a kidnapping that the plot kicks into gear. Rei is given a clear directive from Division Zero, from her old boss Hidaka Masashi (Hideo Murota), to eliminate the kidnappers and rescue the girl. Armed with her red handcuffs and a gun, she infiltrates the criminal underworld, tracking the gang to their hideout. Along the way, she encounters various seedy characters and is forced to endure harrowing ordeals, including being captured and tortured by the gang members.

Even the lesbian brothel owner gets in on the action.

As Rei closes in on the gang, the film delves into themes of betrayal, corruption, and the fine line between justice and revenge. The police, who initially seem to be using Rei as a disposable asset, reveal themselves to be just as corrupt and morally compromised as the criminals. Rei, too, is not a traditional hero; her methods are brutal, and her motivations are rooted in a deep-seated need for vengeance rather than any sense of duty or justice. Rei is not an unstoppable kick-ass fighter – a far cry from the characters found in movies starring the likes of Michelle Yeoh – as the fights in this movie focus more on brutality rather than well-choreographed martial arts battles. But will Zero Woman be able to rescue the girl? How much blood and violence will she have to endure? Can she trust the clearly corrupt police force? Is blood, death and betrayal the only likely outcome? All this and more will be answered in Zero Woman: Red Handcuffs, a grim and nihilistic tale full of violence and debauchery.

This is not a Hallmark Channel movie.

Stray Observations:

• If someone accuses you of rape and murder and your response is “So what if I did?” Getting shot in the dick and then killed is kind of your fault.
• To keep her cover, Rei has to allow herself to be bound, whipped and raped by Nakahara’s gang. If that’s not dedication to a job, I don’t know what is.
• We see Nakahara’s gang pissing on a sign that says “Urination Prohibited” but as we’ve already seen the commit murder and multiple rapes, did we really need this extra bit of lawbreaking?
• James Bond fans may recognize Tetsurō Tamba, who plays the corrupt politician Nagumo Zengo in this film, as the character of Tiger Tanaka in You Only Live Twice.
• Rei’s trademark red trench coat has me wondering if she wasn’t the inspiration for the look of thief/adventurer Carmen Sandiego.

“Where in the world is Zero Woman?”

Directed by Yukio Noda, this film is a brutal and nihilistic example of the pinky violence genre, and its aesthetic is pure 1970s grindhouse, with its gritty cinematography, garish colours, and a pulsating soundtrack that complements the film’s chaotic energy. Miki Sugimoto’s performance as Rei is a standout as she brings a stoic, almost emotionless quality to the character, making her seem more like a force of nature than a traditional heroine. Her cold demeanour and relentless pursuit of justice make her a compelling figure, even when the film delves into some deeply unsettling territory. Sugimoto’s screen presence is magnetic, and she carries the film with a combination of raw intensity and understated elegance.

She may be cold and ruthless, but she’s good at her job.

It’s safe to say that this film is not for the faint of heart, it is unapologetically violent, with scenes of torture, rape, and murder that are depicted graphically and unflinchingly, but beneath the lurid surface lies a fascinating commentary on the abuse of power and the corruption that permeates society. Rei’s journey is one of defiance against a system that is as corrupt as the criminals she faces, and her cold detachment and relentless pursuit of justice make her a compelling, albeit tragic, figure. With death and betrayal an ever-present danger, we can understand why Rei keeps herself detached from pretty much everything.

The cops are just as dangerous as the criminals.

However, Zero Woman: Red Handcuffs is not without its flaws. The film’s relentless focus on violence and degradation can be overwhelming, and at times it feels gratuitous. The narrative is thin, serving mainly as a vehicle for the film’s more shocking elements. This lack of depth can make the film feel more like an exercise in shock value rather than a fully realized story. Additionally, its treatment of women is problematic, often crossing into misogynistic territory, which can be difficult to reconcile with modern sensibilities.

Just let that soak in for a minute.

Despite these criticisms, Zero Woman: Red Handcuffs is an important piece of exploitation cinema. It captured the raw, unfiltered energy of 1970s Japanese genre films and pushed the envelope in terms of content and style, standing out as a raw and visceral piece of exploitation cinema. Its unrelenting pace and stark depiction of violence make it a memorable entry in the genre. For fans of Pinky violence or those interested in the darker side of 1970s Japanese cinema, this film is a must-watch. It’s a film that leaves a mark—both disturbing and intriguing, a testament to the era’s fearless approach to filmmaking.