of the 1950s, directed Yakuza Geisha in 1965. However Jasper Sharp reports that several pink film insiders are skeptical of this claim, as Ōgimachi was Mitsugu Ōkura's mistress, and he was known to treat her with favoritism. The Weissers write that standard Ōkura Eiga product of the 1960s was a low-budget affair with a forgettable plot which existed only to provide actresses to appear in the nude. One of Ōkura's most popular actresses in their late 1960s output was the shapely Mari Iwai. Iwai was especially known for her roles in coming of age films. Pink film queen Noriko Tatsumi appeared in films for Ōkura, including (December 1967), made between the shooting on Atsushi Yamatoya's cult pink film, Inflatable Sex Doll of the Wastelands. After her career got off to a bad start with cult horror director Kinnosuke Fukada's disastrous foray into pink, Pleasure Trap (Kairaku no Wana, Kokuei, early 1967), actress Keiko Kayama took the unusual step for the time of initiating a publicity campaign. Following this successful move, she became one of the leading sex film actresses of the era, starring in such box-office hits for Ōkura as (April 1967). Ōkura gave future "SM Queen", actress Naomi Tani her first taste of the SM genre in (May 1967), and her first role in a fully SM-themed film with (October, 1967). Ōkura and OP Eiga in the 1970s and 1980s By the time the major studio, Nikkatsu took over the sexploitation genre in the early 1970s with its Roman Porno films, a distribution system for independent pink films had been established, with Ōkura and Shintōhō Eiga controlling most of the venues. Ōkura's production arm was eventually named OP Eiga, while the distribution retained the Ōkura name. Typical of the studio's output in the 1980s, director Kazuhisa Ogawa, with regular star Mayumi Sanjo specialized in a series of college girl films. This series had Ogawa seeking revenge for rape, but, unlike typical rape and revenge films, the first offense was not entirely unwelcomed, and the resulting revenge tends to be light-weight acts of humiliation. (February 1983) and (August 1983) were unusually artistically done, thought-provoking films by regular Ōkura director Dai Iizumi. The Weissers write that Jō Ichimura's 1991 film is a "revolutionary" pink film which has acquired a cult following in the years since its initial release. Along with the exclusively gay-themed ENK studio, OP Eiga is one of very