Kiyoshi Nishimura question - Hairpin Circus / Red Target

[Don Brown]

Hi Jasper,

The liner notes for the Hairpin Circus DVD mention that the Macao Grand
Prix scenes were "essential for the completion of the film" (perhaps it was
featured in Itsuki Hiroyuki's serialized novella on which the film was
based?). Toho were slow to permit the Macao shoot, so with the race
impending, subsidiary Tokyo Eiga put up provisional funds to make it
possible. The producers eventually received permission from Toho after the
scenes were shot. It was made for 45 million yen, which was the lowest
bracket for a Toho film at the time.

Don Brown

2012/2/14 Jasper Sharp <jasper_sharp at hotmail.com>

>
> Does anyone know anything about the director Kiyoshi Nishimura, more
> specifically, his two films *Red Target* (*Bara no hyoteki*) and *Highway
> Circuit* a.k.a. *Hairpin Circus* (*Heapin saakasu*), both from 1972. It
> seems to me, flicking through the Unijapan catalogues of that year, that
> they were both shot in Hong Kong/Macao, but I'm wandering if this was
> actually the case.
> The reason I ask is that the Unijapan catalogue mentions both were shot in
> Eastman Color, but from this period, almost all of Toho's films were shot
> in Fujicolor (except those such as Shinoda’s *The Scandalous Adventures
> of Buraiken *that were shot in Panavision) - so there must be a reason
> they were shot in Eastmancolor, and if they were shot on location in Hong
> Kong (Shaw Brothers used Eastman Color, for example), this this would sort
> of make sense. Or maybe I'm barking up a completely nonsensical tree here...
>
>
>
>
>
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>
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