Kiyoshi Nishimura question - Hairpin Circus / Red Target

[Mark R. Harris]

Perhaps this will help with respect to "Hairpin Circus":

http://sketchesofcinema.wordpress.com/2010/04/23/hairpin-circus-1972/

"The film’s asset is realism. The stunts are real, as is most of the 1971
Macau Grand Prix that was written into the storyline. The filmmakers were
allowed to shoot on location while the actual race took place. This was
made possible by the fact that [Kiyoshi] Misaki was a real life race driver
who took part [in] the race with his Honda JRM AC-7, and finished 3rd."

Best regards,
Patrick Murtha

On Mon, Feb 13, 2012 at 8:16 AM, Jasper Sharp <jasper_sharp at hotmail.com>wrote:

>
> 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...
>
>
>
>
>
> My new book, *The **Historical Dictionary of Japanese Cinema*, is out now
> from Scarecrow Press. <https://rowman.com/ISBN/9780810857957>
>
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>
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>



-- 
Mark R. Harris
Profesor de humanidades
Tecnologico de Monterrey, Campus Sinaloa
Blvd. Pedro Infante 3773
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