Gamera: The Guardian of the Universe (1995) review

 

GAMERA: THE GUARDIAN OF THE UNIVERSE 1995 aka GAMERA: DAIKAIJU KUCHU KESSEN (GAMERA: GIANT MONSTER MID-AIR BATTLE)

Shinobu Nakayama (Mayumi Nagamine), Ayako Fujitani (Asagi Kusanagi), Tsuyoshi Ihara (Yoshinari Yonemori), Akira Onodera (Naoya Kusanagi)

Directed by Shusuke Kaneko

The Short Version: While Godzilla was playing Laser Tag at Toho via Koichi Kawakita's monotonous beam battles, Gamera got an imaginative, revolutionary upgrade in Shusuke Kaneko's remake/re-imagining of Daiei's GAMERA VS. GYAOS (1967), and the series in general. With nods and recreations of scenes to its Showa era source, this updated version is geared towards an adult audience with its grotesque, foul-faced man-eating bat monster, psychic bonds to bio-engineered, jet-propelled turtles, and links to ancient civilizations. 

A Japanese naval vessel stationed in the Philippines finds an enormous atoll floating towards Japan. Not long afterward, an ornithologist receives word that a giant bird has been spotted on Himegami Island leaving destruction and dead bodies in its wake. Discovering the birds are reptilian and carnivorous, a plan is hatched to lure the flying beasts to the Fukuoka Dome so they can be captured and studied. At the same time, the atoll surfaces in Hakata Bay and reveals itself to be a gigantic flying turtle, Gamera. Learning the jet-propelled wonder is an ancient weapon created by a lost civilization, destined to duel with the evil Gyaos birds, a battle is waged on land and in the air between the two bio-engineered monstrosities.

In Japan, Godzilla had long ruled the roost when it came to giant monster movies. Having launched a new series starting in 1984, Toho's Heisei Godzilla films hit their box office stride in a big way in the 1990s. It only seemed logical that Gamera would be revived to offer competition for the radioactive lizard -- the likes of which hadn't been seen since the 1960s. In spite of high ticket sales, Toho's Godzilla series was quickly growing stale.

Fortunately, Daiei's update of their favorite son was a breath of fresh air to the floundering daikaiju market. Echoing the serious tone of GODZILLA (1984), Gamera's second wind is a marvelous science fiction film utilizing a bevy of innovative SPX techniques by Shinji Higuchi. The original budget of $500 million yen was increased to 600 (approximately US$6 million at that time), and it's all up there onscreen. Gamera's 90s debut more or less broke even at the box office, but all the critical accolades and top ten lists it generated guaranteed there'd be a sequel. GAMERA: GUARDIAN OF THE UNIVERSE is the first monster movie to be featured in Kinema Junpo magazines 'Ten Best' list. It was their #6 pick of that year. Koichi Kawakita was said to have been impressed with the film and Higuchi's effects work.

 
Incidentally, Higuchi began his career fresh out of high school as a modeler on the aforementioned GODZILLA (1984), itself a reworking of Japan's most famous cinematic export. His work on the 90s Gamera trilogy will likely remain his most accomplished works, at least on these shores. The SPX director was awarded for his efforts on the first two Gamera films from 1995 and 1996. Higuchi was also a director, helming such movies as SINKING OF JAPAN (2006) and the award winning NOBOUNOSHIRO (2010). Reportedly Higuchi's fondness for special effects was hugely influenced by Tsuburaya's hit show RETURN OF ULTRAMAN (1971-1972).

Aside from the energetic, and still impressive effects work, Gamera's new look is a little edgier, but less scaly looking. He's not the defender of children that the Showa Gamera was, although he does link with Steven Seagal's daughter, Ayako Fujitani in a muddled plot device found in Kazunori Ito's script. Gamera's powers have been given a makeover, too. Instead of a flamethrower in his mouth, he emits devastating, great balls of fire. Retractable organic blades are hidden in his elbows. Gamera's famous jet propulsion method of flight is imported; and seen via CGI as opposed to the old fashioned way of live effects on set. According to Yuasa, it was difficult to show Gamera spinning; this resulted in fewer such scenes in the Showa series. The digital effects used to make Gamera spin look great, although he's seen twirling around in the sky less than he was in his early Daiei works. Additionally, nostalgia hunters will be pleased to hear the original roars for both monsters implemented here. 

Naoki Manabe (above) does an incredible job inside the Gamera suit while Jun Suzuki handles the more dangerous, fiery aspects of suit acting. Manabe doesn't seem to have done much, if anything else afterward. Another actor donned the Gamera suit for the two sequels.

Gyaos is arguably the most popular of Gamera's original opponents. Kaneko's crew of effects artists headed up by Higuchi do a fabulous job recreating him for the 90s. There have been some minor alterations and omissions to what was seen in Noriaki Yuasa's 1967 version, though. The earlier Gyaos was stiff in appearance, barely mobile in flight, and a clean set of chompers. New Gyaos was more gruesome looking with his diseased, gnarly look, and blackened teeth. The flesh-eating aspect of 60s Gyaos is retained, but his poison defense mechanism is done away with. The monsters laser beam that cuts through flesh like a knife is updated here, but unlike vintage Gyaos, version two must charge up before firing. The regenerative properties of 60s Gyaos isn't broached here. The scene from Yuasa's original where Gyaos loses his toes is recreated, but this time it's his whole foot.

Promoted as the very first female monster suit performer, Yumi Kameyama donned the Gyaos suit to go claw to claw with Gamera. Kameyama, an action-martial arts choreographer, founded her own team of action and stunt players (TEAM HANDY) with her husband Hiroshi Atsumi in 1995. Their expertise covers cinema and stage productions. Following in her footsteps were other women wishing to sweat it out with the big boys in big monster movies like Ota Ri-ai (Baragon in GODZILLA, MOTHRA, KING GHIDORAH: GIANT MONSTER ALL-OUT ATTACK [2001]) and Naoko Kamiyo (Rodan in GODZILLA FINAL WARS [2004]).

Director Shusuke Kaneko cut his teeth as an AD on Nikkatsu Roman Porno movies in the early 80s, and made his US debut with 'The Cold' segment of the horror anthology NECRONOMICON (1993) -- an omnibus based on H.P. Lovecraft stories. Some of that Lovecraftian elements made it into his Gamera series, particularly GAMERA 3: REVENGE OF IRIS (1999). Kaneko loved monsters and monster movies from a young age, and this enthusiasm shines through in a big, if utterly dark way in his interpretation of Gamera. He got his chance to direct a Godzilla movie in 2001 with the critically lauded GODZILLA, MOTHRA, KING GHIDORAH: GIANT MONSTER ALL-OUT ATTACK. His unique brand of doom-laden theatrics were in abundance there, too. 

Another area where Kaneko's movie succeeds is in Otani Kou's score. It's a rousing selection of cues that accentuate the action, and power of the monsters. It's an exceptional soundtrack that provides a radical departure from Akira Ifukube's magnificent, iconic sounds he created for Toho's Godzilla series.

With so much good about GAMERA '95, about the only thing in Kazunori Ito's script that just doesn't feel right is the military's bewildering decision to see Gamera as a bigger threat than Gyaos -- literally so. Despite the fact the flock of Gyaos show themselves to eat people, and are particularly good at it, they proceed to go after the outsized turtle instead. The only lousy explanation given is that if it were a Tyrannosaur on the rampage, then people would want it captured and studied; so the military vociferously attack Gamera, blatantly siding with Gyaos even while the birds continue enjoying their human buffet. Not sure about most people, but if there was a gigantic, sabre-toothed flying turtle, that didn't show interest in eating people, that would be the one to study. Naturally they come to their senses, but it begs the question, 'what took so long?'

Steven Seagal's daughter, Ayako Fujitani makes her big screen debut here, and mostly sleepwalks through the whole thing. Granted, by the third movie, she seemed to deliver her lines with a modicum of conviction. She makes little impression aside from being some sort of vassal for Gamera, with her lifeforce linking with his. It's never sufficiently explained, and she's never sufficiently convincing here.

For those who fondly remember the Showa era Gamera films, viewers may recognize Kojiro Hongo during the opening sequence of GAMERA: THE GUARDIAN OF THE UNIVERSE. Starring in GAMERA VS. BARUGON (1966), GAMERA VS. GYAOS (1967) and GAMERA VS. VIRAS (1968), Hongo, a popular leading man at that time, plays the ship captain who first spots the floating atoll that turns out to be Gamera. He's also the lead in Misumi Kenji's RETURN OF DAIMAJIN (1966)

Shusuke Kaneko, Shinji Higuchi, and the rest of the crew redefined Japanese monster cinema with GAMERA (1995). An exceptional work, and one that didn't go unnoticed overseas. While Godzilla's death in GODZILLA VS. DESTROYER (1995) made a lot more money, it pales in comparison to the ingenuity on display here. Just like in Japan, the critics in America took notice to the new Gamera, and it was even given a limited theatrical release; something the '95 Godzilla didn't get. GAMERA '95 is so different from prior giant monster movies, it's the sort of film a non-fan might find themselves engrossed by for 95 entertaining minutes.

This review is representative of the Mill Creek Bluray set.

Gamera vs. Jiger (1970) review

GAMERA VS. JIGER 1970 aka (GAMERA TAI DAIMAJU JAIGA; GAMERA VS. GIANT DEMON BEAST JIGER) aka GAMERA VS. MONSTER X

Tsutomu Takakuwa (Hiroshi Kitayama), Akira Hayami (Keisuki Sawada), Kelly Burris (Tommy Williams), Katherine Murphy (Susan Williams), Ryosaku Kitayama (Omura Kon), Junko Yashiro (Miyako Kitayama), Chico Roland (Gimbo), Franz Grubel (Dr. Williams)

Directed by Noriyaki Yuasa

The Short Version: Gamera returns for a sixth juvenile adventure, and an immensely enjoyable one compared to the budgetary blandness of VIRAS ('68) and GUIRON ('69). Sort of a last hurrah from a studio about to crumble under the mighty footfalls of Daikaiju Bankruptcy, Yuasa and his crew manage to devise some truly creative set pieces for what little resources they had at their disposal. Ostensibly a reworking of GAMERA VS. BARUGON (1966) -- the entry with the best production values -- one can tell a huge difference from the Daiei of just four years earlier. Unfortunately, the company would revert back to poverty-stricken methods for the next, and last entry of the 70s.

The Osaka World Expo is a theme park for the promotion of international culture, science, and harmony for all of mankind. Nearing completion, the park is awaiting the arrival of an ancient artifact from Wester Island in the South Pacific. An African envoy for the indigenous people of the island is furiously against the removal of the divine statue. The explanation that the study of ancient cultures for a better future doesn't interest the irate emissary in the slightest. Uncovered by archaeologist Dr. Williams, the 33 foot statue known to the natives as 'The Devil's Whistle' is transported to Expo 70 anyway despite both the natives, and Gamera's better judgment. After the removal of the stone effigy, the demonic monster Jiger is awakened and attacks Japan. After being defeated during their first confrontation, Gamera is nearly killed the second time after Jiger lays eggs inside of his body. It's up to two boys to help save him with the use of a mini-submarine before Jiger destroys Osaka and all its citizens.

After two disastrous, stock footage-filled Gamera films, the sixth entry in the series actually looks like it had something resembling a budget behind it. Reportedly director Yuasa was able to coerce then Daiei president Nagata Masakazu to fork over an additional allotment of 30 million yen (approximately 290,000US dollars at that time) to beef up the effects budget. The film is peppered with elaborate ideas, and a return to widespread city destruction that hadn't been seen since 1967s GAMERA VS. GYAOS. However, the miniature work isn't up to Toho standards; who were likewise going the stock footage route at this time. 

Other than a brief recap during the opening credits, everything in GAMERA VS. JIGER is brand new. The amount of monster action is increased from the two previous films (only once in VIRAS, and twice in GUIRON). The two monsters battle it out on three different occasions, on three different settings -- the first is on Wester Island; the second in Osaka; and the third at Expo '70. City destruction is limited in the last duel. 

Niisan Takahashi's script (that began as 'Gamera vs. Giant Monster X') is arguably the most ambitious of the series even if the budget can't match its aspirations. He borrows elements of his own work for GAMERA VS. BARUGON (1966); primarily the South Seas Island plot device that swaps out the mysterious opal (actually an egg) for a huge ancient statue. Instead of an outer space creature crashing to Earth, it's a beast from the long dead Mu civilization that is let loose.  Comparing the two films, though, shows a world of difference, particularly where the budget is concerned. The earlier movie had the best production values of the entire Showa era Gamera franchise, but was "bogged down" by an unusual amount of character development. JIGER abandons all that exposition and focuses more on the monsters, which is what the kids wanted more of anyways.

 
Another series mainstay is implemented yet again, but in an unusual move, it's turned into a set piece of its own. In every sequel, Gamera is put in peril, or incapacitated in some way; but here, his life is nearly snuffed out on two separate occasions. This second near death experience is the most interesting, and a highlight of the Gamera series. After Jiger stabs Gamera in the neck with a needle in its tail, the two boys of the cast (one Japanese, one American) man a mini-sub and go on a FANTASTIC VOYAGE (1966) inside of Gamera's body in an attempt to save the titanic turtle. Once they've breached Gamera's gigantic frame (which looks like ziploc bags filled with air and covered in green goo), the boys discover Jiger has laid eggs inside of him!

Jiger (a demonic monstrosity from the time of the ancient Mu Empire) is another in a long line of quadruped creatures. In a rare turn the suit actor(s) move around on all fours as opposed to the walking on the knees of so many others. In the Gamera canon, Jiger is arguably the most lethal opponent next to Gyaos. It has an array of uniquely outrageous, and deadly abilities. Its most devastating weapon is a death ray fired from the snout that turns buildings into dust and people to bones. The two main spikes on its face fire arrow-shaped needles that come in handy during the monsters first fight with Gamera. It shoots said needles into Gamera's arms and legs keeping him from retreating into his shell. Jiger then casually turns Gamera over to bake in the sun. Its ability to use other lifeforms as hosts for babies is kind of ghoulish, but fits within the grand guignol aspects the series was known for. Of its sillier attributes, Jiger has suction cups on the palms of its legs that act as magnetic force to attract objects into its grasp. Then there are the rocket boosters(!) behind its ears that enable the monster to fly in short bursts. 

The baby Jiger encountered by the two boys inside Gamera's body (where did all the dirt come from?) has its own attack -- it spits a white glue-like substance that holds its prey much like a spiders web.

The filmmakers always found goofy things for Gamera to do that increasingly humanized him; and here, he's probably more resourceful than any other entry in the series. Whether using pieces of buildings to combat Jiger, or ripping telephone poles from the ground to plug his ears, Gamera displayed an ingenuity unsurpassed in Japanese giant monster movies. This is further exemplified during the sequence where Jiger pierces his limbs and turns him onto his back. Gamera maneuvers his body to a protruding piece of rock. Wrapping his tail around it, he attempts to use it as a means to right himself. When that doesn't work, Gamera then uses the rock as balance to push the giant needles out of his legs. Who would have thought a giant jet-propelled turtle could be so sophisticated?

Izumi Umenosuke encores from playing the big turtle in GAMERA VS. GUIRON (1969). He gets a bit more to do this time around with Gamera's additional screen time, thus giving Izumi more of a workout.

Gamera is seen spinning again, albeit briefly during the Wester Island sequences. He didn't spin at all in the previous movie. According to director Yuasa it was very difficult to make the Gamera prop whirl while in the air. Earlier entries he spun very fast, and it was an impressive effect. In Jiger, it's a much slower rotation. When suit actors weren't required, models of the monsters were built for certain scenes.

As for its human cast, this Gamera film is as diverse as the others. Not only is their an American boy paired with a Japanese kid, but a little girl is added to the mix. The lifeforce of the series, children are at the forefront once more; and they're often depicted as far more receptive and less ignorant than the adults. Chico Roland (Arthur Lourant) of BLACK SUN (1964), GENOCIDE (1968) and THE STREETFIGHTER (1974) plays the extremely agitated African emissary, Mr. Gimbo. Famous Japanese comedian Omura Kon plays Kitayama, the kindly shipyard worker who constructs the small kids submarine for use at Expo '70.

GAMERA VS. JIGER (1970) is of great interest for a few reasons. For one, the Osaka World Expo had opened the week prior to this movies theatrical release. The Gamera movie was good publicity; or, more likely, the inclusion of Expo '70 enhanced the marquee value of the picture, especially since Daiei was on its last legs at this point. The Expo is never put in peril till the conclusion, and even then, the monsters third battle doesn't involve the destruction of any of the parks pavilions.

The release of this film marked an occasion where Japan's two biggest box office beasts -- Godzilla and Gamera -- would come together on stage as part of the films advertising campaign. For one day, the King of the Monsters met the Protector of Children. Mr. Godzilla himself, Haruo Nakajima, was called in to play the Big G. Suit actor Izumi Umenosuke was manipulating Gamera. A cinematic 'meeting of the monsters' has yet to take place between these two heavyweights.

For Gamera's sixth adventure, it's definitely a step up for the stagnant series. The effects are uniformly poor, but they're so enthusiastic, it's difficult not to appreciate them for the sheer amount on hand. Some composite work and a lot of rear projection add flavor the two prior pictures were lacking. Unfortunately, things would get worse in the next entry, and the last of the 1970s.

This review is representative of the Shout! Factory DVD.