Message From Space (1978) review

MESSAGE FROM SPACE 1978 aka UCHU KARA NO MESSEJI

Vic Morrow (General Garuda), Etsuko Shihomi (Princess Emerarida), Peggy Lee Brennan (Meia), Philip Casnoff (Aaron), Hiroyuki Sanada (Shiro), Narita Mikio (Rockseia the 12th), Makoto Sato (Urocco), Sonny Chiba (Prince Hans), Tetsuro Tanba (Ernest Noguchi)

Directed by Kinji Fukasaku


The planet of Jillucia is attacked by the cruel Gavanian empire, a race of metal skinned aliens. To save their people and protect Princess Emerarida, King Kaiba unleashes eight holy Liabe seeds. These seeds are foretold to come into the possession of eight warriors of various backgrounds. With the Earth now threatened to be enslaved by the Gavanian Empire, the eight chosen fighters set out to free the universe from the onslaught of the Gavanas and their fleet of warships.


Kinji Fukasaku, a director of enormous respect and recognition both in Japan and internationally, has been responsible for some of the most violent and esteemed motion pictures ever. Whether it be his Yakuza films (BATTLE WITHOUT HONOR & HUMANITY), or his chambara dramas (THE YAGYU CLAN CONSPIRACY), or even his violent allegorical actioners like BATTLE ROYALE, Fukasaku was one of the best directors of Japanese cinema.


When STAR WARS was unleashed to theaters in 1977, it totally transformed the way people perceive special effects and upped the ante on audience expectations as to what an action, or fantasy film should be. The success of Lucas's film was far reaching and not at all limited to America. There had been sci fi films before that featured similar elements, but nothing quite to the extent of STAR WARS. The award winning space opera was everywhere and people that didn't even enjoy sci fi were curious as to what all the fuss was about.


Not long after its release, Toei Studios, one of the biggest in Japan, got in on the act in association with Kadokawa Publishing and Shogakukan Comics, two manga production companies. The result is a wholeheartedly goofy and grandly gaudy sci fi spectacular. Japanese studio giant, Toho, likewise produced their own STAR WARS clone. Their version was a shockingly tacky non epic called THE WAR IN SPACE (1977), an apparently rushed movie that was rushed out in December of that year in an effort to cash in on some of US pictures thunder. MESSAGE FROM SPACE is only slightly less tacky, but contains a ton of action and a lot of heart.


Hopelessly silly at times, this extravagant, colorful and ludicrous outer space fantasy is a curious entry among Fukasaku's resume. Compared with what he is normally associated with, MESSAGE FROM SPACE is something of a bastard child among his directorial credits.

The guys check out each others space nuts

Regardless of its connections to the seminal STAR WARS, MESSAGE FROM SPACE (1978) is a futuristic variant of the famous Japanese literary classic, 'Nanso Satomi Hakkenden' about eight warriors destined to come together to restore a defamed family name and avenge its name. For this science fiction retelling, eight magic orbs (that resemble huge walnuts when they're not glowing) are thrust into space until they find their preordained owner. Those who are chosen, must free the enslaved Jillucia from the Gavana's who have also transformed the planet into their own spacecraft!


Throughout the films 105 minute running time, there's a mega ton of special effects sequences accentuated by a variety of spacecraft, laser gun battles and exaggerated costumes. Frequently lavish and cheap looking all at the same time, MESSAGE FROM SPACE was popular enough in Japan to garner a television series (called SWORDS OF THE SPACE ARK over here) shortly after is release. Fukasaku tried his hand at the story in a more traditional period setting with the grand scale fantasy adventure LEGEND OF THE EIGHT SAMURAI (1983), which was also quite popular and at the time, the biggest Japanese motion picture ever.


Nobuo Yajima's effects work are a mixed bag. At times, they are actually kind of striking. The ships are nicely designed and creative if overly implausible in some cases. Taking a cue from the classic 1962 Toho sci fi sensation, GORATH (wherein Earth's scientists build enormous rockets in the arctic to move the planet out of its orbit to avoid being destroyed by the runaway star, Gorath), the Gavanas turn the planet Jillucia into a gigantic ship. The first time the Jillucians realize this is when their world begins to move as the planet cum battlestation heads towards the Earth.

Rockseia (Narita Mikio; center) prepares to blow up the moon to show General Garuda (Vic Morrow; right) the Gavanians mean business

The ship and costumes for the Gavanas are also interesting designs. They take on a spider, or crab like appearance in both the alien fighter ships and also the suits the Gavanians wear. There's also an INFRAMAN meets FLASH GORDON (1980) vibe going on with all the vibrant colors with an added hint of Sid & Marty Kroft for good measure.


Yajima was also responsible for effects work in the hugely popular cult Japanese television series' JOHNNY SOKKO & HIS FLYING ROBOT (1967) and SPECTREMAN (1971). He also had a hand in a fair number of Tokusatsu (live action superhero shows) programs. The effects seen in MESSAGE FROM SPACE have an anime quality about them such as the aforementioned planet-turned-battlestation, the giant flying ship that is built in the form of an oldeworld sailing vessel and the interconnecting spacecrafts.

A STAR WARS moment if there ever was one!

One other attribute of the production is the soundtrack. The score by Kentaro Morioka is suitably opulent and grandiose especially the main theme. It has that typical Japanese flavor just as Italian movie soundtracks are easily distinguished by their signature sound. Morioka's score is quite catchy at times and itself has an anime aroma about it. The only time the music is ever "playful" is during a chicken run sequence between Aaron, Shiro and a space cop.


Upon reading the synopsis one can draw the conclusion that this picture has some glaring similarities to STAR WARS. While that is true, it would appear that this film was somewhat influential on the remainder of Lucas's trilogy. The Disney movie, TREASURE PLANET (2002) also seems to have taken inspiration with the use of a flying space galleon. Some of the set design (such as the layout of the windows in the throne room) looks similar to those in THE EMPIRE STRIKES BACK (1980).


Also, the design of Shiro's ship looks a lot like the snow speeders seen during the Hoth sequence of EMPIRE. The battle fortress built into the planet is a riff off of the Death Star, but the central reactor beneath Jullucia (hidden within a series of tunnels) was also utilized for the Death Star seen in RETURN OF THE JEDI (1983). There may be nothing to some of these nuances, but it's interesting just the same.


The cast is huge amassing quite a lot of big name Japanese stars as well as some recognizable American faces. Vic Morrow, who made an impression as a thug in THE BLACKBOARD JUNGLE (1955), had a long career as a screen heavy. Appearing in all manner of tv shows and movies, genre fans will know him from movies like DIRTY MARY, CRAZY LARRY (1974), THE BAD NEWS BEARS (1976), HUMANOIDS FROM THE DEEP (1980), THE LAST SHARK (1981), 1990: THE BRONX WARRIORS (1982) and TWILIGHT ZONE: THE MOVIE (1983), the film wherein he lost his life in a tragic helicopter accident. As General Garuda, he plays a character at a low ebb in life (probably true in real life for Morrow) pushed back into action to fight the Gavanas. He's given a robot sidekick by the name of Bebe 2. Morrow plays the role totally straight seldom smiling up until the end.


Japanese superstar, Sonny Chiba is Prince Hans, heir to the Gavanas throne. It turns out that Rockseia killed his parents and took over the sovereignty. Of course, Hans is a good guy and must bring justice to his own people. Chiba is barely in the movie and doesn't appear till it's half over. Still, he gets in a lot of action during the explosive finale. He indulges in a sword fight with Rockseia in the ornately designed throne room. Chiba and Fukasaku were great friends and worked together on numerous occasions. At this point in his career, Chiba was fine with letting his students shine onscreen while he took a backseat to the proceedings.


Hiroyuki Sanada has been an international heartthrob for several decades. Now at 50 years of age, Sanada has found a second surge in popularity after his role in THE TWILIGHT SAMURAI (2002) and his recent role on the hit series LOST (2010), Sanada shows no signs of slowing down. Originally one of Chiba's most promising acolytes, he is inarguably the most successful of the 'Streetfighter's' students from the Japan Action Club. Sanada was also a big name in Hong Kong where he made several movies as well. Some of his biggest roles and productions include SHOGUN'S NINJA (1980), SAMURAI REINCARNATION (1981), ROARING FIRE (1982) and the famous LEGEND OF THE EIGHT SAMURAI (1983).

You could almost imagine Etsuko Shihomi stating Leia's line, "I thought I smelled your foul stench when I was brought on board." She traded in the Cinnabun's for a wreath, though.

Etsuko Shihomi was Chiba's second most successful student starring in a string of solo efforts and supporting roles in addition to a singing career. She retired sometime in the mid 1980's. A stunningly beautiful woman, she had an imposing aura about her that shone through in her performances. She got her own quartet of SISTER STREETFIGHTER movies as well as another star turn in DRAGON PRINCESS (1976). Shihomi also featured prominently in Chiba's KAGE NO GUNDAN series as well as a nicely drawn role as a lonely, but deadly bounty killer in LEGEND OF THE EIGHT SAMURAI (1983).


Narita Mikio is one of Japan's most prolific and reliable actors in Japanese cinema. He has an incredible affinity for portraying duplicitous characters and he puts it to good use in such films as FEMALE CONVICT SCORPION: BEAST STABLE (1972), HUNTER IN THE DARK (1979), NINJA WARS (1982) and as the Dark Shogun in the second series of the popular television program KAGE NO GUNDAN. Depending on the character, Mikio changes his oration as some points bearing an incredibly deep, imposing tone and at others with a high pitched cackling manner.

Hideyo Amamoto (left), a male comedian, plays Rockseia's mother.

MESSAGE FROM SPACE (1978) is a very silly movie that is definitely cheesy in places and will likely appeal to small children and grown ups with a love for this type of fantasy film. It could probably fit quite cozily in the 'So Bad It's Painfully Funny' section of the site, but I don't have the heart to place it there.


It does have some good things about it, but does miss total shit status by a narrow margin. Perhaps Fukasaku intended this movie to be a fanciful child's fantasy; science fiction at its most goofy and playful. While it's definitely flawed, it's a nice little popcorn movie that no one in their right mind is going to take seriously. Japanese sci fi fans should have a field day and bad movie buffs may enjoy this big, overblown buffet.

This review is representative of the all region Eastern Star DVD. It contains both an English dub and a Japanese Stereo edition with English subtitles.

Cool Ass Cinema Book Reviews: Japan Edition! Godzilla Promo books & Film Reviews

The following four reads are promotional books lavishly illustrated with gobs and gobs of glossy color photos. These are the ultimate guides into the behind the scenes shots of the films and they all contain some choice photos of the monsters in action. All four of these books alternate between the making of the films, roll call of characters and actual shots from the finished movies. Text is all in Japanese, but damn if the photos don't do all the explaining! I picked these up at a Chiller Con a few years ago in New Jersey.

Since there's really nothing to review in terms of its contents, I will just briefly review the film itself below the screencaps of the front covers of the books, which are on the reverse side of where we would normally begin reading.



GODZILLA X MEGAGUIRUS 2000

58 glossy color pages

A young female officer, Kiriko Fujimori, has a vendetta against the gigantic behemoth, Godzilla, after her senior commander is killed by the beast in 1996. Five years later, Kiriko has her chance with the use of the awesome weapon called The Dimension Tide, a devastating creation that creates a black hole that sucks anything into it within its proximity. During a demonstration of the weapons power, a rift is opened allowing a bizarre creature to enter our world. Called a Meganula, the dragonfly like creature feasts on humans and lays thousands of eggs beneath the streets of Tokyo. Meanwhile, the Dimension Tide is prepped for its use against Godzilla, but then the city is soon flooded by the massive influx of meganulan eggs below the streets. With their being one queen named the Megaguirus, the organization known as the G-Graspers now have two titans to fight. Both beasts soon meet and while the battle rages, the anti Godzilla unit use the hi-tech flight craft, the Griffon, to lure Godzilla into the path of the Dimension Tide.

This Godzilla movie, the second of the Millennium series, was the first to be directed by Maasaki Tezuka and the least moneymaking entry in said series. It has quite the mother lode of interesting ideas that were lacking in all the Heisei movies and the previous picture helmed by Takao Okawara. Tezuka brought along a freshness to the monster sequences that reminded me so much of the G films of old. Some of these ideas were just plain original. Such is the scene where Kiriko actually rides on the back of Godzilla while out in the ocean.

The costumes of the G-Graspers and the Griffon ship bring ULTRAMAN and the Science Patrol to mind. The big tussel at the end is also very creative in its design and is successful in humanizing the two monsters even if it's sometimes in a comedic fashion. The Meganulan monsters are the ones seen in Toho's classic, RODAN from 1956. Michiru Oshima shows that a woman is capable of orchestrating a big, opulent score that can sit proudly alongside Ifukube's monumental work. One of the single most controversial G film of the Millennium series in how it divides fans, it is easily a favorite of mine and a breath of fresh air when I finally was able to see it.



GODZILLA, MOTHRA, KING GHIDORAH: GIANT MONSTERS ALL OUT ATTACK

58 glossy color pages

The looming threat of a return attack from Godzilla prompts the Japan Self Defense Force to always be ready for an impending, or immediate threat. A young woman, Yuri Tachibana, a reporter for a television program on paranormal activity finds a bizarre scoop on an ancient prophecy. It tells that three Earth guardians, giant creatures of varying strength and powers, will one day battle Godzilla. It is also surmized by a wisened old man that Godzilla is not only a product of nuclear fallout, but is strengthened by the forgotten and vengeful souls of those killed in the atomic blasts of WW2. Godzilla does indeed appear and battles the three Earth guardians as well as the Japanese military might. A combined effort of man and monster bring the towering inferno of destruction to an end.

Shuseke Kaneko put his own spin on Toho's famed series with this decidedly darker Millennium entry. There was an all new approach to the material. It went into a direction that should have been embraced by the last and worst Godzilla film in decades, GODZILLA FINAL WARS. Kaneko's vision is a favorite of many, but I dislike certain aspects of it.

King Ghidorah was a big wimp here and had to brought back to life several times. The picture was also rather repetitive; he's in the water, he's out of the water, he's dead, now he's alive, oh, he's dead again...and so on. There are some ace effects scenes and memorable moments, though. Mothra rising like a burning phoenix only to be completely obliterated was a moment of shocking brilliance. A couple of shots of Godzilla amidst a mass of smoldering rubble and the first appearance of the stronger Ghidorah are also notable. The score is a vast departure from what has come before. Some of the cues are interesting, but the soundtrack is another way in which the last G film attempted to differ. GMK is a monster flick that caters to a little more than the average creature feature fan. 2001



GODZILLA X MECHAGODZILLA 2002

65 glossy color & B/W pages

During a typhoon, Godzilla attacks and the Anti Mega Loss Force is called into action. Akane Yashiro loses control of her maser tank shoving a jeep driven by a friend into the oncoming path of the gigantic lizard. Overcome with grief, Akane makes it a life ambition to combat Godzilla. The military devises a new robot battle droid built around the bones of the original Godzilla which destroyed Tokyo back in 1954. This new robotic weapon, dubbed Kiryu, is remote controlled to cut down on human casualties. Akane trains to be the pilot of the Shiragasi, the control mechanism for Kiryu. Armed with a devastating weapon, the Absolute Zero Cannon, which will instantly freeze anything within its range, the two monsters soon collide. After a failed first battle when Godzilla's roar triggers an embedded memory within Kiryu's skeletal structure, causing the robot to destroy miles of city blocks, the Kiryu project comes into question. But when Godzilla appears to destroy Japanese cities once more, the battle bot is put back in action for a final showdown.

Masaaki Tezuka returns to the Millennium series and directs one of the most popular and biggest hits of recent memory. Action is the name of the game and Tezuka's movie moves along at a rapid clip. The special effects are spot on, the mecha designs are all slick and imposing creations. Tezuka imports and improves on so many aspects that were introduced in his maiden Toho voyage, GODZILLA X MEGAGUIRUS (2000).

There are a lot of similarities throughout, yet it all seems so fresh and vibrant. One area that this picture never lets you down is in the monster action. It's what you go to a G film for. The battle sequences are extremely creative and Mechagodzilla is the best design of its last three incarnations. The city rampage with an out of control Kiryu is one of the best moments out of the whole series. Mankind is hopeless to stop the robot till its batteries run out. Michiru Oshima encores with yet another impressive soundtrack, Kumi Mizuno has a guest appearance and all is right in the Godzilla universe. Very much recommended for any and all G fans.



GODZILLA X MOTHRA X MECHAGODZILLA: TOKYO S.O.S. 2003

59 glossy color & B/W pages

A year after the titanic battle between Godzilla and his mechanical opponent, damages to Kiryu were massive requiring extensive repairs. Meanwhile, Doctor Shinichi Chujo receives a visit from the Shobijin, the two twin fairy caretakers of Infant Island whom Chujo hat met over 30 years prior. The Shobijin request that the bones used in the Kiryu project be returned to the sea lest mankind feel the wrath of Mothra once more. The military feel differently and decide that Kiryu will be repaired and utilized as the top means of battling the threat of Godzilla. When the giant lizard finally marches on the city, a small boy recreates the distress call for Mothra. The God of Infant Island appears and fights with Godzilla. With repairs unfinished, the Prime Minister decides to send the mighty robot into battle to aid in the fight. With Mothra's strength depleting, two larva hatch and make their way to the city. Kiryu is also severely damaged and its up to the baby Mothra larvae to stop Godzilla. In a final moment of desperation, Kiryu is brought back on line to send Godzilla to a watery grave.

Tezuka's last Godzilla movie has the best effects sequences thus far and tons of action and moves at an even swifter pace, only it seems more like an expansion pack for the last movie. It's as if they split it into two parts and released them separately. It doesn't break any new ground, but does introduce some new additions to Mechagodzilla. It also is the first Millenium production to be a direct sequel to one of the previous films. TOKYO S.O.S. is also very much in the vein of the Honda directed productions of the 1960's.

Interestingly, this behind the scenes book has some awesome storyboards showing multiple Kiryu robots as well as other hi tech machinery. There is a direct connection to MOTHRA (1961) with the inclusion of the Chujo character played by the same actor. There's also a connection to Honda's YOG, MONSTER FROM SPACE (1970) when a dead Kameba (a giant turtle in that film along with several other monsters) washes up on shore with a nasty bite in its neck. Michiru Oshima also returns to deliver a fitfully exciting score that adds a whole other level of excitement to the lengthy battle between the three monsters culminating in a strong finish. It's a shame the series had to end on a low point with FINAL WARS. Tezuka then went on to direct a lively and action packed remake of the Sonny Chiba hit, TIME SLIP (1979).

If you're a fan of Toho monster flicks and you happen to see some of these at a convention, or a bookstore, you will not be disappointed. Not understanding Japanese is not a problem as the glossy imagery is the selling point here.