Thursday, May 1, 2014

Daimajin (1966) review


 

DAIMAJIN 1966 aka MAJIN, MONSTER OF TERROR

Yoshiko Aoyama (Hanabusa Tadafumi), Ryutaro Gomi (Lord Odate Samanosuke),Takada Miwa (Hanabusa Ozasa), Jun Fujimaki (Kogenta), Sugiyama Tsuyoshi/Shousaku (Gunjiro Yasuke), Tsukimiya Otome (Nobuo Mikio)

Directed by Kimiyoshi Yasuda


"Samanosuke... you will see God's anger. You will be crushed by his wrath!"

The Short Version: Daiei, a company famed for their ZATOICHI series, got into the giant monster game with GAMERA (1965), and quickly hit upon the idea of merging the two genre styles together for a trilogy of movies about an evil god prayed into existence to serve vengeance upon violent oppressors of peasant villagers. Director Yasuda kicked off this (mostly) superb series that relies heavily on spirituality and superstitions with a hint of horror, and healthy doses of samurai dramatics; and a climactic special effects buffet of divine retribution meted out by the mighty Majin.



Chamberlain Odate Samanosuke plots a coup to overthrow Lord Hanabusa and take over Yamanaka Castle. Once the man that rescued him from poverty is slain, Samanosuke seeks out Hanabusa's children to kill them, too. Their young guardian, Kogenta, manages to get them out of the castle alive, and they're taken to the sacred mountain of their god, a giant stone statue that houses an evil spirit. Ten years pass and Samanosuke has enslaved the surrounding villagers. Kogenta is captured, and Hanabusa's son attempts to rescue him; he too is caught, and both are set to be executed. Hanabusa's daughter prays to their god to save them, and rid the country of the cruel Samanosuke.



After the great success of GAMERA (1965), Daiei was riding a box office high (that ultimately proved short-lived) after throwing their hand into the daikaiju sweepstakes. A big budget sequel was ordered, as well as an ambitious trilogy of films that combined jidaigeki cinema with the surging popularity of Japanese giant monster movies. The Gamera film (GAMERA VS. BARUGON) was shot at their Tokyo studio while the task of bringing the unusual DAIMAJIN to the screen took place at their Kyoto division.

DAIMAJIN is a fascinating movie, and a unique entry in the big monster boom Japan was enjoying at that time on both the big and small screens. The melodrama takes precedence over the creature action, but Majin remains a looming presence leading up to the last 15 minutes when his rage is finally unleashed. Set to the majestically gloomy tones of Akira Ifukube's music, Majin's stone god hellfire and brimstone rampage is among the most memorable ever seen in films of this vintage. 



In the meantime, Tetsuro Yoshida's character heavy screenplay spends a good amount of time making us despise the evil villains (devilishly portrayed by perennial chambara bad guys Ryutaro Gomi and Sugiyama Shousaku) as they plot, enslave, and kill anyone that defies their tyrannical rule. The amount of superstition and spirituality present reads like a Japanese version of the Old Testament with its allegorical treatment of greed and inherent human evil; and the punishment of those who subjugate, torture and murder the pure and innocent. The god-fearing peasants (in the dubbed English print, the god is called Shino) pray to their idol high atop a mountain overlooking a waterfall. The god is distinguished by its benevolent and malevolent halves. This benign spirit houses an evil god inside the statue that can be prayed into existence. 



Unlike the two sequels (RETURN OF DAIMAJIN, DAIMAJIN STRIKES BACK) the enraged Majin doesn't halt when the last despicable villain is slain, but continues on till the very girl that begged his release cries tears onto its stone feet that force it to stop. The Majin then crumbles to dust, leaving as it came, and returning to its mountaintop resting place -- encased once more within the statue.

Some viewers may become impatient waiting for the Majin to finally arrive. The payoff is worth it, though. But for those who are enamored with both genres -- chambara and daikaiju -- you'll likely find the story mechanics and performances engaging; which makes the doom-laden spectacle of the finale all the more satisfying. 



Virtually every aspect of the film reeks of a devout professionalism with numerous scenes possessing an operatic vibe indigenous to Japanese cinema. From the direction, to the lighting, to the photography and effects work, DAIMAJIN is a true work of art. Released on April 17th, 1966 as a double bill with GAMERA VS. BARUGON as its co-feature, the character became a pop culture icon in its native Japan.

Each film was shot back to back, given approximately 3 months a piece with budgets in the range of 100 million yen (roughly $300,000US dollars at that time); and featured some truly stunning special effects sequences. Minus the troubled third picture, the first two Majin's were paired with co-features. Planning for DAIMAJIN took place in November of 1965 using the European legend of 'The Golem' as source material. Master monster modeler Ryosaku Takayama designed a 15 foot Majin, and a suit to be worn by an actor. The visage of mighty Majin was based on Deva King (Four Kings of Heaven) iconography and allegedly Kirk Douglas's face!



Reportedly, it was special effects director Yoshiyuki Kuroda who referred professional baseball player Chikara Hashimoto for the part because of his build. Hashimoto played Daimajin in all three movies. He also played Daimon, the lead monster villain in another Daiei classic, THE GREAT YOKAI WAR (1968); also known as SPOOK WARFARE, the first of a ghost trilogy from Daiei. With his professional baseball career starting in 1953, Hashimoto's movie career began in 1960 where he would hit a home run as the indomitable Majin six years later. The role as the vengeful stone god is his most famous. Hashimoto appeared in a smaller capacity in GAMERA VS. VIRAS (1968), and as Suzuki, the lead heavy in FIST OF FURY (1971).



SPX director Yoshiyuki Kuroda's impressive work can be seen in all three Majin movies, and counted film direction as part of his cinema repertoire, too. For the latter, his resume includes the original GREAT YOKAI WAR (aka SPOOK WARFARE [1968]), the third, and most adult oriented of the Yokai trilogy, JOURNEY WITH GHOSTS ALONG TOKAIDO ROAD (1969); and Kuroda took over the last of the Lone Wolf and Cub series, WHITE HEAVEN IN HELL (1974), after Misumi Kenji passed on it.



Director Kimiyoshi Yasuda was a specialist of the ZATOICHI school of samurai cinema, and his brand of swordplay dramatics was tailor made for Daiei's unusual marriage of chambara and giant monster genres. He worked first at Nikkatsu studios, and moved over to Daiei in the 1940s where he directed dozens of movies including a handful Katsu's ZATOICHI series. His other work included TV shows such as THE MUTE SAMURAI (1974) starring Tomisaburo Wakayama and again with Katsu on the ZATOICHI television series that aired throughout the 1970s.



A remake for television was planned in the 70s with Gamera director Noriaki Yuasa as director. A theatrical remake was planned in the 1990s, but Daiei producers figured Gamera was a more profitable option. Again in the late 90s, a proposed DAIMAJIN movie was proposed, allegedly with Steven Seagal starring in some capacity. It was also reported Kevin Costner was to be involved in some re-imagining of Majin during that decade as well. By the late 2000s, the property was again resurrected after Kadokawa acquired Daiei. Takashi Miike, having then recently helmed THE GREAT YOKAI WAR (2005) remake, was attached, but yet again, it stalled. Finally in 2010 the character was turned into a 26 episode modern day action drama for television as DAIMAJIN KANON.

 
For its time, DAIMAJIN (1966) was 'the odd monster out' among the many fire-breathing monstrosities and alien invaders that marched on movie theater screens in a big way in the 1960s. It benefited from a talented group of filmmakers, and delivered some impressive special effects that still stand up today. Without the contributions of such luminaries as Akira Ifukube, Ryosaku Takayama, DP Morita Fujiro, SPX director Kuroda, writer Yoshida, and director Yasuda, the monstrous Majin's retribution would be far less thunderous.

This review is representative of the Mill Creek Bluray set.


Tuesday, April 29, 2014

Godzilla vs. Gamera vs. Alien Metamorgus: A 'What If' Scenario



In 1991 I started a homemade Godzilla vs. Gamera vs. Ultraman comic book. It was just something I was doing for myself, not for sale, or anything like that. Like the half dozen or so other things I start simultaneously, I later redid it, and didn't finish it that second time, either. Sometime after seeing GODZILLA VS. DESTOROYAH (1995), I wrote a short story for a new Godzilla movie I'd like to see. It was extremely dark and violent; akin to melding Godzilla with John Carpenter's THE THING (1982). Below is a new story I wrote incorporating elements of that short tale (written on a piece of notebook paper) into a plot involving Gamera. Strictly for fun, I hope you enjoy it.

GODZILLA VS. GAMERA: GIANT MONSTER LAND, AIR, SEA WAR

A massive underwater earthquake off Japan's coast so soon after the 2011 Tohoku disaster causes the nation to brace for another possible cataclysm. A research team is sent to investigate after an enormous object turns up on naval radar a few miles from where the quake occurred. The team of scientists and marine biologists find what appears to be Godzilla in a state of hibernation near the quakes point of origin. Having remained unseen for 60 years, the search party immediately assume Godzilla is the source of the undersea disturbance. They cautiously move on to the site of the quake and discover a vast chasm. Descending further, an entirely new world is uncovered -- a heretofore unexplored ecosystem that houses mysterious forms of life, as well as remnants of some ancient civilization. The research team find gigantic worm-like creatures, strange plant life, and many bones of what appear to be humanoid beings as well as larger, more monstrous lifeforms. Studying further in a mini-submersible, the scientists uncover a crumbling pyramid type construct that houses peculiar markings within its inner chambers. A multitude of crystalline objects are found, and an even more massive, oval-shaped artifact encased within the earth. After taking a slew of photographs, the research party leave with their findings along with a satchel full of the crystals. The plan is to return and attempt to study not only Godzilla, but also the gigantic, peculiar looking, barnacle covered object.

Upon notification that Godzilla is below the depths of the ocean not far off Japan's coastline, the government prepares for the worst. A conference is held with military officials to decide what plan of action to take. Should they do something now, or wait till the beast awakens? If he even wakes at all. While the conference is split on what sort of action to take, a decision is unanimous to perform some rudimentary tests on Godzilla to determine his stasis. 

An international committee of scientists conclude the radioactive monster is in some sort of a coma, but little else is known without further examination.

Meanwhile, Japan's UBI (Undersea Biological Institute) perform tests on the mysterious crystals brought back from the deep. 

Another search team is mounted to return to the site of the underwater earthquake to explore the newly uncovered terrain; and also ascertain just what the enormous shell-shaped object is. A specialized submarine with a science lab on board is sent. Once there, one of the scientists, Dr. Mitsuhara, learned in archaeology and ancient civilizations, deciphers some of the writings in one of the pyramid chambers. Recognized as Lemurian, it mentions two gods from the sky -- one good, one evil. The party also find traces of what appears to be Godzilla cells attached to some of the rock formations. The giant spherical object is deemed to be a UFO. The conundrum is in figuring out what the second sky god is since Godzilla, so far as known to man, has never possessed the ability to fly. Either way, these discoveries are the most significant finds science has ever seen.

Topside at the UBI, researchers learn the crystals are living organisms that become active when exposed to any kind of heated source -- whether that be body heat, or some sort of flame. The DNA of the creatures are unlike anything known on Earth. Their age is indecipherable without further testing at the underwater site. As they show more and more signs of life, the shape of the crystals slowly begin to change into something else.


Back below the sea, the lab techs study the Godzilla cells, as well as samples scraped from the large object. The G cells show signs of contamination by an unknown parasitic life form. Additionally, the scraped samples of the UFO reveal DNA not of this world. As the tests continue, a survey crew attempt to loosen the ground surrounding the object to get a better look at it, and to ascertain if it can be moved. While that is going on, the ocean floor begins to shake. Is it another earthquake, or is Godzilla moving? The crew hurries aboard the submarine. The ground below becomes even more unstable. A strange light emanates around the large UFO. It's moving! It begins to spin slowly, then faster as it rises. The massive force triggers an underwater volcano to erupt. The sub narrowly escapes the chasm as flame and rock engulf the area. They witness Godzilla's coma-induced body fall into the fiery pit seemingly to die inside the volcano.

Above water, the UFO bursts from the ocean heading into the sky, spinning wildly. It disappears into the clouds.

Back at the UBI, the lab tech records his findings as the crystals take on a blobular form. He decides to place a lab rat in the container. The blob-thing, using some sort of sensory mechanism immediately senses the rat and attaches itself to it. Absorbing it quickly, the blob once more changes growing slightly in size; tufts of hair sprout, and a mouth with jagged teeth emerge. Distracted by this frightening sight, the creature senses the heat source put off by the ogling human. It then latches onto the face of the scientist.

An emergency meeting with world leaders is called regarding this discovery, and the status on Godzilla. The Lemurian discovery, the UFO, the subsequent earthquake that has buried both the ancient pyramid and Godzilla within the undersea volcano are topics of discussion. With Godzilla presumed dead, a new plan is hatched to deal with the possible attack by this UFO that has seemingly disappeared into the stratosphere.

While the meeting continues, an aid at the UBI enters the lab where the crystals were kept and finds the lab wrecked and blood all over the place. Whatever happened, something has escaped through an air vent without detection, and taken all the crystals with it. 

The decision is split on contacting the authorities, but it doesn't matter as it's surmised the thing escaped into the sewer after a city crew turns up missing. The creature doesn't remain hidden forever, though. A search party armed with flamethrowers and automatic weapons scour the sewers for signs of anything out of the ordinary. 

At that time, some movement is detected out at sea about 10 miles from the Okinawa islands. A fleet of military ships are dispatched to the area to find out what this unidentified object is. Japan now has three possible threats from the land, sea and air.

In the sewers below Japan's bustling city, the search continues. Slime trails are found by the SAT's (Special Assault Team), and these are followed in the hopes they will lead to whatever it is that left them. Elsewhere, a subway train travels to its destination when suddenly, it smashes into something huge. 

At sea, one of the ships picks up an object just below them on their radar. It's ascending fast, and the size is enormous. A rumbling is heard; and once the ship commander realizes the object is rising just below them, it's too late. Ripping the battleship in half, Godzilla emerges from the water.

Back underneath Tokyo, tentacles quickly rip through the subway cars grabbing those trying to escape and snatches them away. One of the SAT units hears the commotion and reports. The group closest to the attack point is ordered to investigate. What they find is almost indescribable. With a snake-like head bearing rodent features, multi-tentacled arms with sharp, knife-like ends, legs like an alligator, and jagged, sharp teeth, the SAT's engage the monster (Metamorgus) and accidentally set off an explosion. Seemingly trying to escape the flames, the beast then rips through the ground right in the middle of a busy street. Cars go flying everywhere.

At sea, Godzilla is moving quickly towards Tokyo as the remaining fleet of battleships pursue and fire on the monster. Godzilla is oblivious to the assault as if he's on a mission. Like he has a purpose.

Meantime, Japan's Air Defense Force picks up the UFO on their radar moving fast towards Tokyo. Planes are scrambled to intercept it. They trail it and fire several missiles, but they have no effect. The giant spinning UFO is heading straight for the location of the frightening looking alien.

Metamorgus begins destroying the city, and consuming the fleeing citizens. As the beast wrecks buildings, it pauses -- looking skyward. It senses something approaching fast. Suddenly the giant spinning object emerges through the clouds. The monster tosses several cars and trucks at the spinning thing. The vehicles explode as they hit the disaffected airborne object. It then stops spinning. A head, arms and legs emerge from the open holes where the flames spit that kept the thing in the air. It's Gamera, the jet-propelled turtle. Gamera falls on top of the tentacled thing and immediately begins to slam it with his clawed fist. Metamorgus's head moves out of the way each time, grabbing Gamera's arm and flinging him away causing more city damage as the big turtle plows through buildings ripping up the street along the way. 

At that time, Godzilla enters Tokyo Bay. Japan is stunned as to what to do with three threats converging on their city. Citizens are ordered to evacuate. The Air Self Defense Force is ordered to remain on standby. The military form a perimeter around the three monsters. Godzilla approaches looking more enraged than ever before; but shows signs of a sickly pallor. He looks diseased. Maybe near death? It hasn't slowed him down, though. Gamera turns towards Godzilla, a monster it's never seen before. It then turns back to Metamorgus. As Gamera turns, tentacles lash out gripping Gamera's arms and legs. Its head elongates and bites into Gamera's neck. The titanic turtle then slashes the tentacles off with the sharp bladed edges of its forearms to get loose. The tentacles, also alive, scurry back and reform with Metamorgus. A blast of Godzilla's radioactive flame suddenly hits Gamera in the back. As the flames smash Gamera's shell pushing him towards his initial adversary, the turtle, seemingly unaffected, begins to charge up an attack of his own. He turns and lets loose a ball of fire that hits Godzilla in the shoulder successfully knocking him off balance. Distracted, Gamera is attacked from behind a second time. The alien wraps a  tentacle around his neck and easily tosses the turtle into the air. It then spits this green-hued acidic goo that melts everything it touches.


As the monsters brawl, two of the scientists (biologist Miki Nagawa and Mitsuhara) try to rescue those trapped below ground in the burning subway system. The archaeologist now knows Gamera is the good alien and Metamorgus is the bad alien. He concludes Gamera is apparently an alien itself, a possible bio-weapon created by an alien race from another galaxy. Gamera was chasing the alien through space thousands of years ago when the two monsters clashed on Earth, plummeting into the sea; and likely were responsible for the destruction of the ancient Lemurian civilization. During the battle, the alien became dormant without life forms to feed off of, and Gamera hibernated for centuries; lying in wait for when their grave would be disturbed whereby they would fight again.

Godzilla is actually uninterested in Gamera. It's sole aim is in dealing with the metamorphosing alien. But why? Both Godzilla and Metamorgus finally clash. Godzilla gnashes at its head and misses every time. The aliens tentacles spread out, its bladed tips aiming for Godzilla's body. Stabbing into him, the beast rears back in pain and lets out a roar. Unleashing his radioactive fire, bits of Metamorgus are blasted off. Some of the pieces re-attach with the Metamorgus, while others scurry away, sensing body heat nearby. 


As Mitsuhara and Nagawa get everyone out of the mangled subway cars, they hear a strange hissing sound. Something is scurrying across the tops of the cars. Everyone gets quiet. The few remaining SAT's stand ready. Suddenly something rips through the top of the car. It's one of the alien cells, having taken on the form of some mutant crustacean. It grabs a hapless victim and pulls them away. More of the creatures enter through the rear of the car. Everyone runs to find an escape. The SAT's begin shooting, but to no avail. Somebody flames one of the monsters. The creature cries out and seemingly dies due to being burned. The citizens and scientists try to run, but are overcome by the creatures that scuttle faster than they can get away. Trapped, it looks like the end. In the nick of time, more SAT members appear and burn the monsters to a crisp. The military is advised to mobilize Flame Tanks only. All other military hardware are ordered recalled from the clash zone.

The thing lashes out simultaneously at Godzilla and Gamera wrapping tentacles around their legs and whipping them around like they were sacks of potatoes, then slamming them down into the earth as explosions go off around them. Godzilla attempts to flame the alien a second time, but Gamera, knowing the result, manages to take flight and absorb the radioactive beam in time. Gamera then unleashes his own fire attack, which begins burning the alien. In pain, the creature sprouts wings and flies into the sky. Gamera pursues. Godzilla stands and watches the chase. Suddenly, he clutches at his chest, crying out in pain. Something is inside him. He then begins unleashing his radioactive flame all around him, toppling any buildings nearby. Mitsuhara and Nagawa's escape route is cut off, and they must find a way to escape the city amidst all the calamity around them.


Meanwhile, the military mobilize as many Flame Tanks as possible in a formation surrounding Ground Zero. Above, Gamera and the alien battle in the sky. Metamorgus appears to be trying to escape into space. Gamera charges up and unleashes a flurry of flaming balls. A few miss their target but some hit the monster. Through an evasive maneuver, the alien quickly turns and latches onto Gamera, clawing at him, cutting into his flesh. Gamera's head zips in and out of his shell to protect itself, but it refuses to let go. Both monsters plummet back toward the Earth. In freefall, Gamera gets an open shot. His bladed forearms light up like a laser beam and slice through the alien severing its head and multiple tentacles. As the pieces separate, they burn up instantly. Gamera then unleashes a massive blast of flame that hits the alien burning it to a cinder before it hits the ground. The charred remains crash into the Earth. Metamorgus is seemingly no more. Gamera lands, and turns his attention to Godzilla.

Breathing heavily, Godzilla turns to Gamera and lets rip his radioactive beam. It hits Gamera in the shoulder, successfully blasting away a small chunk of his shell. Gamera takes flight and rams Godzilla shoving him into a stretch of buildings that fall like dominoes. Explosions go off everywhere. Gamera hovers over Godzilla, who doesn't move. He emerges through a cloud of smoke, grabbing Gamera and slams him hard, face first into the ground. Gamera stands and Godzilla spins, whipping his tail that strikes Gamera square in the chest sending him flying backward into an oil refinery that explodes instantly. Godzilla is immediately hit with a flurry of flaming balls that rip into his weary, but tough hide. As Godzilla drops to the ground, Gamera emerges from the refinery flames.


Godzilla begins convulsing violently. He stands up and appears to be choking. To everyone's horror, he regurgitates a giant blob monster -- another Metamorgus! One of the aliens was gestating inside of him. Mitsuhara and Nagawa witness this and surmise Godzilla did cause the undersea earthquake; and battled the alien there once it came into contact with it. Attracted by the body heat from living organisms, it left its dormant state and infected Godzilla. Metamorgus immediately latches on to Godzilla's arm and begins to consume it. Godzilla hits it with his powerful flame attack, but instead of burning it, it blows chunks of the alien off. Gamera quickly acts and emits a widespread fire-shrapnel attack that sets the pieces ablaze. Gamera then hits the monster with flame pellets as it continues to eat away at Godzilla's arm. The injured creature moves away and takes Godzilla's arm with it! It quickly turns to Gamera and emits dozens of piercing tendrils that stab straight through Gamera causing the giant turtle to roar in pain. As it removes the tendrils, Gamera drops to the ground.

Metamorgus begins to grow, taking on a reptilian shape akin to both Godzilla and Gamera's genetic makeup. With but one arm, Godzilla punches into its mouth, the sharp teeth cutting into Godzilla's hand. He pushes his fist deeper into the monsters maw. Suddenly, it's head splits in two. Now there are two heads! Godzilla then punches into Metamorgus's chest, ripping out what looks like its heart. Tendons and blood vessels wrap around Godzilla free arm. He thinks fast and grabs the alien, moving towards the giant flames emanating from the destroyed refinery. He forces the creature into the flames as it slashes and cuts into him. The creature appears to melt into nothingness. Godzilla turns and stumbles away.

My interpretation of one of Metamorgus's forms.

But Metamorgus isn't dead. Partially on fire, the monster leaps onto Godzilla, knocking him to the ground. The alien stands over him. Gamera, badly injured, senses the end is near. He begins to glow. The ground shakes around him. The military perimeter is ordered to disperse as it appears another earthquake is about to hit. Gamera turns into a blinding ball of white flame and takes flight. The alien turns and sees the super hot flaming ball flying towards it. It attempts to escape, but Godzilla grabs Metamorgus and holds it in place. Stabbing into Godzilla, the alien is unable to free itself. Gamera, now a white hot ball of flame, hits Metamorgus and obliterates it instantaneously. The creature burns to a cinder, its ashes scattered in the wind. The battle is over. There is no sign of Gamera. A bloodied, and injured Godzilla stands to his feet and stumbles out of the city. His regenerative properties will heal his arm in time. The scientists and military watch in awe as he makes his way back to the sea. All traces of the scientific discovery are destroyed. No one knows if Gamera is alive or dead, or if Godzilla will ever return again; and if he does, will he attack mankind, or save them should another threat surface. 


After this devastating war of the monsters, Japan and world leaders come together to form the SIA, the Scientific Investigation Agency, a government facility formed to combat threats of monsters from both inner and outer space.


THE END


ADDENDUM: In the original story, a research team was already studying the underwater ecosystem. When the first team fails to report back, and communication is cut off, a second team is sent to find out what happened. They discover Godzilla near the quake site, and upon discovering the wrecked research station, they assume Godzilla was involved. They find experimental organisms in one of the labs and take them back, to which one of the members gets infected and the creature escapes, absorbing other organisms leading to a battle with Godzilla. Gamera was not a part of the original story.

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