Gorath (1962) review

GORATH 1962 aka YOSEI GORASU

Ryo Ikebe (Dr. Tazawa), Yumi Shirakawa (Kiyo Sonoda), Akira Kubo (Tetsuo Kanai), Kumi Mizuno (Kesuke Shinoda), Hiroshi Tachikawa (Wakabayashi), Akihiko Hirata (Endo), Kenji Sahara (Saiki), Jun Tazaki (Raizo Sonoda), Ken Uehara (Dr. Konno), Takashi Shimura (Kensuke Sonoda)

Directed by Ishiro Honda

"If Gorath comes within 200,000 kilometers of us, earthquakes... mountains crumble...and volcanoes erupt. Even Mt. Fuji would become a killer volcano. Along with this, the air and water would be stripped away by Gorath's gravitational influence..."

The giant jet thrusters move the Earth from its original orbit in an effort to avoid destruction from GORATH

When a gigantic star is discovered to be on a collision course with the Earth, civilization bands together in a plan to move the planet away from the path of the approaching star. Named Gorath by Earth's scientists, the destructive force is powerful enough to destroy the planet. Enormous rockets are built in the South Pole in the hopes Gorath can be bypassed saving the Earth from an imminent cataclysm.

An earthquake destroys the progress of the South Pole factory

Ishiro Honda, famed director of the Godzilla series likewise helmed a series of three science fiction films. Beginning with THE MYSTERIANS in 1957, Honda next took on an even bigger project, BATTLE IN OUTER SPACE (1959). While these two movies featured aliens hellbent on taking over the Earth, or wiping out mankind, there had yet to be a serious take on the end of the world as we know it.

Above: Behind the scenes shot; Top: the finished construction in the film

In 1961, the release of a grand scale 'End of the World' movie entitled THE LAST WAR, no doubt prompted Honda to imbue his next (then) non Kaiju movie with the possibility of Armageddon. Bearing similarities to George Pal's award winning WHEN WORLDS COLLIDE (1951), GORATH (1962) depicts various people and cultures coming together to prevent the ultimate destruction of the Earth. Featuring an all star cast, this Japanese production was very ambitious and featured some of the best effects work of Tsuburaya's career. It wouldn't be long before similar disaster movies would become big business for American studio producers.

Magma chases Kensuke, Dr. Tazawa and Dr. Konno

Originally, the sript for GORATH was a somber, yet patriotic story of civilization putting their differences aside for the greater good of mankind. Those sentiments are retained, but Tomoyuki Tanaka later insisted that a giant monster be included so as to beef up the marquee value of the picture. Already brimming with cliffhanger moments, the inclusion of a giant walrus christened Magma momentarily steers the film into full on fantasy mode. It doesn't really hurt the movie, it just feels tacked on when the film is fine without having a rampaging monster appear at all.

Tsuburaya inspects the giant walrus suit

The US release of the movie did eliminate the monster sequence. Many feel it disrupts the flow of the film. I am one of those people. I am all for giant monsters in movies, but this particular one didn't need any. It's quite jarring despite the already outrageous storyline. When Magma shows up, it throws off the rhythm the film has built up to this point. It doesn't ruin the experience, it just takes you out of the film and places you into another for about five minutes as Magma has what amounts to a cameo appearance. Blamed on the warming of the South Pole by the gigantic jet thrusters, Kensuke determines that their operation has awakened a creature frozen in the ice. If anything, it's an added cliffhanger moment, if only a bit jarring.

The clouds and the moon are sucked into Gorath

There are so many excellent sequences in the picture. Once the factory to build the thrusters is underway, an earthquake destroys it making the scientists and workers in a race against time to begin and complete the facility. Later in the film after the South Pole operation is completed, Endo and his crew make the horrifying discovery that Gorath has now grown to 200 times the Earth's mass by sucking up debris on its collision course with the Earth!

The journey to the South Pole to begin work on the operation to save the world

Then, once the operation proves to be a success, the scientists realize that more jet thrusters must be constructed since Gorath will continue to grow as the orbital shift will not be enough to save the planet. Gorath strips away the rings of Saturn, sucks up the moon and the expected scenes of destruction take place as the Earth barely manages to get out of the way.

The JX-1 fails to escape Gorath's gravitational pull during the opening of GORATH

The concept of Gorath would also seem to have been an influence on the popular second season episode of the original STAR TREK called 'The Doomsday Machine' from 1967. That episode features a 'Planet Killer', a gigantic robot construction that wanders the universe consuming planets for its food.

Behind the scenes prepping one of the numerous space shots

Japanese giant monster movie fans will recognize a great many faces here. Jun Tazaki is of special mention. Often playing military leaders, or characters of some repute, Tazaki tackles a distinguished role here. Playing Sonoda, the commander of the JX-1, a space ship sent to investigate Gorath, he and his crew become trapped within the massive stars gravitational pull. With their deaths imminent, Sonoda rallies his men to face their doom heroically. The opening ten minutes is this one sequence. It's very poignant especially the shot of Sonoda with a tear rolling down from one eye upon realizing they cannot escape the approaching Gorath. At first, his crew wish to save themselves, but after Sonoda's speech, the men welcome death with open arms in the hope that the data they have sent back to Earth will aid in saving the Earth.


This element of Japanese patriotism and unbridled superiority extends to their ability to manufacture fictional armaments that surpass anything being produced around the world. This conversation is particularly interesting...

Kiyo: How about the scientists of the United Nations?

Dr. Kanno: Some countries are building spaceships...but honestly, Japan's scientists are putting the others to shame. Our government's ship hasn't been outdone.

Dr. Tazawa: The government, the nation and we are working hard to solve this problem. America hasn't come to that point yet.

Kensuke: I don't think anyone is as comfortable with it as we are.


Despite glaring displays of National pride, immediately after this conversation, there's a big meeting at the United Nations where it appears Japan has all the answers, but a British Secretary stands and states, "Why are we gathered here? It is to save the Earth and mankind. It is time that the nations dropped all egotism and joined hands." It's at this point that ALL the worlds scientists begin patting each other on the back over their accomplishments and discoveries and decide that EVERYONE should work together to save the planet. It's quite a good moment and some of Honda's other movies included this same type of homeland nationalism such as the intriguing sci fi movie, ATRAGON (1963) with a grand performance by Jun Tazaki.


There's another dialog exchange that promotes racial harmony and equality of cutures with this statement from Endo, Captain of the JX-2, played by Akihiko Hirata (Dr. Serizawa in GODZILLA and Dr. Mafune in TERROR OF MECHAGODZILLA to name two):

Endo: Mankind was separated into white, black and yellow races before the U.N. Trust, honor and cooperation was their hallmark to bring us together.


Akira Kubo is another of the most recognizable faces in the picture. Here, he plays one of the main characters and also the love interest of fan favorite, Kumi Mizuno's character, whose boyfriend was killed aboard the JX-1. Kubo alternated between playing goofy characters (the bespectacled inventor in MONSTER ZERO) and serious roles (Captain of the SY-3 in DESTROY ALL MONSTERS). Here, he kind of melds the two creating a fairly unmemorable and occasionally unlikable performance.

Japan sinks

But one really doesn't watch a movie like GORATH for standout performances. It's great when they're there, but the main focal point here is mass destruction and cataclysm, science fiction elements and spacecrafts. The first 40 minutes introduce us to the myriad of characters and the build up to the looming threat of Gorath and mankind scrambling to find an answer in lieu of setbacks.


It all comes together to create one of Ishiro Honda's most intriguing movies of his long career in addition to one of, if not the biggest Japanese science fiction film of all time. Serious fans of Japanese sci fi should seek it out, although fans who are only interested in seeing monsters stomp across the screen will be disappointed save for the slightly intrusive giant walrus, Magma. GORATH (1962) is a high point from the golden age of Japanese fantasy cinema.

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.