RASHOMON

Toshiro Mifune

RASHOMON (1950). Director: Akira Kurosawa.

Taking shelter in a rainstorm in the district of Rashomon, a traveler (Kichijiro Ueda) encounters a priest (Minoru Chiaki) and a woodcutter (Takashi Shimura) who attended a trial concerning a murdered samurai, Takehiro Kanazawa (Masayuki Mori). They tell the traveler of the disparate accounts given to the court by various witnesses, including an infamous bandit, Tajomaru (Toshiro Mifune), who encountered Kanazawa and his wife, Masako (Machiko Kyo), in the forest. Tajomaru claims he had his way with the wife, but only killed her husband when she insisted they fight a duel over her. Then the wife claims her husband was disgusted with her, and she may have stabbed him during a black out. The husband's ghost, via a medium, says that his wife asked the bandit to kill him and he later committed suicide. The woodcutter, who did not tell his story to the court, tells the traveler that he witnessed everything, and his account is entirely different from what the others have said. Rashomon is a thought-provoking and fascinating movie that greatly benefits not only from some wonderful performances but from striking cinematography by Kazuo Miyagawa and an interesting score by Fumio Hayasaka (although I guestion Kurasawa's insistence on doing a riff on Ravel's Bolero). The picture proceeds as an allegorical dream and works beautifully on that level, although some viewers may be insistent on more clear-cut answers than the film provides. Mifune's performance borders on caricature at times, but Machiko Lyo as the raped and abandoned wife, is especially excellent. The picture has an almost-feminist perspective (intended or not) yet it also suggests the old style attitude of the duplicitous nature of females. This was remade as The Outrage, with Paul Newman surprisingly effective as the bandit.

Verdict: A classic. ***1/2. 

SCANDAL

Toshiro Mifune

 SCANDAL (1950). Director: Akira Kurosawa.

A well-known artist named Ichiro (Toshiro Mifune) is painting on a mountainside when he encounters a famous singer, whom he at first doesn't recognize, named Miyako (Shirley Yamaguchi). Offering her a lift, they check into separate rooms at a hotel, but talk to one another on a balcony later on. Some tabloid journalists see the two, assume they are having an affair, snap their picture, and bring it to Hori (Eitaro Ozawa of The H-Man), the publisher of Amour.  Although neither Ichiro or Miyako are married (which in itself may be a problem), the photo causes a scandal and embarrasses the both of them. Ichiro hires a lawyer named Hiruta (Takashi Shimura), whose young daughter, Masako (Yoko Katsuragi), is ill and has been confined to her bed for years. Miyako decides to join Ichiro in the lawsuit, but when Hirata goes to see Hiro, the former may succumb to his basest urges ... Scandal is a relatively minor film from the famous Japanese director Akira Kurosawa, but it is not without merit and its poignant moments. Scandal reminds one of a Japanese Frank Capra film (admittedly not one of the really great Capra films), with its mix of pathos, humor and sentiment. In later years star Mifune was known for his gruff and acclaimed portrayals of outlaws, Samurai, and the like, but this is his matinee idol stage, and he is quite good-looking and sexy. His part, as well as Yamaguchi's, is underwritten, however, and the viewer never gets to know these two faux lovers very well. This is perhaps all right, as the film truly belongs to Hiruta (beautifully portrayed by another Kurosawa regular, Shimura), the lawyer who has a crisis of conscience in the face of a crushing tragedy, and the film ends on a sombre note. Tanie Kitabayashi also scores as Hiruta's wife, and the other performances are all well-played. It's a little strange to watch a crowd scene in which dozens of extras are singing "Auld Lang Syne" in Japanese!    

Verdict: Takes a while to get going, but this is not without interest. ***. 

THE H-MAN

Kenji Sahara and Yumi Shirakawa

THE H-MAN (1958). Director: Ishiro Honda.

When a mob boss disappears with only his clothing left behind, Inspector Tominaga (Akihito Hirata) and Sergeant Mayashita (Eitaro Ozawa) pay a call on the man's unknowing girlfriend, nightclub singer Chikako (Yumi Shirakawa). In the meantime, sailors come across a ghost ship with a greenish glow from which pours a green ooze that completely dissolves the men who board the ship. Professor Masada (Kenji Sahara) tells the police of his theories about exposure to hydrogen bomb tests creating this liquid life form that devours flesh and bone and leaves only clothing behind. (After awhile the shots of collapsing suits and uniforms become unintentionally comical.) Unlike The Blob, which came out the same year, this mass never grows to giant size, for shame. This may have been influenced more by The Creeping Unknown than The Blob in any case. It's a minor but reasonably entertaining Japanese monster flick. Honda directed the original Gojira (Godzilla) and many other creature features from Japan.

Verdict: Empty clothing is never a good sign. **1/2.

VARAN THE UNBELIEVABLE

VARAN THE UNBELIEVABLE aka Daikaiju Baran Japanese version/1958. Director: Ishiro Honda.

Two scholarly students looking for a rare species of butterfly in the "Tibet of Japan," are found dead after coming upon a monstrous something. Yuriko (Ayumi Sonoda), the journalist sister of one of the scholars, goes to investigate the region with handsome Kenji (Kozo Nomura) and a buddy. The natives fear a god named Baradgi, but their problems are actually caused by a species of prehistoric creature known as varanpodi that rises out of a bucolic lake to cause death and destruction. Varan has a more interesting design than Godzilla, and is a fairly lively "suitmation" creature. The opening scenes are creepy, and the photography is moody and atmospheric. All told, this is no world-beater but it isn't totally terrible, either. Four years later footage was added with Myron Healey as an Army officer with a sub-plot involving both U.S. and Japanese forces experimenting on salt water. Oddly this version is five minutes shorter than the original. Ishiro Honda also directed Gojira (Godzilla) and Rodan, both of which were better than this.

Verdict: One of the better Japanese monster movies, which may not be saying too much. **1/2.

MOTHRA VS GODZILLA

Yuriko Hoshi, Akira Takarada, Hiroshi Koizumi

MOTHRA VS GODZILLA (aka Mosura tai Gojira/Godzilla vs. Mothra/1964). Director: Ishiro Honda. Dubbed version released in the United States as Godzilla vs the Thing.

A gigantic egg is found floating offshore and a greedy entrepreneur decides to claim it and exhibit it, even though the tiny little twins from Infant island tell him it is the giant moth Mothra's egg and it must be returned to avoid "problems." Concurrently, Godzilla reawakens from his recent burial [in Godzilla Raids Again, perhaps?] and goes on another rampage. Professor Miura (Hiroshi Koizumi), reporter Ichiro (Akira Takarada), and pretty photographer Yoka (Yuriko Hoshi) appeal to the islanders to send Mothra to battle Godzilla, as the former's egg is threatened by the big lizard. The battle between the big bug and a flabby-jawed Godzilla is pathetic, the process work is decidedly uneven (with a few effective shots), and even children probably found this to be ultimately tedious. There is some majestic music as well as the twins' awful songs to Mothra. Akira Takarada, known as "Mr. Handsome" in Japan for good reason, was also in the original Godzilla/Gojira. FX by Eiji Tsuburaya. At least Mothra is a colorful and "attractive" creation.

Verdict: For Godzilla completists only. **.

EIJI TSUBURAYA: MASTER OF MONSTERS

EIJI TSUBURAYA: MASTER OF MONSTERS. August Ragone. Chronicle; 2007.

From the outset and in full disclosure I must say that with one or two exceptions, I'm not a big fan of Japanese monster movies/science fiction. I also wouldn't compare Japanese FX man Eiji Tsuburaya to the great stop-motion specialist Ray Harryhausen, especially when it comes to monsters. Harryhausen brought his creatures to life with painstaking stop-motion animation, while Tsuburaya used "suit-mation" -- a guy in, say, a Godzilla costume -- and some models. I have seen most of the films discussed in this book and have to say there is absolutely nothing to compare to the fight with the skeletons at the end of Jason and the Argonauts. To be fair, Tsuburaya did more than just work on monsters, and the book details his contributions to Japanese cinema while also examining some aspects of his private life. Master of Monsters is well-researched, and packed with loads of behind-the-scenes black and white and color photographs. An over-sized trade paperback, it is printed on thick paper stock. If you're interested in Japanese sci fi and how the films were made, this is definitely the book to get.

Verdict: For fans of Japanese monster movies -- all others beware. ***.

GOJIRA

GOJIRA (1954). Director: Ishiro Honda.

In this original version of Godzilla, the Japanese face nuclear terror all over again when a 50 meter tall animal, an intermediate between dinosaur and mammal, who absorbed the energy from nuclear explosions that removed it from its normal environment, emerges from the ocean.to savage their nation. Of course there's the stupid scientist, Yamane (Takashi Shimura)  who wants to "study" a gigantic monster ravaging Tokyo, but another scientist, Serizawa (Akihito Harata), comes up with a weapon to destroy the creature. Yamane has a daughter, Emiko (Momoko Kochi), who is sort of bethrothed to Serizawa but in love with Hideto (Akira Takarada), who is more of a matinee idol. Some of the more sobering scenes in this fairly "serious" monster movie were cut out of the American version: a child being tested for radiation; a widow huddling with her three children as Gojira approaches and telling them "we'll be seeing your father." Brought to life by "suitmation" -- yes, a man in a monster outfit -- Gojira still manages at times to come off like the embodiment of a nightmare. The miniatures in the film are good and there are some effective process shots of Godzilla smashing through train yards and the like. The film is well-directed and well-acted, although it could be argued that a celebrated actor like Takashi Shimura is pretty much wasted in stuff like this. Inspired by the American sleeper hit The Beast from 20,000 Fathom, Gojira itself influenced such later films as The Giant Behemoth and especially Gorgo.

Verdict: Probably the only time the big guy starred in a movie that's played straight. ***.

GOJIRA NO GYAKUSHU

Godzilla and Anguirus battle it out over top billing

GOJIRA NO GYAKUSHU (aka Godzilla Raids Again/1955). Director: Motoyoshi Oda.

While claims can be made that the original Gojira was a better and more serious film than the dubbed American version, retitled Godzilla, no one can make that claim of its sequel. A dubbed version with some added stock footage and narration entitled Gigantis, the Fire Monster was released in the U.S. years ago; it's now known as Godzilla Raids Again. In any language and with any name, it's still a terrible picture. As a new member of the Godzilla species is discovered on an island in battle with another monster called an Anklylosaurus or Anguirus -- a battle which is continued in Osaka -- Hidemi (Setsuko Yakawama) and handsome pilot Tsukioka (Hiroshi Koizumi) draw closer. Their friend Kabayahsi (Minoru Chiaki) is also a pilot, under the command of Tajima (Yoshio Tsuchiya). Takashi Shimura appears as Dr. Yamane. The FX work is mediocre and the whole undertaking is completely childish, which was not true of Gojira. The actors are fine, however, probably giving the whole thing more intensity than it's worth.

Verdict: Even Reptilicus was better than this. *

GODZILLA 2000

GODZILLA 2000 (1999). Director: Takao Okiwara.

"Godzilla is inside each one of us." [-- well....maybe.]

In this film the world already seems to know of the big lizard's existence, and there is absolutely no suspenseful build-up to his first appearance. Shinado (Takehiro Murada) is a scientist who wants to study the creature, and has formed a group called the Godzilla Prediction Network, which can figure out whenever the big guy is going to appear. Shinado's slightly obnoxious little daughter, Io (Maya Suzuki), is the group's bookkeeper and follows her father into danger. Yuki (Naomi Yushida) is a photographer who's desperate to get a close up photograph of Godzilla. A gigantic spaceship, which first appears as a big flying rock, comes to Japan and eventually transforms into another monster called Oga that Godzilla battles ... Is anyone still awake? With its surplus of silly humor and characters, this Japanese movie seems to take its cue in large part from Hollywood's Godzilla film made the previous year, which despite its many flaws, was a lot more entertaining. Godzilla has been somewhat redesigned and looks a little better, but is still kind of silly and he's still played by a man in a suit: "suitmation." While the special effects in Godzilla 2000 are better than in the older movies in this series, they are still second-rate for the most part. All in all, this was hardly a new approach to the great Japanese monster.

Verdict: For pathetic Godzilla geeks only. *1/2.

DEATH KAPPA

DEATH KAPPA (2010). Tomo'o Haraguchi.

When a young Japanese woman's grandmother is killed by drunken, speeding revelers, a kappa, or water goblin, who loves cucumbers comes forth to get even with them. Later, when a gigantic monster called Hangylas attacks the city, the kappa grows to humongous size and takes it on. It's hard to tell if this movie is a deliberate parody or just utter schlock. The light-hearted tone is at odds with scenes of flying severed limbs and heads. Shaky camera movements, and no real improvement in effects since Godzilla of the fifties.

Verdict: atrocious. O stars.

PHYLLIS VS GODZILLA

PHYLLIS VS GODZILLA (1967). Director: Ishiro Honda-Edsel.

Comedienne Phyllis Diller made a deal with Toho studios to star in several comedic monster movies featuring Godzilla and other Japanese monsters but Phylis Vs. Godzilla is the only one that ever materialized. The Japanese title is Opoopi nagada Phyllis borama Gojira. Diller plays herself, on a tour of Japan where she is bombing out every night due to the language barrier. She hires an interpreter (Jack Soo) to join her on stage but discovers that her very American humor doesn't translate very effectively. Soo and she are barraged with bananas! Godzilla then attacks Tokyo but actually comes to Diller's assistance, because the big flame-breathing lizard finds her jokes and appearance so hilarious that he stops burning up and stomping on the city and becomes mesmerized by the tiny performer. The army comes in and captures Godzilla, who escapes and carries off Diller, who has fallen in love with the monster and vice versa.

Verdict: You've never seen anything like it! *.

RODAN

RODAN (1956). Director: Inoshiro [Ishiro] Honda. 

"The strongest, swiftest creatures that ever lived." 

A shaft inside a mine has gone deeper than ever before, and men working below soon turn up dead and mutilated. The culprits are creepy [if unconvincing] giant worms with big bug-like metallic eyes. But they're nothing compared to what's uncovered by an earthquake inside a gigantic cavern near the mine: two huge flying, carnivorous reptiles of the species rodan that are related to the pternadon. These creatures have 500 foot wingspans and can fly at super-sonic speeds -- in other words, the earth does not need them. Shigeru (Kenji Schora), a young man who first discovered the monsters in the cavern, leads the military to their hiding place but they escape, using huge flapping wings to create cyclonic, city-destroying winds. Rodan is probably the best of the many Japanese giant monster movies, which for most people isn't saying very much. However, the film is well-directed, has suspenseful early scenes in the mines, and while the two Rodan aren't very scary-looking, they are nevertheless formidable giant monsters. Aside from the rubber beasties, Rodan has some very good effects work and good music for the finale. This American version of the movie has a prologue about atomic testing [which really has nothing to do with the movie or its monsters] and has some poetic narration at the end about how one of the monsters willingly dies because it can't save its mate. 

Verdict: Probably the best monster movie to come out of Japan. ***.

THE THREE STOOGES MEET GODZILLA

THE THREE STOOGES MEET GODZILLA (AKA Ye mokioki cono Didoshi/1967). Director: Myoski Shishuki.

Yes, in this movie the Three Stooges do indeed meet the famous movie monster Godzilla -- all 200 feet of him -- but these stooges are not the American brand but a Japanese variation. Toko Danaka, Myopi Sofoolyi, and Ernst Yakahama play the stooges and it must be said that their "humor" -- even with dubbed voices -- doesn't translate too well.The film has these three bumbling nitwits, made up to resemble our stooges, inheriting a shipping line that includes both freighters and luxury cruise ships. When there are reports of their boats being menaced by Godzilla, they set sail to find the monster, along with a curvaceous lady scientist. After much silliness in the staterooms consisting of all three "stooges" trying to romance the scientist, they arrive at an island where Godzilla somehow manages to sneak up on them. The film ends with a friendly Godzilla lifting up the stooges and carrying them off in his paw. Maybe a snack? In any case, this is simply awful.

Verdict: Neither for stooges or Godzilla fans. 1/2 *.

HAUSU aka HOUSE

HOUSE (Hausu/1977). Director: Nobuhiko Obayashi.

A young Japanese school girl decides that she'd rather go visit her aunt than spend vacation with her father and his new girlfriend. She takes several friends with her to her aunt's spooky house, where they each experience nightmares and hallucinations (or are they?) and apparently come to a bad end. Weird horror-fantasy-comedy from Japan has both the quality of a fairy tale as well as a cartoon. There's no denying that the movie has some imaginative moments and excellent art direction, but the ultimate effect is childish and boring.

Verdict: A house you may not want to enter. *1/2.

GIGANTIS THE FIRE MONSTER aka GODZILLA RAIDS AGAIN

GIGANTIS THE FIRE MONSTER (1959). Director: Motoyoshi Oda.

This is the dubbed American version of Godzilla Raids Again (1955), the sequel to Godzilla. In this we learn that the Godzilla destroyed at the end of the first movie was not the only member of the "Gigantis" species alive in the world. A new Gigantis emerges from the sea to battle another prehistoric beastie, the Anguirus, who walks on all fours. Gigantis tears across Osaka, virtually destroying the city. The hero is a young officer Hiroshi, who hopes to prove his bravery by fighting the colossal creature. There is a dull love story between him and his girlfriend. Supposedly the original Japanese version of this film is a much better movie -- it would have to be as this idiotic "epic" of silly puppet monsters is a virtual snooze-fest with nothing to recommend it. Even the effects are fifth-rate.

Verdict: Terrible. *.

THE X FROM OUTER SPACE

THE X FROM OUTER SPACE (1967). Director: Kazui Nihonmatsu.

An expedition to Mars brings back an alien material that burns its way out of the lab and grows into a colossal stupid-looking monster with a beak, two wobbly antennae, and big red pop-out eyes. The creature, which is 200 feet tall and weights 150,000 tons, is called Guilala and could only come from La La Land -- except this time it's actually from, as usual, Japan. In other words this is yet another mostly crappy Japanese monster movie with a man in a suit walking through cardboard buildings. The plot is perfectly acceptable, but the movie features the silliest-looking monster since The Giant Claw (still a much better picture). Some of the model and miniature work is quite good. There is one rather exciting sequence when the monster chases after two men in a jeep, its huge feet nearly coming down on them at any second. If the whole movie had been that well done it might have amounted to something. The musical score is snappy but inappropriate to say the least.

Verdict: Even monster fans can miss it. *1/2.