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.

Daimajin Strikes Back (1966) review

 

DAIMAJIN STRIKES BACK 1966 aka DAIMAJIN GYAKUSHU aka MAJIN'S COUNTERATTACK aka MAJIN STRIKES AGAIN

Hideki Ninomiya (Tsurukichi), Shinji Hori (Daisaku), Masahide Izuka (Kinta), Nagatomo Muneyuki (Sugimatsu), Hiroshi Nawa (Daizen), Toru Abe (Arakawa Hida Mamoru), Takashi Nakamura (Sanpei)

Directed by Kazuo Mori

The Short Version: Mighty Majin crushes, and unequivocally destroys enemies of the downtrodden in this third, and last entry in the unusual series. Kazuo Mori's movie is virtually identical to the others, but the focus is shifted to four small boys and their adventure to rescue their parents from a tyrant who's kidnapped them into slavery. Unfortunately, for the few intriguing nuances, there's a great many more things wrong with DAIMAJIN 3 that not even the angry stone idol can save in what is an oppressive air of repetition.

The ruthless Arakawa clan kidnaps groups of peasant woodcutters to use as slaves to build a weapons depot. One of the strongest log men, Sanpei, manages to escape back to his village in Koyama. Near death, Sanpei proclaims they must go to Hell's Valley to find and rescue their people. However, all paths are under tight security save for the mountain of their stone idol. With winter approaching, the villagers fear angering their god should they trespass over his mountain. Sanpei dies, and no one dares make the trek. Four intrepid youngsters decide to make the precarious trip in secret to save their fathers and family members from slavery. With their food supply gone, one of the boys dead, and two others near death, the last remaining child prays for salvation.

This last entry in the Majin trilogy may sound just as gloomy as the previous two, but it isn't. The tone is noticeably lighter, not to mention the budget was smaller than before. Even so, the filmmakers went an extra mile for the destruction-laced finale set in a wild snowstorm -- one of the few novel touches that's different. Lots of fire and explosions provide a nice color palette amidst the snowy landscape. But while they've added some things, even more are recycled from the previous features; so much so that it appears some of the same effects shots have been done over; or reused, but enhanced with snow effects. These include Majin knocking down a mountain to gain access to the villains stronghold; and his approach towards Arakawa's frightened soldiers. 

Aside from the impressive special effects, Majin's third revenge against samurai dictators has the least impact of the entire series. That's not to say the finale isn't a highlight, just that nothing that comes before it lends the conclusion the sort of significance Yasuda and Misumi's films did. Despite possessing a ton of potential for an adventure story, one of the major weaknesses is the script; which isn't too surprising considering these three films are almost exactly the same; and all being released in the same year. Imagine three FRIDAY THE 13TH movies all in the same year.

As similar as it is to the previous entries, this third movie is quite different in a few ways. Moreover, Tetsuro Yoshida's screenplay is the weakest of his works for these three films. Following suit with Toho's Godzilla series, that was, at this point, catering to kids, DAIMAJIN STRIKES BACK goes one better and makes four boys the main stars; and we spend lots of time with them as they walk up hills, cross mountains, rivers, and even treacherous chasms all the while being pursued by a trio of Arakawa's men. Virtually none of it is engaging, though. All the ingredients are here for a spirited adventure tale, but it's squandered on long scenes of the kids walking, or talking amongst themselves. Still, some might find this appealing.

 
Granted, Morita Fujiro's and Hiroshi Imai's photography is magnificent, capturing an array of natural vistas (as well as composites), but these scenes linger far too long, and the limited peril the boys find themselves in keeps the pace slow. You're left to count down the minutes till the giant genie awakens to dole out justice to the villains. Speaking of which... 

Barely any time is spent with the villains; and when we see them, they do suitably evil things like beatings, shootings and shoving slaves into sulfur pits; yet a disconnect remains since so much time is spent with the four boys instead. We never see them attack, or kidnap anyone, they've already done so when the film begins; we simply hear about it. These are cardboard bad guys who do bad guy things necessary to the plot -- but there's no emotional resonance behind their villainy. Again, the focus is squarely on the four boys.

To spice up an already tired concept, Yoshida tosses in an overseer for the god (Arakatsuma) -- a hawk that infrequently appears flying around overhead, and helps the kids out at one point. Like most everything else, the hawk is poorly implemented into the film. The wintery setting is a nice touch, and this helps with what little differentiation the filmmakers could amass. Allegedly a fourth movie was planned, but not sure what more could be done with the Majin character in this type of milieu. The first movie was predominantly set in and around forests and mountain terrain; the second moved much of the action (and the genie statue) to a water location; and the third sets things in the winter time, culminating in a snowstorm.

The film does try to be edgier by adding blood and some light gore, and the playful tone threatens derailment by the impending deaths of the kids. The first two movies were extremely dark and brooding, and this third go-round makes an effort, but the weak script betrays any attempt at a bleak atmosphere. Judging by all the kiddie footage, it would seem director Mori was either persuaded, or simply wasn't interested in keeping things consistently glum. The following year, Daiei's Gamera series would inch closer and closer into the realm of children's fantasy. In some ways, DAIMAJIN 3 was a trendsetter with its half-pint leads.

 
As with the previous movies, Chikara Hashimoto is the epitome of retribution via an angry stone idol brought to life. There's been some tinkering done to his character for the third, and final outing. The first time around, the mad Majin was essentially an uncontrollable force kept locked within an enormous stone idol -- the dark side of the villagers benevolent benefactor that didn't recognize who was good and who was evil; and was only stopped by the tears of the woman that called upon him. For part two, Majin was strictly a savior whose people pray into existence to save them, then return once the threat is quelled. In the third film, Majin is still mean, but like his daikaiju colleague Gamera, he has a fondness for children -- the very personification of innocence. In this movie, Majin has the power to bring the dead back to life. In addition, for the first, and only time in the trilogy, Majin unsheathes his sword as an instrument of his revenge.

Throughout the three films, Hashimoto was told to try and not blink when performing in costume. Blinking eyes are beneath an angry god, you see. With all the dirt, dust, fake snow, and assorted other irritants flying around during the finales of the three movies, to not blink must have been torture at times. You do catch Hashimoto blinking on a couple of occasions, but otherwise, he does an incredible job under the suit built by famous painter, monster modeler Ryosaku Takayama; and later modified by Ekisu Productions staff such as Gamera modeler, Murase Tsugizo.

Daiei's impending bankruptcy kept Majin encased within his stone bastion, preventing any further adventures by Daiei. The company's troubles weren't helped when an entire reel was ruined by accident and the footage had to be reshot. The film was released in Japan on December 10th, 1966 without a support feature. It never got a release of any kind -- theatrically, or on television -- in America. Perhaps in the near future, monster Majin will be resurrected once more to unleash his wrath, and trample evildoers under his heavy stone feet.

This review is representative of the Mill Creek blu-ray set.

Return of Daimajin (1966) review

 

RETURN OF DAIMAJIN 1966 aka DAIMAJIN IKARU (ANGRY MAJIN) aka RETURN OF MONSTER MAJIN

Kojiro Hongo (Juro Chigusa), Shiho Fujimura (Sayuri), Taro Murui/Ishigami Shoji (Ikkaku), Jutaro Hojoh (Genba), Takashi Kanda (Lord Danjo Mikoshiba), Kagatsume Seiwa (Ryuta), Koichi Ueno (Katsushige Nagoshi), Tadashi Hiraizumi (Hayato)

Directed by Misumi Kenji

The Short Version: Daimajin returns with the same movie all over again; but with all the talent behind the scenes, the results are nothing short of spectacular. Those only familiar with Misumi Kenji's samurai works will want to see what the director does with a samurai monster movie. Majin, this time situated on an island in the middle of a huge lake, stomps once more on transgressors of innocence and purity amidst familiar, if exemplar special effects set pieces. It's a worthy sequel for a highly recommend, and unusual series of films from Japan's booming age of monster movies.

The peaceful lords of Chigusa and Nagoshi thrive economically and agriculturally aided by a high quotient of workers grateful for the generosity of their employers. Yagumo Lake borders both lands, but in the mountains lies the Mikoshiba clan, a brutal dictatorship ruled by Lord Mikoshiba. Desiring to lay claim to the lake and its surrounding lands, Mikoshiba and his chamberlain Genba devise a plot to seize control of the properties and enslave the people. Attacking in the night, Mikoshiba overtakes Chigusa Castle, yet Lord Juro manages to escape. Lord Danjo then marches on Nagoshi and takes them without a fight. Desperate, the subjugated people from both clans pray to their god to save them from the tyrannical overlord.

The man most famous for directing four of the LONE WOLF AND CUB movies, as well as some of the best ZATOICHI entries (including the first of that series) helmed this, the second in the DAIMAJIN (Evil God) trilogy. The overbearingly grim atmosphere (the third movie lightens it up a bit) was suited to Misumi's unmistakably melancholic style; yet surprisingly, the oppressively dark nature of the first movie is toned down here, but only slightly. The film runs at a brisk 78 minutes (five minutes shorter than the first); and Misumi keeps the pace moving quickly whereas Yasuda's picture kept a slower stride.

Yoshida Tetsuro's screenplay is virtually identical to the first film, but certain details are changed, with some new additions along the way. Other than that, it's essentially the same movie, down to repeating certain effects shots with minor alterations. That doesn't detract from the enjoyment of Misumi's movie, although the feeling of deja vu is indisputable. 

 

The setting is once again the Sengoku period (the Warring States period) prior to the Tokugawa Era that began in the early 1600s.  There's no coup by a duplicitous subordinate, but delusions of grandeur by a barbaric would-be conqueror instead. The villains are interchangeable from those in the first DAIMAJIN, yet Tetsuro manages to create a vibe where you're curious just what sort of grisly death awaits them in the end. The angry Majin is very good at serving 'just desserts', a suitable punishment to fit the crime. Differences are negligible, and possibly not noticeable upon the first viewing. Some of these are noted below.

Mirroring the first film, RETURN OF DAIMAJIN traverses the same morality tale territory in that those who fall into gluttony, avarice and murder to gain dominion over others will suffer horribly in the end. In another repeated plot device, it is also the tears of the innocent, and pure woman whose plea the god (Arakatsuma) responds to.

The statue of the god is pulled down much sooner in this first sequel. Just as Lady Sayuri kneels to pray that the god intervene, Genba and his men lie in wait and capture her. They then blow the statue to smithereens with dynamite. Unlike DAIMAJIN where the god's angry alter ego is omnipresent leading up to his awesome unveiling, his presence is only felt after his stone effigy is destroyed about halfway through this film. Interestingly, there's no distinction to their being two gods -- one being the god statue, and the other the evil spirit confined within it. For RETURN, it's strictly the god alone who is prayed into existence.

New to this film, when Majin returns, he raises both arms -- as opposed to the single arm of part one -- over his benevolent visage to reveal the angry countenance underneath. It makes for a more dramatic shot than the single arm coming into frame, providing a more seamless transition between the placid look that segues into the enraged one.

 

Ryosaku Takayama did the modeling of Majin in the first film, but while he was busy creating a menagerie of monsters for ULTRAMAN (1966), Ekisu Productions took up modeling duties for the remaining two films. Some modifications were made to the Majin; such as lighting up his eyes during the finale. This gave the evil god an even more malevolent appearance that's greatly amplified by the lighting of Hiroshi Mima and Kenji Furuya.

The biblical feel is more obvious the second time around; most notably when Majin parts a lake to get to the bad guys in a spectacular effects sequence that recalls a similar scene in Cecil B. DeMille's THE TEN COMMANDMENTS (1956). The DAIMAJIN movies aren't meant to be religious allegories, but they could easily pass for them. There's a strong theme of faith amidst the battle of good vs. evil chiseled into the script; most powerfully apparent in the first two entries.

 

The paying public saw the finished result on August 13th, 1966 paired with the 14th chapter of the Zatoichi series, ZATOICHI'S PILGRIMAGE (ZATOICHI ACROSS THE SEA), directed by Kazuo Ikehiro. The box office was good, nearly duplicating the first film.

I remember seeing the first film on television as MAJIN, MONSTER OF TERROR. I only made it through about a half an hour as I'd lost interest since I'd not seen a monster by that point. A few years later around 1986, I ran across the sequel on television as RETURN OF MONSTER MAJIN. I happened to tune in during the finale, and upon discovering what it was, suddenly garnered interest in the first film. That didn't happen till the films were released on tape in the late 90s.

Misumi's direction is impeccable, if essentially a retread of what Yasuda had done previously. In some respects Misumi's sequel surpasses the first film, but overall, Yasuda's series opener is the better simply because it was first, and the drama has a bit more impact. Misumi fans will definitely want to see this -- the closest the esteemed filmmaker got to directing a giant monster movie. Well known for his supreme samurai works, the stamp of Misumi is all over the best chambara series' to ever grace the screen. The man also counted horror films and big epics among his impressive resume. His last work was, appropriately, THE LAST SAMURAI in 1974.

 

SPX director Yoshiyuki Kuroda redoes some of the same effects shots with minor adjustments, but he and DP Morita Fujiro outdo themselves with the aforementioned 'parting of the lake' sequence. Backed by Akira Ifukube's remarkably infectious, gloomy music, the cues greatly enhance the familiarity of it all. A classmate of DP Morita Fujiro, Kuroda cut his teeth as an SPX assistant on such films as NICHIREN & THE GREAT MONGOL INVASION (1958), and the super spectacle BUDDHA (1961) among others. He served as SPX director on the US-Japan co-production FLIGHT FROM ASHIYA (1964) directed by Michael Anderson and starring Yul Brynner and Richard Widmark. In addition to overseeing effects work on the DAIMAJIN movies, Kuroda did likewise for Daiei's bizarre, but entrancing Yokai trilogy. He also directed the first and third films in the latter series, and the obscure THE INVISIBLE SWORDSMAN from 1970.

Kojiro Hongo, a familiar face to daikaiju fans, joined Daiei in 1958 and got notable roles in such early epics like Japan's first 70mm movie, the star-studded BUDDHA (1961), and THE WHALE GOD (1962) -- both films featuring Shintaro Katsu. Likely his biggest claim to international fame were his lead roles in the Showa Gamera pictures -- a string of films Hongo wasn't keen to star in initially. His association with the series was strong enough that he was invited to appear in the Heisei re-imagining of the giant jet-propelled turtle in GAMERA, GUARDIAN OF THE UNIVERSE (1995). Hongo suffered a stroke in 2004 that led to his retirement upon his recovery. On February 14th of 2013, a day before he was to turn 75, he died from heart failure.

Overall Daimajin's second coming is an exceptional sequel that at least equals the results of the first picture in nearly every way. Unfortunately, the series would lose some luster by the third entry.

This review is representative of the Mill Creek Bluray set.