These days, it seems like Japan makes about five zombie movies a week, each one more half-assed and dreadful than the last. Once, long ago, when Italy and the United States had lost interest in the zombie film, Japan decided to start cranking a few out. They started out modest but promising, and by the time we got to Wild Zero and Versus, I do believe that I naively exclaimed that the zombie film was well served by Japanese stewardship. Then they made Stacy, and I started to wonder if maybe I had celebrated prematurely. A few years ago, the United Stated rediscovered the zombie film, and zombies themselves became a pop culture phenomenon that ultimately degenerated into hipster zombie parties and zombie olympics and such. Japan wasn’t going to miss out on things, and a whole slew of cheap, new Japanese zombie movies were soon flooding the market. They were and continue to be high on wackiness and low on watchability, pretty much like their microbudget counterparts in America.
Goro Miyazaki, son of famed Japanese animator Hayao Miyazaki, has achieved with his debut film, Tales from Earthsea, the same sense of profundity as his father. Unfortunately, while the elder Miyazaki’s profundity usually came from things like wonder, imagination, inspiration, wit, emotion, and beauty, Miyazaki the younger’s effort is one of profound tedium and disappointment. Some might defend the poor lad, saying that the shadow of his father is long indeed, and Hayao Miyazaki has set a standard for animated film making that his son, and indeed the entire Japanese animation industry, could never live up to. Of course, you could also say that Goro Miyazaki would be working at a Lawson’s Food Mart if not for his last name getting him a job. So, let’s call it even.
This movie was treading into precarious territory before I even saw it. Hidden Fortress is one of my favorite movies and not one I felt was in any need of being updated or remade. Still, I’m nothing if not fair-minded and bored late at night, so I decided to give this remake from 2008 a chance. While I told myself that I was going to judge it fairly, by the measure of it’s own merits rather than through the rosy lenses of my bias, I have to admit that i probably went in with a small chip on my shoulder regardless. Journalistic objectiveness is, after all, a myth. But I’m also not someone who is instantly offended by modern film makers remaking a classic, or what I consider to be a classic. To say The Last Princess is not as good as the original is, I think, fairly obvious. But the original notwithstanding, The Last Princess managed to be entertaining, if unspectacular. The very definition, I think, of adequate film making.
Eight. Nine. Three. In the Japanese card game known as hana-fuda, it’s the worst hand you can get. Eight, nine, and three — ya, ku, and sa. Japanese organized crime families adopted the name “yakuza” because of this hand. Because you need to be lucky to be a yakuza. Because you’ve drawn the worst hand if you cross them. Because winning with a ya-ku-sa hand requires the utmost skill at reading an opponent. Others may claim it’s because it’s bad luck that leads to a life of crime, or because yakuza are born losers. Or because in the Edo period, when the yakuza first emerged on the scene, they might have evolved at least in part out of the tekiya and bakuto social groups.
Cruel Gun Story director Takumi Furukawa appears to have been neither all that prolific or acclaimed, but he is nonetheless an important figure in the history of Nikkatsu. It was Furukawa who directed the venerable Japanese studio’s first major hit after its return to film production in the mid 50s and, in the process, launched the career of possibly its most iconic star of the period, Yujiro Ishihara. The film in question was 1956’s Season of the Sun, the first of the wave of popular youth-in-rebellion dramas –- known as the Sun Tribe films –- that came to be among the studio’s biggest earners during the late 50s and early 60s.
It’s customary (and a tad predictable) at this point for me to preface any review of an older anime title with some rose-tinted reflection on how it was in “the old days,” when we were trading VHS tapes by U.S. mail and had but a smattering of titles available for rent or purchase here in the United States. So let’s skip that part, since as fun as it is to drag those hoary old chestnuts out into the realm of public discourse yet again, the truth of the matter is it was never very much fun when we all had to do it. Nostalgia for “a simpler time” aside, I really don’t miss running off tapes on clunky old VCRs, waiting in disorganized lines at the overcrowded post office, then hoping that the virtual stranger at the other end of the transaction actually receives the package and, even more importantly, actually gets around to reciprocating. And then you finally have your own copy of whatever it was you were trading for, complete with shaky quality and occasional tracking problems.
Ever since his rediscovery, it seems like Seijun Suzuki has had the term “Maverick Director” permanently affixed to his name like some kind of mandatory honorific. However, given the rigidity of the Japanese studio system within which he spent his peak years, Suzuki never would have had the opportunity to achieve that maverick status had he not at some point been able to tow the line and deliver the straightforward genre pictures that he had been hired to create. That he was capable of doing that and then some is more than amply demonstrated by Underworld Beauty, an outstanding little noir programmer that he directed during his early years at Nikkatsu.
In recent days I’ve been pouring over Jasper Sharp’s just published history of Japanese sex cinema, Behind the Pink Curtain — certainly for the purpose of broadening my world cinema knowledge, but mainly because I really, really want to understand the way that sex is presented in the Japanese movies I watch. And right now, to be honest, I really, really don’t. I sometimes suspect that we — in this case meaning “we Americans” — are more to blame for this than the Japanese, that the overwhelming impression of Japanese films as dealing with eros only in its darkest and most perverse manifestations is the result of us yanks, in our eagerness to point a mocking finger at “those crazy Japanese”, focusing only on those films that enable us to do so.
Perhaps the reality is that Japanese cinema is teeming with examples of people having loving, mutually pleasurable, consensual sex, and we’re just not seeing it because we’re choosing not to look. Admittedly, I’ve yet to see evidence of that being the case. In fact, I’ve seen more than my fair share of evidence to the contrary. Still, I suppose that if you wanted to stretch things, you could consider In the Realm of the Senses to feature loving, mutually pleasurable, consensual sex — lots and lots of it, in fact — until, of course, you get to the part where the man dies during an act of erotic asphyxiation and the woman cuts off his penis. So, well, there you go.
Not that a few shafts of light haven’t penetrated my benighted state regarding this matter. For instance, I now know that the Japanese sex film, or Pinku Eiga, came of age alongside of Japan’s politically radical underground cinema of the 1960s, and that the two, thanks to many of their creatives maintaining a foothold in both worlds, are so intertwined as to be in many cases indistinguishable. (For instance, the films of Koji Wakamatsu, which always struck me as being more about politics than sex, but are still considered part of the Pinku Eiga genre.) As such, they share a confrontational aesthetic that can still be seen even in the pink films of today.
America’s military presence in Japan was a hot button issue at the time of pink cinema’s emergence, sparking student protests that, in many cases, lead to violent confrontations with police. Because of this, pink filmmakers often positioned the abused and violated female bodies at the center of their movies as being symbols of the motherland, which had, in their eyes, been itself violated by the presence of an invading army on its soil. Such pervading sentiments at the dawn of Pinku Eiga’s existence may serve to explain what came to be a seemingly ingrained habit of taking anti-Western potshots, often without any apparent underlying political context. A good example of this would be the frequency with which Christian iconography is put to aggressively blasphemous uses, a practice that would be baffling if directed at Japan’s pathetically under-represented Christian minority, but makes a lot more sense as a swipe at Western sensibilities. Such is the case with our review subject here, 1986’s S&M Hunter, a film with no agenda other than to be as freaky as possible, but which nonetheless equips its bondage-happy protagonist with a priest’s collar and a sex slave wearing a nun’s habit (and usually not much else).
Of course, another factor that has influenced the content of Japan’s sex films is the country’s notorious censorship laws, which ban the depiction of genitalia or penetration, but really not that much else. Because of this, Japanese filmmakers have often had to travel far outside of the usual territory in order to fulfill pornography’s promise of showing taboos broken, usually veering in the direction of fetish, perversion, and, all too frequently, the idealized depiction of rape and sexual assault. I also imagine that, in a culture that puts as high a premium on shame as Japan’s does, the spectacle of characters simply taking what they want sexually without fear, consequence, or remorse serves as a pretty potent fantasy of liberation — though, given those characters are virtually without exception male, one that comes at the expense of excluding half of the potential audience.
The titular hero of S&M Hunter is just such a character, a bondage-crazed, manga-style superhero, complete with his own hilarious, Spaghetti Western style theme tune, who not only takes what he wants from the women he encounters, but also puts in their place – or, in his parlance, “tames” – those women with the audacity to attempt to do the same themselves. S&M Hunter may just be the film that signals my arrival at the point where I have finally seen too much, which I knew was going to come sooner or later. Despite its much-touted ability to shock and offend, it managed, for most of its sixty minute running time, only to leave me vaguely amused, and in its most outre moments prompted little more of a reaction from me than a sedate but heartfelt “Huh. Now there’s something you don’t see every day.” This may not simply be due to my having collapsed irretrievably into a state of decadence and moral decay, however. For one thing, the notion that a woman’s unfettered expression of her sexuality would require her to be tamed in such a manner, if you take it at all seriously, speaks to such a profound sense of impotence on the part of the film’s intended male audience that the only appropriate reaction to it would be an embarrassed kind of pity.
More than that, though, I think that my becoming acquainted, over the years, with people who were into S & M play has made me aware of the extent to which the practice is just that: play. With its over-the-top, bluntly archetypal characters and wildly outlandish bondage scenarios, this is, to me, clearly the area that S&M Hunter inhabits, a world of fantasy and elaborate play — a fact driven home by the depiction of the women on the receiving end of S&M Hunter’s signature brand of justice as taking very obvious pleasure in the experience. Given that, I don’t think that S&M Hunter plays to an audience of potential B&D vigilantes any more than Harry Potter movies play to an audience who will immediately run out and carve lightning bolts into their foreheads and then expose their genitals to men in stylized horse costumes.
S&M Hunter is the second in a trilogy of S&M Hunter films directed by Shuji Kataoka, a regular Pinku Eiga director of the era who, in later years, would go on to become a popular director of DTV action films. Here Kataoka casts two stars who were both frequent presences in his films and prominent fixtures in the world of Japanese sex cinema as a whole. Shiro Shimomoto, who plays the title role, was one of the most prolific actors in pink films during the seventies and eighties, and, judging from the titles of more recent films like Tokyo Booty Nights, still keeps a foot in the game even today. Hiromi Saotome was also a fairly ubiquitous presence in such films during the eighties, specializing in bondage and S&M roles. She would go on to become such an enthusiastic proponent of her art that, in 1987, she would famously have herself strung-up and dangled from a footbridge in front of one of Tokyo’s most heavily trafficked commuter train stations.
As far as I can tell, having only seen the trailer, the first S&M Hunter film’s recounting of its title character’s origin depicts him starting out as an ordinary businessman who gets on the wrong side of the Yakuza. This leads to him being attacked and blinded in one eye by a vicious gang of delinquent schoolgirls -– all in full uniform, of course — lead by the hard-eyed Meg (Saotome). In the aftermath of this attack, he is discovered and taken in by the master of an S&M parlor called the Pleasure Dungeon. A true S&M Hunter, we see, is not born but made, as the master (Yutaka Ikejima) then puts our hero through a rigorous training course that ultimately results in him becoming a rope master of near-supernatural ability, a fearless avenger of the pussy-whipped, clad in a distinctive uniform comprised of tweed suit and riding boots, the aforementioned priest’s collar, a skull-and-crossbones emblazoned eye patch, and bowler hat. From here, S&M Hunter sets out to put Meg and her gang in their place.
However, the Hunter’s roping skills are not employed to merely punish and restrain, but rather to gain his prey’s unquestioning obedience via the administration of near-unendurable levels of sexual pleasure. Each of his elaborate, cat’s cradle-like constructions is designed for this purpose, with every knot and wind somehow honing in on a different pleasure zone, with the coups de grace being a long strand of rope that he musically thrums like a giant bass string, sending vibrations straight to his victim’s sweet spot. As he states at the outset of the second film, his method is to “defeat” women, not with violence, but with love, their emotions being their true weak point. And as a result of his ministrations, they are rendered his willing slaves. For those of you who are skeptical of S&M Hunter’s prowess in this regard, and can only be convinced by way of the employment of a dated eighties pop culture reference, heed the words of the Dungeon Master himself: “Even if Hulk Hogan was a girl, she’d be his slave.”
The second entry in the series begins with a gay man named Joe (Bunmei Tobayama) coming to the Pleasure Dungeon with a tale of woe about how his lover, Jack (Akira Fukuda), has been kidnapped and made a sex slave by an all girl gang called the Bombers. S&M Hunter quickly agrees to take on the task of freeing Jack and taming these wanton women, after which we are taken to the hideout of the Bombers, where the gang, lead by Machi (Ayu Kiyokawa), are keeping Jack naked and strapped to a bed for their pleasure. To S&M Hunter‘s credit, I fully expected Jack to be eventually “converted” by these ladies’ sexual attentions, but that never happens. In fact, once Jack is freed and reunited with his lover, the two men are allowed a tender moment that seems, by all appearances, to be a prelude to a full-on sex scene, albeit one which never arrives. I had to wonder if this was the result of something being left on the cutting room floor, or if it was simply a fake-out perpetrated with some kind of humorous intention. To be sure, S&M Hunter is filled with things that I recognize as having the formal appearance of jokes, but whose comic intent, for reasons that I assume are culturally based, ended up zinging right past me.
Finally the man-hating Meg, still in full schoolgirl uniform, shows up at the Bomber’s door, hoping to join the gang and enlist their aid in seeking revenge against the S&M Hunter for the humiliation she suffered at his hands. Meanwhile, the hunter is bearing down on the gang’s hideout, accompanied by the Master, his nun’s-habit wearing sex slave, Maria (Naomi Sugishita), and Joe, who by appearances is himself falling prey to the rope master’s irresistible sexual charisma. With his target in sight, S&M Hunter then declares that he prefers to go on alone, causing the Master, in an actually funny instance of the script drawing attention to its own haphazardness, to wonder aloud why the hell he had asked them all along in the first place. From there, our hero proceeds to work his ropey magic on the gang of uppity women.
The straight sex scenes in S&M Hunter feel fairly obligatory, and are interesting mainly for the lengths they go to make sure that you don’t actually see anything. (Think lots of conveniently placed visual obstructions of the type that could serve as gags in an Austin Powers movie.) Where the real creativity is invested is in the film’s breathtakingly surreal bondage scenarios. And it is with those scenes in particular that we see a softening of the movie’s potentially offensive edge, based in the fact that they’re aestheticized and rendered fantastic to the point of bearing little relation to any type of real world brutality. (According to Sharp’s book, a film like this would typically have on hand a real life rope master, or kinbaku, to supervise the intricate binding that was necessary to completing these bizarre tableaus.) Also, while I know that many would be offended by the notion of a woman actually enjoying being the subject of such humiliations, I have to say, for my own part, that after being subjected to the endless parade of cretinous male predators in Toei’s Pinky Violence films, it was nice to see a member of my gender being depicted as masterful, desirable and actually capable of giving a woman sexual pleasure, no matter how unorthodox his methods of doing so might have been.
The first real gasp-inducing example of the Hunter’s particular brand of artistry comes when he trusses up one of Machi’s gang in a giant spider web that is designed to increase its victim’s pleasure with every rope that’s cut. After Machi shoots through a couple of the knots, the Hunter warns her that any further attempts to free her friend will send her to “the ecstasy of hell”. Machi curses the Hunter, but he responds that she is only jealous that it’s her friend and not her who’s being subjected to this treatment. And, sure enough, soon after he has taken leave of Machi, she turns up at S&M Hunter’s ranch (yes, you heard me), saying that she now wants “to give control” to him. Since it is one of the film’s few portrayals of a consensual sexual act, what follows is played as a love scene, though one in which one partner is elaborately bound up in the rafters of a barn while the other stands far below thrumming vibrations at her nethers through a taut length of rope.
The scene has the ridiculously gauzy quality of a romantic dream sequence in an old Hollywood movie, and throughout it and the one that follows, actress Ayu Kiyokawa is given the full, halo of soft light treatment, rendering her unrecognizable from the hard-looking Machi we saw in the stark, harshly-lit earlier sequences at the gang’s hideout. Clearly the ministrations of S&M Hunter’s long, ropey fingers have caused a transformation in her, and once the act is complete, she pledges her love to him. “You only love the ropes”, he replies. Still, once she has departed, S&M Hunter graces us with a tender moment in which the Hunter, having second thoughts, runs after Machi and, upon catching up to her, hands her the rope he used to bind her. “This now belongs to you”, he says solemnly, obviously fighting to contain his emotions. It is in this moment that we’re afforded a glimpse of the S&M Hunter as a tragic figure, one who’s calling to discipline all of the world’s wayward women forces him to turn his back on love. (“All of the masochists need me,” he tells Machi. “I’m a charitable sadist. I can’t love only you.”) It’s as if director Kataoka, in an uncanny moment of long-range prescience, is preemptively providing his hero with the emotional complexity that a later Christopher Nolan reboot would otherwise affect. Later, moved by what she has seen and experienced, Machi says to her fellow gang members of the Hunter, “You don’t know him. His strength knows gentleness.”
S&M Hunter is irresistibly quotable. Its main character spouts all kinds of pretentious nonsense, and even, true to his ecclesiastical garb, quotes the New Testament (while other utterances — “I see your heart. Your heart wants my ropes” — seem more secular in origin). What I enjoyed most about the film was how it hijacks the terse moral shorthand and glib certitude of evangelism for its own anarchic ends. During the movie’s talky prologue, the Hunter essentially preaches to the audience, explicitly laying out the story’s conflict and moral, after which we see both briskly played out, with the gum-snapping, leather-clad Bombers playing the transgressors whose wayward actions meet with exactly those consequences that the moral predetermines. In the end it all plays out like some Bizarro World version of a Chick tract, with those who have given in to evil, rather than being cast into the lake of fire, instead being bound up and helplessly racked with consecutive multiple orgasms.
S&M Hunter concludes with the final showdown between the title character and the revenge-minded schoolgirl Meg, who has dressed for the occasion in full Nazi regalia. True to the movie’s aesthetic of escalation, it’s a real head-spinner, capping off with S&M Hunter managing, despite having his remaining good eye gouged out, to bind Meg and hoist her into the heavens with an industrial crane. All in all, it’s one of those endings that casts all that preceded it in a far better light, since, throughout S&M Hunter, you can’t help but wonder how it could possibly tie things up with a suitably crowning WTF moment. Well bravo, S&M Hunter. Well played. Well played, indeed.
In the end, I’d be a fool to deny that S&M Hunter traffics in misogyny, though I think there’s room for debate over how deeply held it is. That said, it did elicit a wince from me during its opening scene, at the moment when the Master says, on the subject of hitting women: “Even if you hit them hard, they recover. They go back to normal.” In response to this, I have to wonder: is writer/director Kataoka referring there to women’s emotional resilience, or is he actually saying that they’re literally indestructible? In any case, it is for this reason, according to the Master, that, rather than trying vainly to beat them into submission, “You need to train women to obey.” Again, it seems like we’re seeing a suggestion that, rather than being objects of contempt, women represent some kind of overwhelming, otherworldly force that needs to be contained – a viewpoint that would in turn suggest coming from such a standpoint of infantile helplessness that, again, it’s difficult to avoid feeling an aghast sense of pity in response.
It also just may be that there’s an element of obstinacy in my inability to be really offended by S&M Hunter. The whole thing has a bratty quality to it that suggests that getting riled by it would simply be letting S&M Hunter win. What’s worse is that I actually kind of liked the movie, which may very well make me a horrible person. Still, if that be the verdict, it won’t prevent me from maintaining my regular program of affectionately patting all human beings under four feet tall on the head, slinging old ladies over my back two at a time to carry them across the street, and cooking elaborate meals for homeless people. You see, that’s the kind of guy I am. But I’m also the kind of guy that has to take his hat off to a movie that manages to top itself as enthusiastically as S&M Hunter does, even though I know in my heart that tying up a lady in a giant spider web and sending her “to the ecstasy of hell” is fundamentally wrong. I hope you can all find it in your hearts to forgive me.
Oh, and also? Those fucking Japanese are crazy.
Release Year: 1986 | Country: Japan | Starring: Shiro Shimomoto, Hiromi Saotome, Ayu Kiyokawa, Yutaka Ikejima, Utako Sarashina, Naomi Sugishita, Bunmei Tobayama, Akira Fukuda | Writer: Shuji Kataoka | Director: Shuji Kataoka | Cinematographer: Toshio Shimura | Music: Takashi Akutagawa | Producer: Daisuke Asakura
As of this writing, Godzilla is in hibernation following his last attempt at a cinematic swan song, 2004’s dreadful Final Wars. Come the teens, however, I am pretty confident that Godzilla’s masters at Toho will take him out of mothballs again to reinvent him — as they have done in the two previous decades — for a new era and prevailing sensibility. In the nineties they gave us an appropriately touchy-feely Godzilla series, with Mothra recast as a new-agey Earth Mother and a teary-eyed psychic on hand to clue us in to the monsters’ feelings. The Godzilla of the 00’s was leaner and meaner, aided by the fact that all of those shots of collapsing skyscrapers now had a disquieting edge of verisimilitude. I have no idea what version of Godzilla Toho has in store for us in the future, but I’m fairly certain it won’t be the goofy superhero we saw in his movies from the late sixties and seventies. That incarnation, I’m afraid, is one that’s lost to the ages.
Still, I’m happy to at least see evidence of a more forgiving attitude emerging with regard to movies like Godzilla vs. the Sea Monster and its much maligned director, Jun Fukuda. For years it seemed that the more affable version of Godzilla presented therein and the man most associated with it were held in utter revulsion by those who considered themselves serious fans. As such, they became central to an official narrative of decline – a woeful spiral or ruin traced from the minute Godzilla did that little victory jig in Monster Zero and cemented into inevitability with the replacement of series mentor Ishiro Honda by the upstart Fukuda, leading inexorably to that dark day when Godzilla and Anguilas would speak to each other via cartoon speech balloons in Godzilla vs. Gigan.
Behind all of this ire seemed to be this notion that the “real” Godzilla had been hijacked and replaced by a buffoonish impostor, an idea that seemed to be what fueled the comparatively serious-minded tone of the G films of the nineties and beyond. But what this stance refused to acknowledge is the fact that Godzilla’s rich and varied history gives him all the chameleon-like properties of a true pop icon — that he is a piece of imaginational public property capable of being to each person whoever that person wants him to be, without encroaching in the least on the next person’s conception of him. Those who enjoy Godzilla most as the symbolism-freighted destructive juggernaut seen in his debut film can do so without having that enjoyment dampened in the least by the fact that, later down the road, he would be pitching cartoon boulders at a giant lobster, just as those who enjoy that later version are free to do so untroubled by the fact that, early on, Godzilla was a bit of a dick. Godzilla is a bit like Madonna in that way (while Madonna, as time passes, is increasingly like Godzilla in a number of other ways).
Sadly, the cropping up of misguided and pointlessly self-limiting orthodoxies in the realm of pop culture is exactly the sort of thing you’re going to see if you allow for a backwass notion like “serious fandom”, which, to me, is like the flipside of “casual zealotry”. I mean, I’m both capable of being serious and a fan of many things, but I strongly believe that when the notions of “seriousness” and “fandom” collide, only trouble, heartache and — in the unforgiving lense of hindsight — deep, gnawing shame can result. I feel this especially acutely in this case. because, to my thinking, to be too critical of Godzilla after a certain point becomes dangerously close to taking Godzilla for granted, which is something we should never do. You see, I’ve reached an age where I’ve taken stock of my life and determined which things matter to me the most. And I can tell you in all honesty that Godzilla ranks right up there with fine liquor, warm summer nights and the love of a good woman among those thing that make life most worth living. Sure, I wasn’t crazy about Final Wars, but if you told me that having no Final Wars meant having no Godzilla, I’d have to say, sure, go ahead and give Ryuhei Kitamura the keys to the franchise and let him have at it.
All of this ties in with what I think determines which of Godzilla’s different manifestations will be the one a particular person will hold closest to his or her heart, which can basically be described as a sort of primary attachment theory of Godzilla. In short, it’s all about which Godzilla was your first. In my case, it was Godzilla vs. the Sea Monster. If memory serves — which it may very well not — the encounter took place via a short-lived Saturday night horror movie package called Shock-It-To-Me Theater that aired on one of the Bay Area’s local UHF channels. The host was a goateed guy called Asmodeus, who always wore a smoking jacket and dark glasses — and who actually puffed away on a cigarette as he introduced the movies, which should give you some idea of how long ago this was. Not long after, Asmodeus and Shock-It-To-Me would be driven off the air by the popularity of a competing horror show on another local channel, Creature Features, which was hosted by the recently departed Bob Wilkins, an unassuming guy in an off-the-rack suit and glasses who had a perpetually bemused demeanor and a lacerating, bone-dry wit.
Thinking back, it must have been tough for Asmodeus, who was more what would have been considered a traditional horror movie host at the time — complete with ominously intoned, pre-scripted dialog and a cobwebbed, gothic castle set from which to intone it — to be knocked off the air by a guy like Wilkins. Little did we know at the time that, with Wilkins, we were seeing the first glimmer of an ironic hipster sensibility that, by the time of Mystery Science Theater, would become part and parcel of our attitude toward “B” cinema as a whole. Anyway, it’s just as likely that I first saw Godzilla vs. the Sea Monster on Wilkins’ Creature Features. But, if that’s the case, at least my lapse in memory gave me an opportunity to give Asmodeus a shout-out, because, even though I was among the horde of young viewers who ditched him in favor of Creature Features, he was still a formative influence.
Anyway, what matters the most out of all of this is that my initial viewing of Godzilla vs. the Sea Monster, whatever setting on the TV dial it emanated from, had a soul-stirring effect on me. I remember being struck by a sense of wonderment at the fact that adults, who at this point in my life seemed to merely serve as delivery system for everything — vegetables, outdoor activities, Summer swimming lessons — that I wanted to have nothing to do with, had taken the trouble to create something that was so completely awesome — something that, judging by how it conformed so closely to my seven-year-old mind’s conception of what was cool, appeared to have been designed specifically with my pleasure in mind. Here were giant monsters fighting; perilous jungle adventures; an army of exotic, uniformed bad guys lead by a dude with an eyepatch; futuristic looking sci-fi sets; toy boats and planes that acted just like the real thing, and lots of explosions, all set to a driving, sort-of-rock-and-roll-sounding musical score that practically screamed at me that I was watching probably the most exciting thing ever seen.
Some time later I would see — and years later, come to love — the original Godzilla, but at the time it was the one film in the series that struck me as being the departure. My Godzilla was the grumpy but ultimately lovable defender of the Earth that I had seen in Godzilla vs. the Sea Monster, or in Monster Zero — or the grumpy but ultimately loving and protective father figure seen in one of my other youthful favorites, Son of Godzilla. And that hasn’t changed much in my adulthood, which should come as no surprise to anyone who knows me, given that the list of things I consider cool has changed very little since I was seven, and has only been amended over the years to commemorate my discoveries of things like girls, punk rock and beer.
Godzilla vs. the Sea Monster began life as Operation Robinson Crusoe: King Kong vs. Ebirah, a rejected script for a proposed co-production between Toho and America’s Rankin/Bass Productions (yes, the Rudolph, the Red-Nosed Reindeer guys) that was intended to tie in with the latter’s King Kong Saturday morning cartoon series. That fabulous bit of synergy finally saw fruit with 1967’s wonderful King Kong Escapes, but before that transpired, Godzilla producer Tomoyuki Tanaka determined the need for a new Godzilla film for the upcoming 1966 holiday season, and further decreed that said entry should be oriented toward a teen audience and feature a South Seas theme. In response, the Operation Robinson Crusoe script was hastily retooled — primarily, it seems, by crossing out the name “King Kong” wherever it appeared and penciling in “Godzilla” in its place — and then mashed up with another shelved script, this one for a sequel to director Jun Fukuda’s successful spy spoof 100 Shot/100 Killed, titled 100 Shot/100 Killed: Big Duel in the South Seas. The resulting Frankensteinian creation was a beast bearing the cumbersome title Godzilla-Mothra-Ebirah: Big Duel in the South Seas.
For all the coulda-beens and shoulda-beens of its detractors, Godzilla vs. the Sea Monster, viewed today, seems like it was inevitably the Godzilla movie that was going to get made in 1966. This was, after all, the year in which the author of James and the Giant Peach was commissioned to write a James Bond movie in which spaceships eat other spaceships and a villain’s space-age compound is housed within a hollowed-out volcano. The collision between the stodgy, adult-driven popular culture of the early sixties and the encroaching influence of sixties youth culture and it’s defining mistrust for authority had resulted in camp becoming the dominant aesthetic in seemingly every pop culture producing country in the world, and it was no longer safe for any pop icon born of the old order to be presented without a conspicuous display of tongues being placed firmly in cheek. (In this sense, the Batman TV series sort of served as the signal head-on-a-pike to mark our crossing over into this new territory.) Also, recent years had for the first time seen the vast majority of Television shows and movies being produced in color, something that producers were demonstrably eager to exploit via the widespread use of pop art-inspired, comic book-like palettes of bright primary colors, a tendency that is well in evidence in some of Godzilla vs. the Sea Monster‘s sets. Lastly, the influence of the aforementioned Bond films had reached critical mass by 1966, becoming so pervasive that even the Beatles couldn’t resist the urge to spoof them in Help!, which makes it unsurprising that Godzilla’s handlers would draw upon their tropes as well. In short, all of these trends listed above come together in Godzilla vs. the Sea Monster, resulting in it being probably the most overtly comical, modish, and giddily irreverent film in the Godzilla series.
Facilitating this new tone was the fact that a number of the key members of the creative team behind Godzilla vs. the Sea Monster were younger than those who had worked on the previous G films. Director Fukuda, here taking the reigns of a Godzilla movie for the first time, was not only thirteen years younger than Ishiro Honda, who had directed all but one of the previous six Godzilla films, but also lacked Honda’s strong attachment to the giant monster genre. Instead, he drew upon his previous experience directing fast-paced action and comedy films for his approach to the material. Composer Masaru Sato — who had previously scored Godzilla Raids Again, the one Godzilla film that you are most likely to have completely forgotten existed — was likewise a decade-plus behind the man he was replacing, Akira Ifukube. In contrast to Ifukube’s ominous, deliciously portentious scores to the preceding Godzilla films, Sato here delivers a soundtrack that is alternately whimsical and full of manic, cartoonish urgency, and also can be credited with being the first to place twangy, surf-music inspired guitars amid Godzilla’s musical backing. Finally, taking the helm as director of special effects for the first time — despite Eiji Tsuburaya’s credit here — was Tsuburaya’s first assistant, Sadamasa Arikawa, a transition due largely to Tsuburaya having his hands full with the production of his television series Ultraman. Though working, thanks to Godzilla vs. the Sea Monster‘s reduced budget, on a smaller scale than what Tsuburaya usually had to deal with, Sadamasa does a fine job, and even puts his own stamp on things with some camera work that departs significantly from his mentor’s typical style.
One member of the team who was not a stranger to Godzilla was screenwriter Shinichi Sekizawa, who had in fact had a hand in writing most of the previous entries in the series, as well as such other high profile kaiju films as Mothra and Varan. Despite this, he was able to raise himself — or lower himself, depending on your perspective — to the task of concocting for Godzilla a story that was enough of a briskly paced and carefree piece of froth to make the monster’s previous film forays seem like sober dramas by comparison, incorporating teen-friendly elements from the current beach party, action and spy films as he went along. This emphasis meant that the aspects of the story involving the film’s human characters would be front and center for much of the film, which is actually not that unusual for Godzilla’s movies. All of them depend quite a bit on their human-based storylines to fill out their running time, and to my mind those storylines are precisely what keep the Godzilla movies fresh, because you never remember them from one viewing to the next. With every screening it’s like you’re seeing — and then forgetting — them for the very first time.
In the case of Godzilla vs. the Sea Monster, what you are forgetting is about sixty percent of the movie, because Godzilla doesn’t really enter the action until about the fifty minute mark. Until that time we have the story of Ryota (Toru Watanabe), a kid who is determined to go off in search of his fisherman brother, who has been reported lost at sea, but whom Ryota is convinced is still alive. Ryota’s first stop in his quest is a dance marathon in which a sailboat is the first prize, an episode that gives Masaru Sato an opportunity to contribute some swingy go-go music — complete with suspicious echoes of the Batman theme — to the soundtrack. Finding he’s arrived too late to compete, he enlists the aid a couple of goofballs who have already been eliminated in helping him to steal a boat from a nearby pier, a boat that turns out to be the hiding place of fugitive safecracker Yoshimura (played by ubiquitous kaiju eiga star Akira Takarada). For reasons that are not entirely clear, the four men all decide to spend the night on the boat, but awake to find that Ryota has set sail during the night without their knowledge, and that they are now somewhere in the middle of the Pacific, Everyone takes this pretty much in stride, until, after a few days’ journey, their boat is cleaved in two by a gigantic claw that thrusts up from beneath the ocean’s surface.
Ryota, Yoshimura and the other two all wash up on the beach of Devil’s Island, which they soon discover to be the hideout of The Red Bamboo, an army of crisply uniformed terrorists who are building an arsenal of nuclear missiles within their space-age compound there — and who bear no resemblance to the Chinese whatsoever. The island’s coastline is guarded over by the sea monster Ebirah, a giant lobster/shrimp thing that is almost exclusively seen from the waist up, with its lower body hidden beneath the water line, and who, in an especially memorable and rare instance of kaiju movie gruesomeness, spears a pair of escaping fishermen on the end of his claw like shish kebab. In order to keep Ebirah at bay while they ferry supplies back and forth, the Red Bamboo must use a yellow liquid refined from vegetation found on the island that has special, Ebirah-repelling properties, the production of which they delegate to an army of slaves who they have captured from nearby Infant Island. Said slaves, of course, are those peaceful inhabitants of said island who are able to remain peaceful solely by dint of them having the giant moth Mothra on hand to kick ass whenever anyone gives them any trouble. As Ryota and his pals watch the unloading of the latest shipment of slaves, one of the females, Daiyo (also-ubiquitous kaiju eiga star Kumi Mizuno) breaks away from the pack and makes a run for it. The boys come out of hiding to aid in her escape and soon become the object of pursuit for the one-eyed Captain Yamoto (played by designated Godzilla series eyepatch model — see his role as Dr. Serizawa in Gojira — Akihiko Hirata) and his machinegun-wielding troops.
Meanwhile, over on Infant Island, the remaining inhabitants are trying to raise Mothra from her slumber to go and save their enslaved loved ones, aided, as always, by those tiny twin singing fairies of Mothra’s — who, for the first time, are not portrayed by The Peanuts, but instead by another twin singing act called Pair Bambi. This scene provides an opportunity for another one of the high points of Sato’s musical score, a version of the usual ‘hey, Mothra, wake up” ritual song that would fit right in on one of those late nineties lounge-exotica compilations. Mothra proves difficult to rouse, however, a delaying tactic that gives us the nagging feeling we’re going to be seeing some Mothra ex machina action during the final minutes of the picture.
It turns out, however, that Mothra isn’t the only sound sleeper among the monsters in the neighborhood, because, in the course of scrambling frantically around the island in their attempts to evade Capt. Yamoto and his men, Ryota and company stumble upon Godzilla, out like a light at the bottom of a deep subterranean pit in the island’s interior. As momentous a discovery as this is, the boys file it away for future reference, as there is still much more frantic scrambling around to be done, in and out of the Red Bamboo’s compound and the various caves and fissures of the island, all the while being narrowly missed by fusillades of machinegun fire from their pursuers. Finally, in the course of one of these pursuits, Ryota finds himself tangled in the lines of an observation balloon which comes loose from its moorings and sails away from the island. In one of the film’s most willfully preposterous moments — and the final red flag for anyone who’s actually been trying to take any of this seriously — Ryota’s involuntary balloon ride deposits him right at the feet of the Infant Island natives at the very moment that their Mothra waking dance seems to be taking effect. Not only this, but, In response to Ryota’s inquiry, the islanders produce Ryota’s missing brother, who has been among them all along.
Ultimately, the good guys’ escape from the island and the Red Bamboo’s comeuppance cannot be accomplished without Godzilla on hand to deal with the villain’s fearsome guardian lobster, and so a hastily contrived lightning rod and the felicity of frequent tropical downpours are employed to bring him to. A little groggy at first, and obviously not too keen on doing any heavy lifting, Godzilla’s first reaction upon seeing Ebirah is to lazily chuck some boulders at him to see if that will do the trick of driving him off. It doesn’t, and Ebirah just bats the boulders back at Godzilla, who in turn head-butts them like soccer balls back in his direction, making this the most gleefully stupid prelude to a monster battle in the series thus far. Finally, the battle is joined in earnest, and involves a lot of underwater sequences that were reportedly quite perilous for the suit actors, weighed down as they were by hundred-pound-plus monster costumes in addition to being submerged in gallons of water.
One of the common complaints about Godzilla vs. the Sea Monster is that it is cheap. It is indeed true that the financially troubled Toho assigned the film a budget that was meager in comparison to that of its predecessors. Still, this is not a film that overreaches its limits, and, for the most part, its planning and scripting evidences a shrewd allotment of resources, allowing it to be a slick and handsome looking entry despite it being staged on a somewhat smaller scale than earlier Godzilla movies. Though the setting of the action on a remote island cut costs by alleviating the need for Sadamasa Arikawa and his crew to build entire miniature cities for the monsters to trash, what miniatures there are are well up to the standard set by the other films, and the need for fewer indoor sets allowed the producers to invest more in the colorful interiors of the Red Bamboo’s compound.
The only evidence of shoddiness that is too glaring to overlook is that no one seems to have bothered, during the transitioning of the script from one featuring King Kong to one featuring Godzilla, to put much work into differentiating the latter from the former. For the most part that isn’t much of a problem, since both meet the screenplay’s primary requirement of being giant rampaging monsters, but it definitely becomes a bit troubling during the section of the film in which Godzilla seems to be taking an amorous interest in Kumi Mizuno. Admittedly, this episode is a bit of a low point for the Big G, especially since much of it involves him guarding over Daiyo while hunkering down on his haunches and just kind of staring off into the middle distance. It’s not a good look for Godzilla, and I couldn’t help thinking that all he needed was a newspaper to complete the appearance of him sitting on the can. Also a bit puzzling is the fact that the water-bound Ebirah seems like he would be even less of an appropriate opponent for King Kong than he is for Godzilla, making it hard to imagine what exactly Toho might have been thinking there. This is not to say that Ebirah is entirely crappy as kaiju go, but he does prove to be a bit overmatched, and, at the end of the day, it’s pretty obvious why he came to take his place alongside King Seesar and Hedora the Smog Monster in the pantheon of one-shot Godzilla movie monsters.
Despite its obviously misguided intimations of Godzilla’s interspecies horniness, Godzilla vs. the Sea Monster also affords its mon-star his fair share of iconic moments, including an entrance that involves him busting out of the side of a mountain. There is also an instance of classic Godzilla bad-assery in which, after tearing off one of Ebirah’s claws, he clacks the thing together like a giant castanet in order to taunt him. Elsewhere, perhaps less iconic, but still indelible is Godzilla’s battle with the Red Bamboo’s air force, which is set to a musical accompaniment that would be more appropriate for the dancers on Shindig. Still, it isn’t these isolated moments that make the film so enjoyable, but rather the infectious and undeniably good-natured enthusiasm that courses through the whole thing. It just careens along like a hyperactive toddler on a sugar rush until the end credits roll, leaving you with a mild but entirely pleasant sense of exhaustion. Seriously, I don’t expect everyone to hold this movie in as high regard as I do, but it seems to me that to hate it would take quite a lot of concentrated effort.
After Godzilla vs. the Sea Monster, Jun Fukuda helmed the similarly silly Son of Godzilla before handing the reigns back to Ishiro Honda for Destroy All Monsters (the first of many “final” Godzilla films) and Godzilla’s Revenge, soon after which he returned to direct some of the most maligned entries in the series, including the almost universally reviled Godzilla vs. Megalon. It is perhaps for this reason that Godzilla vs. the Sea Monster is held by some in a negative light; not so much for what it actually contains, but for the fact that the glimmer of Godzilla vs. Megalon can be seen in its eye. Personally, I like the later Fukuda films — Godzilla vs. Mechagodzilla especially — but, more importantly, I love Godzilla vs. the Sea Monster, and to an extent that I could never hope to justify with rational explanation. Suffice it to say that I am helpless to its charms, and even today when I watch it I can’t help but bust out into a big goofy smile. Of course, that should be entirely understandable to anyone who loves Godzilla. It was my first, after all.
Release Year: 1966 | Country: Japan | Starring: Akira Takarada, Kumi Mizuno, Chotaro Togin, Hideo Sunazuka, Toru Watanabe, Toru Ibuki, Akihiko Hirata, Jun Tazaki, Ikio Sawamura, Pair Bambi, Haruo Nakajima | Director: Jun Fukuda | Writer: Shinichi Sekizawa | Music: Masaru Sato
Oh, now you’re just messing with me. This is the third horror film I’ve watched recently, and I’m now officially three for three on movies in which a character says, “This is like a bad horror movie!” And once again, it’s because the movie is a bad horror movie. Why can’t, just once, we have a character who remarks, “This is like a good horror movie!” Anyway, unlike Hellraiser: Hellworld and Diary of the Dead, I went into Resident Evil: Degeneration fully expecting it to be awful but hoping that it might at least be watchable. And that’s about what I got though it was slightly less watchable than I was hoping.
I am a Resident Evil fan. As increasingly dumb as they are, and as increasingly dumb as I am for feeling this way, I’ve liked all three of the live-action movies. The Resident Evil video games are the only ones I’ve ever played consistently. So for once, I’m the target market for a movie based on a video game. That said, you know the “cut scenes” in the video games — those sequences where you can’t play the game and instead have to watch as the plot is advanced through a combination of middling CGI, bad writing, and unspeakable acting? If you’ve ever watched one of those and thought, “this would be awesome if it went on for 90 minutes,” then Resident Evil: Degeneration is the movie for you. For me, it was an exercise is tedium, albeit tolerable tedium.