When the only country in the world that has had atomic bombs dropped on it puts a mushroom cloud in one of its movies, it tends to have more resonance than when, say, the Italians do it. When the Italians set off an atomic bomb, it almost always heralds the arrival of post-apocalyptic, dune buggy-driving leather-and-shoulderpad aficionados. When Japan does it, however, it is something altogether heavier. It can also usher in not the solemn thoughtfulness one might expect, but at least in the movies I watch, instead signifies something supremely weird is about to happen, as if the sheer destructive capability is so difficult to wrap one’s head around — even when it’s been used on you — that there is no way to deal with it other than through the application of sheer strangeness.
The world’s first manned expedition to Mars has vanished, and men in sparsely appointed offices are concerned by swirling newspaper headlines. When the rocket reappears, the world breathes a collective sigh of relief — until it’s discovered that only two of the four members of the crew are alive. On board the returning rocket is unbuttoned shirt aficionado and expedition leader Col. Thomas O’Bannion (a particularly sleazy Gerald Mohr), who has been incapacitated by some horrifying alien growth, and scientist Dr. Iris Ryan (Naura Hayden), known to the crew as Irish and in a state of shock that prevents her from remembering any of the details of the nightmarish fate that befell the crew. A third crew member, Doctor Morbius lookalike Prof. Theodore Gettell (Les Tremayne, War of the Worlds) is aboard the rocket but dead. And requisite blue-collar Joe Brooklyn guy Sam Jacobs (Jack Kruschen) is missing entirely. Making matters worse, all records of what happened to the crew while on Mars have been erased. The only way to save O’Bannion and discern what the heck happened on Mars is to snap poor, semi-catatonic Iris out of her fugue state…
It’s been too long since we last visited the bizarre world of cut-rate Korean cartoons made by a Chinese guy using Japanese robots and characters and marketed toward Australian television, so let us once again steel ourselves for the bad acid trip that is a Joseph Lai produced cartoon. Lai, to bring up to speed those of you who don’t know him, was a producer most famous for taking bits and pieces of cheap Hong Kong and Taiwanese movies and splicing them together to form a new movie, usually augmented by freshly shot scenes of white people in ninja outfits. The films border on works of absurdist art masterpiece. With titles like Ninja Phantom Heroes, Ninja Demons Massacre, and Diamond Force Ninja, Lai’s films — often created in conjunction with shadowy men of mystery Godfrey Ho and Thomas Tang — did far more than make no sense at all. They attained a rarefied air of complete and utter incoherence that has remained largely out of the reach of even the most incompetent of filmmakers.
I once stayed at a place in the Smoky Mountains that was a combo motel and biker bar. The toilet in my dingy room was a hole cut in the floor of the bathroom, covered with screen door mesh and with a stucco bucket sitting on the ground beneath it. Solar Adventure is another Korean cartoon spawned by the same batch of animation commissioned by some Australian company and produced by Hong Kong cheapskate crap film mogul Joseph Lai. It certainly isn’t a motel room with a hole cut in the floor leading to a stucco bucket I was meant to use as a toilet, but it is perhaps somewhat similar to what you might expect to find as the contents of such a stucco bucket. But if Solar Adventure is largely a bucket full of piss, crap, used condoms, and cigarette butts, then it’s lucky that I have a very high tolerance for such things so long as they are not being rubbed into my hair. And while Space Thunder Kids may set the bar for incompetent glory so fabulously high that it becomes nigh unattainable, Solar Adventure is no slouch in the incompetence field.
When one possesses tastes such as I do, one often assumes that one will find oneself standing alone in a vast sea of people who think one is mad, completely mad. If the Internet has taught me one thing other than there are a lot of blogs maintained by people’s house cats, it’s that you’re never so alone as you think you are. No matter how obscure or out of the mainstream your affection for a particular something may be, chances are very good there are multiple discussion boards, tumblrs, and websites dedicated to defending and celebrating whatever that thing may be. Heck, by Internet standards furries, scat freaks, and people who like to watch monkeys stick their fingers up their butt then sniff them and fall over are mainstream. And yet even in this glorious netherworld where everything is acceptable and nothing is beyond the realm of defensibility, there are rare occasions when I still feel cold and alone in a world that regards me with a suspicious and disgusted eye. Such is the case when I offer up the opinion that Italian science fiction films are “pretty good.”
Mission Stardust is the only film to be based on the long running and voluminous series of German pulp novels featuring the science fiction hero Perry Rhodan. It is universally hated by Perry Rhodan fans for the very good reason that it is quite terrible — that is, if you’re definition of “terrible” can be stretched to encompass a film featuring amusingly smarmy, two-fisted astronaut heroes, a truly swankadelic soundtrack, some quite good looking women, pop art set design, and a climactic sequence that finds sexy nurses with machine guns doing battle with robots who shoot lasers out of their eyes. In other words, having never read any of the Perry Rhodan books, and thus being free from having to judge Mission Stardust in terms of its faithfulness to them, I found it to be flirting with perfection.
You know, some people would sit down with pen in hand and engage in multiple viewings of a great and respected movie, taking meticulous notes pertaining to various aspects of said film that would promote intellectual dialog amongst high-minded luminaries in the field of film criticism and analysis. I, on the other hand, did much the same thing with Space Thunder Kids, and by “high-minded” I mean low-brow, and by “meticulous notes” I mean drunken ranting, and by “pen” I mean bourbon. Trust me, a bottle of bourbon is all that’s going to get you through the brain-frying glory of Space Thunder Kids, a film so utterly confounding, so dazzlingly inept in every single way imaginable, that it achieves an undeniable aura of the sublime that glows so brightly it threatens to blot out the rest of existence. And if you are worried that perhaps drinking an entire bottle of bourbon during a single movie could be detrimental to your health or to your comprehension of what you are watching, I say to you, “Have no fear, for Space Thunder Kids defies comprehension, and by the end of it you will be mopping up your own brain, which will have melted and oozed out the corner of your eyes as you vomit up your own intestines Lucio Fulci style.” The bourbon only makes it hurt less.
Now if that isn’t a good review, I don’t know what is.
Kaiju films were old hat in Japan by the 1970s, but elsewhere in Asia the giant monster film industry was only just getting going. Inspired by Japanese movies like Godzilla and, even more so, television shows like Ultraman and Kamen Rider, aspiring (or canny) filmmakers (or hucksters) in Thailand, Hong Kong, and Korea decided they too would pit their cities against giant monsters and invading aliens against super-sized superheroes. South Korea was among the first kaiju copycats out of the gate with 1967’s Yongary. Because it’s Asian and features an irritating little kid in tiny shorts and a dinosaur-like giant monster, most people chalk it up as a Godzilla clone. It has far more to do, though, with that do-gooder crusading giant turtle Gamera and, in my opinion, even more to do with Western rip-offs of Godzilla and Gamera, like 1961’s Gorgo. Eh, whatever the case, a dude in a rubber suit was kicking over buildings and swatting model jets out of the matte painted sky much to the delight of all.
“This was no disciplined march; it was a stampede–a stampede gigantic and terrible–without order and without a goal, six million people unarmed and unprovisioned, driving headlong. It was the beginning of the rout of civilisation, of the massacre of mankind.” — HG Wells, The War of the Worlds
My parents were always willing to indulge my state as kind of a weird kid. One year for Christmas, they got me an LP with which I would become obsessed as a kid, and one that continues to find it’s way into my playlist. It was a bizarre amalgamation of rock opera and old time radio play, featuring the voice talent of none less than Richard Burton: Jeff Wayne’s Musical Version of The War of the Worlds. It was an impressive package for a young lad to receive, with artwork that spanned the entirety of the gatefold cover and a full-color booklet of more artwork and the story of how the record came to be. The War of the Worlds was, at the time, one of my all-time favorite books, or as all-time as you can have at the age of eight or nine. It was one of the first novels I read, along with Dracula and Frankenstein and probably something involving Encyclopedia Brown or someone. While those around me devoured the sorts of books one expects elementary school children to read, I reveled in the utter decimation of my planet, the desperation of mankind on the brink of extinction. I watched producer George Pal’s War of the Worlds film adaptation, and while I loved the movie, I was disappointed that it wasn’t the same as the book I’d grown to so adore. Similarly, I used my grass cutting money to buy a copy of the infamous Orson Welles radio broadcast of the story on cassette. Again, though, while it was great, it wasn’t my War of the Worlds — in that it wasn’t really HG Wells’ War of the Worlds.
There are three Roger Cormans. The first Corman is the director Corman. Working primarily at American International Pictures, young Corman was famous for being able to crank out competent, successful films on time and under budget with a surprising consistency. Although Corman’s name is often associated with drive-in schlock, in my opinion most of what he made was, at the worst, adequate for the intended purpose of entertaining the teenagers. And on occasion, Corman directed some genuine classics of genre cinema. His Poe films with Vincent Price, for example, are some of the best Gothic horror films you’ll find.