The Deal with GUNHED

GUNHED is pretty bad. Thus, this review of the film will be written in such a manner.


One can think of it as this: director Masato Harada is going through the news and Koichi Kawakita is talking about what is probably his greatest work: Gunhed. Harada would think, "Shut up Kawakita". Except for the production designer Fumio Ogawa, composers Toshiyuki Honda and Takayuki Baba, and special effects director Kawakita, Gunhed is probably a stain on the resumes of those who worked on it. It is an oddity of the type one rarely sees. A blunder which will make people critical of films like GODZILLA VS. MEGAGUIRUS think twice about what is an actually bad Toho film.


It seems GUNHED was to be released internationally in theatres.* We have some characters speaking fluent English, including Brenda Bakke from STAR TREK: THE NEXT GENERATION and a black guy who falls under the stereotype that the black guy gets killed first. Turns out, GUNHED was based on one of the stories turned into Toho’s GODZILLA 2 contest. It seems there were three winners. You have Shinichiro Kobayashi, whose script lead to GODZILLA VS. BIOLLANTE. Then there is Guy Tucker who was unaccredited for the creation of Miki Saegusa and would go on to have elements used in future Godzilla films (a la the intro to GODZILLA VS. DESTROYAH). Finally, there is Jim Bannon. His script was turned into GUNHED. This is what his original script was basically:

http://tohokingdom.com/cutting_room/godzilla2.htm

What we got was Gunhed, directed by Alan Smithee (I thought that the use of that pseudonym was an American tradition). Alan Smithee is actually Masato Harada… which if you keep with credits, Harada is a Japanese Academy Award nominated director who we Americans most likely know as… the main antagonist from THE LAST SAMURAI with Tom Cruise (?). Guess there has been odder stuff out there.



The story of GUNHED goes something like this: In the year 2005, a whole island was used for the building of a super computer. Being used to make robots, the system KYRON 5 (Vista model) decides that humans are unnecessary a la TERMINATOR. Instead of risking war on a global scale, they fight the computer on its own island. What better to fight off robots than with more robots. Humanity brings in GUNHEDS, which are not too unlike Gundams or as some internet bloggers have likened too, Transforming tanks. Kyron 5 fights them off with biobots, which are robots made from humans put in a green liquid, and the Aerobot, which is a gargantuan leviathan of a robot. These little Gunheds are like David against the Aerobot Goliath. Two big outreaching claws and three "eyes" which shoot out explosive lasers. Even more ballsy, the Aerobot doesn’t even care about breaking through the compound’s walls and pipes (this island’s structure is like the Dante’s inferno of robot cities) just to get to it’s target. It is a truly bad ass robot. Long story short, the Gunheds were effective enough to make ongoing fighting of Kyron 5 unnecessary. These people nipped that Judgment Day in the bud.


Back in the outside world though, computer parts become scarce enough that they are more valuable than gold. Enter our heroes. Flying aboard the Marry Ann (might make you think of COWBOY BEBOP in passing. If anything, it will make you think of Lone Star‘s ride from SPACEBALLS), you have a bunch of bandits who scavenge to sell on the black market. You have the black guy, an Asian chick who can speak English, two Japanese guys who are going to get killed just as easily as the two aforementioned members, Bebe, and our main protagonist, Brooklyn. As in Brooklyn Dodgers. He wears a Dodgers uniform under his clothes (yet his character claims he doesn’t know what it means).


The bandits fly down to the island to grave rob the Gunheds (which, at least the one Brooklyn revives latter on in the film, have a real personality to them, so it is pretty bad). Already, they are off to a bad start. Not only will exploring for severed Gunhed parts going to be difficult, but they see that there is a (Walker) Texas Ranger Helicopter smoldering in the background. Something’s up.


As the Bandits go through the 200+ levels of the compound, they find some interesting things. Such as an advanced Pepsi dispenser. They also find a surviving member of the Texas Rangers helicopter, Nin (the Star Trek chick). Together, they go looking around. The bandits find what they want, but along the way they end up wanting what Nin was sent to the island to get, a vile of Texmexium (yes, ridiculous I know). Turns out, Texmexium has taken over Nuclear capabilities as the ultimate power source (imagine if Godzilla had some of what those super computers were smoking).


It seems as if the Kyron 5 system is still alive enough though. Out of the blue, a biobot knocks Bebe into a vat of green stuff which in turn turns her into a biobot (SUPERMAN 3 anyone?) who is out for one thing: the vile of Texmexium our heroes have. With the Texmexium, Kyron 5 will be back to being fully operational and after a hopeful clean up of the island, will start to rage war on humanity. I could stop now, but there is one other thing which needs to be mentioned in this summary - on the way, Nin and Brooklyn run into two kids - Seven and Eleven. 711. A gas station reference. God.

Manga by Kia Asamia

C’mon man… there is more cheese, but you’ll have to buy the film to experience it.

The direction on the human side of things is nothing spectacular. The writing is full of cheese. The editing (as many internet bloggers have attested to) is of the caliber that should have been bestowed onto Tommy Wiseau’s THE ROOM. Yet the SFX, the production design, and the score help. The film has a definite feel to it. Atmosphere of the type is something not easy to achieve (the opening sequence is really good at this). There is a feeling that you are watching a live action anime (not to make someone think of the craptacular G-SAVIOR). That helps. In fact, it might answer for some of the film’s oddities (such as Seven’s random mannerisms).


The important question is how could things like this get so messed up? Like said, the script was cannibalized into something else. What elements were added to the film? Midnight Eye interviewed director Harada and an interesting bit of information came up: "At one point, I wanted to do a sort of remake of SAHARA with Humphrey Bogart, and that kind of story was incorporated into the Gunhed story." Those who want to make comparisons can read what this page has http://en.wikipedia.org/wiki/Sahara_(1943_film)


On top of that, Harada seemed to have already known that Japanese post-production services sucked (At the time). In fact, Harada did some interesting stuff with this information, using it to involve an American company. "So I need the Lucasfilm people to work on the Gunhed sound effects. They agreed with that, so we went to the Skywalker Ranch, near San Francisco, and I had really nice discussions with the staff there. I had already designed all the different sound effects, like one hundred different tones, 10 different sounds for Gunhed alone." Then Toho comes into the picture. "…Toho, when we talked about the budgeting, just cut the post-production part. So although that was a basic condition between me and the producers, they just totally ignored it. And then I had to compromise with the sound people in Japan. So certain things I was promised didn't show up…"


But of course, the editing is something which we have to come back to. It’s been an American tradition that the director sits with the editor to edit the film together. Isn’t that the way it is in Japan? If not, it damn well should be, because director Harada seems to have a good head on his shoulders, he was just fucked with a good bit. Editing for GUNHED was done by Yoshitami Kuroiwa (probably doesn’t help to note that the first name has the word "shit" in it). GUNHED is plagued with bad editing. That is something which is not debatable. What is debatable though is weather this was the work of a bad editor or if it was an age thing. For my money, it is the latter. Looking up resumes, Kuroiwa - as it turns out - was a major editor. THE RETURN OF GODZILLA and BYE BYE JUPITER are little in comparison to titles like SWOD OF DOOM and KILL (both of which got Criterion releases). GUNHED was made the 55th year of Yoshitami’s being in the industry. He made his bones early on in the late 50’s and all through the 60’s. Either age was getting to him or Toho’s system changed or he didn’t have director Harada sit down with him. Point being, this is not the work of a bad editor.


On the thespian side of things, only one thing can be said: If acting was a priority in this film, then it would only be a priority to two people - Masahiro Takashima and Brenda Bakke/ Masahiro Takashima does a straight foreword job with his role. It is totally believable and isn't as bad as his Japanese or Asian co-starts. Brenda Bakke is an interesting actress though. She plays it all cool, calm, and collective. The fact she does it as much as she does makes it seem as if she is over-doing it. It works in some cases, but not all cases.

Now we can start talking about the good things with this film. Upfront is the soundtrack. Though called repetitive and such, it has a distinct Japanese feel to it. Synth heavy, the work by Toshiyuki Honda and Takayuki Baba gets certain moods out which help compliment the film quite well. Such as the main theme (the video above). It mixes the obligatory techno-feel that the soundtrack should have (due to what the film is about), but other beats in the piece help give the film the general feeling of a technological jungle (which Island 8J0 is).

The production design is the best aspect of the film. For $10 million, Fumio Ogawa really pulls it off. Except for some shots durring the main battle, the matting is great. Especially when paintings are used (hence why they are great in comparison to the aforementioned battle shots - paintings don’t move). Another simplistic effect are the wire frames. Considering this came out the same year as GODZILLA VS. BIOLANTE (which used wire frames for some of the pre-battle sequences), GUNHED blows the kaiju film away. Of course, they would be CG enhanced with Kawakita’s Japanese Academy Award winning GODZILLA VS. KING GHIDORAH, but this is really a great exhibition of such a technique. There is even use of CG in the film which, considering the Godzilla series’ progression under Kawakita, was a surprise. A floating mine attracted to human voices featured in the film are rendered in CG are good looking. Why the wait till GODZILLA VS. DESTORYAH for some proper use of CG (this is not including things which can be interpreted as computer simulations a la some shots of SPACEGODZILLA and MECHAGODZILLA) via helicopters? Heck, if the CG used here was of the same quality as the alternate version of Mothra’s wing unfolding, I’ say Kawakita should have kept the shot. Not to mention that the Godzilla films had bigger budgets than this film.

Of course, Kawakita isn’t known for his matting shots and his wire frames. He is known for his in camera work. There is no suits, but rather models. But what models. The large canvas the matte paintings serve to illustrate the island with is replicated with models quite nicely. Of course, it is a no-brainer that the most famous aspect of the film - the 1:1 scale models of the Gunhed and Aerobot (made of fiberglass) - help a lot. Of course, these seem to be used only in close up shots (this is not a Ridley Scott film) and there are models (much smaller I’d assume) which do most of the job. But, when it comes to "most of the job" the models here succeed. Maybe because these mechanical monsters are much closer to the size of a human than Godzilla is or that these mechanical structures are more reality-based, but the effects like the Gunhed’s triple-barreled Gatling gun’s effect is one which the viewer would thin "I bed it’ll resemble the effect tanks have on Godzilla, tanks shooting flares". While it is the case, it is much improved thanks to the scale. Of course, of note is the intro to the film, which combines all of the above along with a nice clouds ‘n thunder shot. This really was Kawakita’s masterpiece. If one was to see this via the R2 DVD, one could argue that this should have been the film Kawakita was to have gotten a Japanese Academy Award for. It should also be noted that this film is a favorite of James Cameron. Any Terminator comparisons are warranted, but take note that the AMP suits in Avatar look a good bit like Gunheds.


In the end, GUNHED is just Toho’s equivalent of a Michael Bay film. Great visuals, crappy execution of the story. At least GUNHED has a cool story which deserves to be revisited (especially in this post-Matrix world). As for why the story is executed so poorly, it is all in the post production. It seems Toho just did not give a damn. Maybe because of changes within the entertainment industry at the time, things were being changed around and GUNHED was a victim of it. Maybe Toho is just poor that way. To note, turns out Kadokawa (who would buy out Daiei a decade plus some later) co-produced the film. Could this be a reason why a GODZILLA VS. GAMERA would not happen (speaking on a business level)? With Toho’s crooked way of doing things, I wouldn’t doubt it. I’m just happy that the score, along with some aspects of the film at least make the film undeniably Japanese (making it seem as if we follow one specific Gunhed the whole film through, and that Gunhed seems to have a kami, along with a very Japanese-felt soundtrack).


*Why I say that GUNHED was aimed for international distribution and that such things as the inclusion of an American actress is not something that was a limitation of the script - Toho could have changed that.

Links:
http://www.toho-a-park.com/event/index.html
http://www.youtube.com/user/Gunhed2039 http://www.midnighteye.com/interviews/masato_harada.shtml

Review: Mill Creek G3 Blu-Ray

Here we go again. Evan Brehany talking about Gamera 3.

Thanks to a series of fortunate events, I was able to own the blu-ray release of GAMERA 3: INCOMPLETE STRUGGLE which was released by Mill Creek. The Heisei Gamera trilogy has been a lucky one, looking back on it. All three films are great works for the genre, in particular the third one which is something of a milestone in Japanese cinema. More importantly, the films have been lucky here. Each and every release of the films here in America (on a digital format) has been a great product. Anamorphic widescreen (most of the time), fair picture quality, a wealth of special features which are from Japan (Save some embarrassing material ADV produced), all in subtitles.

Does Gamera’s luck continue into the blu-ray age?

Of course it does. Thanks to the insane cheapness of the blu-ray for GAMERA 3 and the double feature blu-ray of the previous installments, these films are not only among the first kaiju films to be released on blu-ray here in America but are also very accessible to even the most scrooge-esque of collectors. Because of such popularity, this particular product has been noted for it’s three hours worth of material to the trilogy as a whole. Such a package seemed out of the scope of my imagination. Mill Creek Entertainment has been known to bootleg crappy pan and scan prints of the Showa Gamera films for years now (though it seems it is only GAMMERA THE INVINCIBLE is being done now in a multi-pack). This was definitely something out of left field. Almost as big of a turn around as what Classic Meidia showed back in 2007.

But how does the package handle itself overall?

VIDEO: 4.5/5

I cannot comment on the quality of the high definition transfer. I can only hope it is beautiful. The best special effects the kaiju genre has to show for and I am stuck watching it in 480p due to not owning composite chords or a HDMI chord. I can however speak about different aspects of the picture though.

In comparison to a copy that I own (sourced from the next to last printing of the R2 DVDs), I can say that the new transfer is better in terms of color. The colors are not as vibrant as what my DVD has, but in return that has something I haven’t noticed before - the amount of bleeding in the picture. It’s not a big difference, but it is noticeable. The bleeding might not even be bad, for it creates a more atmospheric appearance (like how one might like to watch films on VHS). For those who see bleeding as a problem with past releases though, you’ll like this transfer.

AUDIO/SUBTITLES: 4/5

You are going to have to refer to other reviews for more specific and technical based analysis on the disc’s audio. You got two Japanese tracks and an atrocious dub track (I have never seen GAMERA 3 dubbed and I do not plan on it).I will say that even though I am using regular A/V chords to connect my player to my tv, there are some elements which I could hear better than what I could otherwise.

What should be mentioned here though is the subtitle tracks. No, I am not going to complain about them too much. Either they are too big or they are late. I’d personally have the latter. I can piece together what subtitles go with what section of the video. I will complain about the fact that this is a new subtitle track. I am complaining about it because some of the old mistakes the translation on the ADV DVD release had are made.

For example, when Nagamine finds out that Ayana has a magatama, we go over to the scene of a phone call in which one whole line for Asagi is, “Magatama”. On the ADV DVD, that is translated not as the proper noun it is “A curved black jewel” (a magatama is a magatama, to say “curved black jewel” is like replacing a proper noun with descriptive adjectives). It is worse on this commentary track in which the line is translated as, “You found one?”

There is also noun misusage when Ayana tries to prove herself to the female bullies at school by going in and trying to lift the rock out of the cave. Ayana asks what is in the cave only to be told “…a monster or something” (line is basically the same on both releases). The antagonist chick does not say monster, rather yokai. Yokai like gappa or one of those things from Daiei’s Yokai series (Great Yokai War anyone?) It seems Japanese terms are being ignored. That’s part of the charm of the Gamera trilogy, they are more Japanese than their Heisei Godzilla counterparts.

One improvement was better though. After Gamera’s attack on Shibuya, you have Ayana’s little brother calling her to come see what is on the television. On the ADV DVD, the subtitles translate what he is saying (which sounds like “ohniynjah”, clearly not “Ayana”) as “Ayana”. On the new translation, it is read as “Come quick!”. Easier to believe.

SPECIAL FEATURES: 5/5

For you Gamera die hards and fans out there, this is the reason to get this one disc. In fact, because of this reason, every fan in every country - including Japan - should own this Blu-Ray. The answer is simple - the three hours of material on this disc is material sourced from the Japanese laserdisc box sets for all three films. That is a big deal.

The fact of the matter is this - three main companies handled the video releases of material pertaining to the Gamera trilogy. You had Amuse Video, Daiei Video, and Kadokawa Video. The model was like this: never copy something from one medium to another. If something was released on VHS, do not put it on laserdisc or DVD. If something was put on laserdisc, do not put it on DVD or VHS. Even in Japan, if something was put on DVD, VHS, or Laserdisc, it did not go onto the blu-ray. The Japanese blu-ray for the Gamera trilogy only had one special feature - a three part feature (just a whole bunch of interviews edited together and split into three parts). Unless you had a laserdisc player or bought materials from an illegal source, there was no looking at the special features in the laserdisc box sets.

Until now. Even more interesting, Mill Creek Entertainment has gone the extra mile to even subtitle the material for us. Not everything from the blu-rays are on here now. For example, the laserdisc box set for GAMERA 3 did contain the music video for “Tell Me Once Again”.

Rightfully so, most of the material on the blu-ray belongs to GAMERA 3. It starts off with a Gamera test which shows off the terrible sliding the back shell platelets were prone to. After this and the material for the first two films are over with, there is the “REVENGE OF IRYS REMIX”. To those who do not own the G3 LD Box set, this feature was actually supplemented with a book. The remix is basically the sound mix/track (sound effects, dialogue, ect.) for areas of the film that used SFX and instead of the scenes playing out like they do in the film, they are made up of corresponding B-ROLL footage. For example, with the atmospheric battle between Gamera and Irys, Gamera ramming himself into Irys would be shown via two guys holding shoulder and head props of the kaiju with the following attack changing to in-progress CG work. You see what computer programs and such the production team used. You can edit in each of these bits into their corresponding places within the film and you wouldn’t go out of the 108 minute running time (and if you do, it is just by a little). It is quite a unique feature.

There is also G3 trailers, which unlike the ADV DVD do not come subtitles (for the record, for those who didn’t get it, the vertical line of text at the beginning of some of the trailers is the same text that goes up the beam of light Irys is producing on the poster. It says “I will never forgive Gamera”, which is quite more hefty than “Godzilla dies”).They are not as plentiful as the ADV DVD either.

The best piece is the deleted scenes. Sure, the subtitles are out of sync for this, but at least they do not take up the entire screen. While some say the deleted scenes help answer things about the film, they actually (for me) form more questions than answers. While I can see why they would be cut out, the deleted scenes with Asakura Mito and Kurata Shinya should have been kept. Would have helped with the mythology. Such as further allusions to the I, CHING, the questioning of Nagamine’s theory that the Gyaos truly were biologically engineered, and such would have been so grand.

GAMERA: GUARDIAN OF THE UNIVERSE gets the short end of the stick here, with just a short little tidbit. But what a tidbit! Talking about specific equipment the crew has to use and specific camera lenses and such really are great for those wanting to learn about the technical making of a kaiju film. Adds to a dictionary such as “oh, that prop is a kapock figure” or “those guys helping out the suit actor are Gamera kakari”.

GAMERA 2 has basically just a bunch of b-roll. With the material being sourced from a laserdisc, it should come as no surprise that there would be problems. The images on screen are too dark for a section. But, it is not all that bad. The making of the Legion suit, the b-roll with certain scenes and such really is interesting. Just too bad that some of the more important things, like the quick usage of motion capture in GAMERA 2 wasn’t in with the clips.

That being said, this is great when it comes to the actual making of the films. Yes, as it has been said, those who are completists should definitely keep their ADV DVDs. No doubt about it. But, both products together gives one quite the comprehensive insight. Again, if there has to be one reason to pick up this disc, this is the reason. With the Japanese laserdiscs going for over $75 (the GAMERA 3 laserdisc rising towards a $200 price ticket), it is wise to buy this blu-ray. This goes for fans in every country. Germany, China, Mexico, Iraq. If you are a kaiju fan who cares about seeing making ofs and such, you should get this rather cheap disc.

OVERALL:

Originally, I was going to hold out for the Japanese blu-ray box set. Thanks to finding an unused gift card under the oven, I was able to buy this blu-ray from Walmart. To have thought I would have waited for such is inconceivable. The film is presented nicely, and probably greatly if I had a HDMI chord or composite cables. The extras are the selling factor of the release and are a must. Only bad thing to say it is with neither release the subtitles for the special features are perfect. Chances are, if you are as well informed as me in your research, you have been bits of the special features on youtube (They were uploaded on there before the blu-ray was release, sans subtitles), but the G2 material is new to me. And it is subtitled. It’s great!

4/5

Review: AKIRA

This is my AKIRA review for Tohokingdom.com. It seems that the reviews were ultimately not taken down, but in advent that the main site might go down due to unforeseen events, I want to go ahead and make a back up here. If I had anything to say about this piece, I have to say that it is one of my favorites. Along with trying to think of interesting ways to describe the film and be through with my review, I also (like the ONMYOJI review) drew inspiration from the late Guy Tucker. Particularly with his review for Matango, his inclusion of production notes and anecdotes was truly inspirational. Now, if I have any regrets of the sort about this piece, it might be the comparisons with the score description. I'm on the fence on weather or not I was over doing it, but it is one of my favorites.

Enjoy!

By Evan Brehany, 4/5 Stars

Before anime became a national obsession for outcast teens, before most high schools had the now regular anime clubs, and before Toonami or Adult Swim or any of that, anime was next to unheard of. Only remnants of series like Gatchaman and Gigantor (aka Tetsujin 28) kept the memory alive. Instead of having something like Dragon Ball Z or Pokémon come into the general public’s mind when talking anime, there was one film which made the stylistic medium big and noticeable. This was it. With production processes that were unorthodox in Japan and with style and substance unorthodox to Americans, Akira shook the ground and garnered critical acclaim, while accumulating the first anime fans (who would screen VHS copies of the film at their local colleges).

Akira details the troubled mind of Tetsuo, who’s life gets turned upside down as he becomes the fifth person (that we see on screen) to develop telekinetic powers in the world. Tetsuo, who has an inferiority complex, is part of a biker gang run by Kaneda - a childhood friend who keeps putting him down. The biker gang, along with a rival clown gang, government rebels, and the general public live in Neo-Tokyo, a man-made island which takes up most of Tokyo Bay. Neo-Tokyo was born out of the destruction of Tokyo, which not only brought upon another world war but also public awareness of one of the original four individuals who had telekinetic power, Akira. Tetsuo struggles with his maturing powers along with a vengeance against a society that had always put him down as Kaneda, along with some rebel militants, try to save him. Meanwhile, discord in the government is afoot as corrupt politicians - prepping up for the 30th Olympics to take place in their city - try to cut off the military’s operation on containing individuals with ESP abilities.

Knowing full well that this is an adaptation of a notoriously large (2,000+ pages) work by Katsuhiro Otomo, things would be cut when written into a single film‘s screenplay. Hence, it is easier to talk about the film’s shortcomings rather it’s exceptional feats. There are many themes handled in Akira, but some that are surely underdeveloped would be the political side story. Obviously, we can see that the politicians are meant to be lampoons of their real life counterparts, but the theme is clearly underplayed. You do not feel anything one way or the other when one of the politicians (trying to escape Neo-Tokyo with millions in bonds and a mouth full of blood pressure medication) dies in the street. There could have been more substance with this aspect of the story. We are given Neo-Tokyo as a reflection of the Tiger Country-Era of Japan, but little is successfully accomplished.

The other aspects are handled well. Tetsuo’s inferiority is detailed in the cause and effect, though it is not terribly cerebral when it comes to getting into the mind of the character. It is a more original way to carry out what could be interpreted (in part) as a revenge film (and even larger, a film about an individual with ESP, more on that subject next paragraph). It should be said though that Tetsuo’s revenge against his oppressor and wanting to break free had indeed put him in the wrong, after all, great power comes with great responsibility. If you abuse it, you lose (i.e. too bad you had an inferiority complex, you've got a bigger job to do). The use of power is also used in a way akin to the Christian concept of sin - abuse it and it controls you instead of you controlling it.

Another theme the story tackles is the use of ESP, something executed differently than the norm. The take on ESP in general is different than what an American (or maybe a Japanese viewer) could expect. Not only is it more violent and graphic, but it also shows the effect it could have on human life - from aspects such as friendship to whole social orders in metropolises. Additionally, many critics have pointed out more undertones of the film though, such as the fact that Tetsuo developing his telekinetic abilities could be seen as an allegory for teens and their experiences going through puberty.

When it comes to anime though, one aspect of a film gets easy to review since directing, cinematography, set design, and other such areas tend to roll into one. That is the animation itself. Akira was, at the time, a groundbreaking production having involved animation techniques like pre-scoring the audio. Though expensive, it allowed for lip synchronization. Along with certain lighting techniques executed during the Asahi Production's transitioning of the art into film cells, this production has a lot more night scene than a normal anime of the time, and shows a lot of detail without having to go for the usual bluish colors normally used to signify night with definition.

Additionally, with the pre-scoring technique, the images of anime characters are no longer as stagnant as they once were. The lip movements are based on acting done before lip moments are animated, giving a new layer of reality to the already detailed and layered artwork which exhibits artistry and detail more common of the most experienced engineers. And to say layered, it means that multiple sheets of plastic containing images are placed over the other - giving a faux three dimensional look to the film. One of the great things about the animation is that it works for both the non-anime and anime cottoning peoples - the female characters are not overtly cutesy, the good guys and the bad guys are not overly obvious via the size of their eyes, and other such stereotypes for anime are avoided.

With the presence of pre-scoring, the portrayal of the characters by the actors and actresses are important here. The film is filled with voice stars to be, including Mitsuo Iwata as Kaneda (who tokusatsu/Henshin fans may know from the Japanese version of Power Rangers Samurai,Samurai Sentai Shinkenger and part of anime series such as One Piece), Nozomu Sasaki giving voice to Tetsuo (Sasaki would go on to voice the lead in Yu Yu Hakusho), Col. Shikishima being acted by Taro Ishida (famed Kingdom Hearts actor and part of Juken Sentai Gekiranger), and the good doctor Onishi voiced by Mizuho Suzuke (who has done the dubbing on such films as the original Star Wars Trilogy as Darth Vader and The Godfather as Vito Corleone). Akira is limited in regards to female characters that matter, but in that corner we have Mami Koyama (ofGiaking fame) voicing Kei and Tetsuo’s girlfriend Kaori being voiced by Yuriko Fuchizaki (Kiki's Delivery Service).

It is tough to grade voice work in that you pay much more attention to the vocal tones and amount of flamboyance in the vocal performance, unlike a traditional film performance in which body languages plays a good part of the overall act. It is easy to compare the original Japanese language audio compared to the 2001 Pioneer-commissioned dub track. The Japanese actors make the film seem more "real" - less stereotypic sounding than the American dub track (common of other anime dubs, as well). No over-exaggerated diction to over-clearly show "what's happening" between characters in the Japanese vocal track. That is the problem with American dubs to an extent - they are stereotypic to the situation. The Japanese acting is more soulful and really does the film justice as a whole, except for the "Discipline" scene in the beginning of the film (which the dubbing adds to a good bit).

The music is what gives the film it’s most (at-first) alienating quality. The music isn’t anything less than extraordinary. It is somewhat of a benchmark, as Akira Ifukube was not only brave enough to use ostinato but produce a more Western score than what was the norm at the time with Godzilla, or Nobuo Uematsu taking a song he had already written, making the sound more operatic with larger orchestration, and infusing a metal edge to it for Final Fantasy VII: Advent Children. For Akira’s score, a musical group known as the Geinoh Yamashirogumi (lead by Tsutomu Ohashi) was given a demanding task for the score. Two things were demanded of their skill - for the score to sound futuristic while holding to a sensibility relatable to the (then) modern sensibilities, coupled with the request that the score be conducted before the film was even finished, much less without whole scenes being ready.

Variety is what makes this score a positive listening experience. With that edge, the score not only pushes away from the usual (and possibly all-too predictable) scores of cinema but also gives us something new to listen to (which is why the music may alienate first time watchers). Ohashi utilizes both organic and inorganic sounds for the soundtrack, with it’s futuristic sound coming from a source that is timeless - a 16-beat pattern which is said to be in the human DNA. The instruments made to comply with this musical framework are what seems to be somewhere around five hundred voices, the Indonesian Angklung (a bamboo instrument), the gamelan (which is played to the pelog and slendro musical scales which go along with a 16 rhythm), and more. In addition to the sound module method and the chanting of character names, the music captivates the viewer and of itself should be a reason to re-watch the film. When you listen to the soundtrack by itself, you find out that the piece entitled "Requiem" is actually played at the beginning and at the end. Its versatility makes it so that at the beginning it is what energizes the viewer into the film with a build up of momentum and when the more choral parts come into play at the end, it all comes together to make your viewing soar.

Akira is a film that went against the grain in terms of substance, style, and execution, and while it may not be as great in terms of story telling as it’s manga counterpart, the style and execution is something to still be marveled at. It was a ground breaker in Japan and what saved the anime fandom in the US. There are valid reasons why AKIRA was on Empire’s "100 Best Films Of World Cinema " list. Just keep an eye out for who else may be watching with you, the film does have mutation scenes more gruesome than John Carpenter’s The Thing, brief nudity, and animal death (two German shepherds).

Review: SHINOBI: HEART UNDER BLADE (2005)

This is something which shouldn’t surprise a lot of people - kaiju films (of either the scientific or fantasy genres) are not the main tokusatsu films anymore. Tokusatsu means special photography. So, of course, anything with special effects or visual effects can be considered tokusatsu (though now, it does have to come from the Land of the Rising Sun). Thus comes films like SHINOBI: HEART UNDER BLADE. The film’s SFX were such that Shochiku had a demonstration of the making of the SFX at the TFT Tokyo Fashion Town building (West Wing), done by Kazuhiko Mino (who IMDb doesn’t have an adequate page on).

It is also interesting that the type of film SHINOBI is has a good bit of appeal from many different cults. Not just Japanese cinema otakus, but also from anime fans (who can count the film as a sort of non-official adaptation of BASILISK) and a breed of fan quite their own, modern chanbara fans (people who would actually pair this film with Kitamura’s AZUMI, which I thought was interesting to say the least). What should we make of SHINOBI?

For those unfamiliar with the story of BASILISK, SHINOBI concerns the Kouga and Iga ninja clans (who you might have seen play very small roles in films like MAKAI TENSHO). Knowing that these two clans have skills which make them dangerous to “normal” society, Tokugawa Ieyasu and his advisors plan on wiping out both clans by having them fight each other (meaning having to break a bond the clans made with the Hatori Hanzo family). If this doesn't succeed, then the plan is to cannon ball both clans in an act of gross genocide. It is masked as a competition to decide the successor to Ieyasu Tokugawa. This isn’t too good of a thing, for there is somewhat of a Romeo & Juliette affair afloat - a young man from Kouga and a young woman from Iga love each other. But fate has it be that they are in charge of their clan’s representative groups.

Oh the drama.

Seeing that this film is admired on three fronts, let’s grade it from those first. Most importantly is the CGI. Using Maya and even creating new functions within it (Mesh Aniport), the result that Japan comes up with still look different than American, Korean (Younggu-Art), or German (Centropolis) CGI works. The look is just different. This concerns things like creating whole environments like the Kouga clan’s village's mountain side and crevasse which is set upon. Is it necessarily good? Well, if we were talking about the end result having to look realistic, Japan has only a bit more to catch up upon . The Japanese are getting better. One problem with films like GAMERA 3: INCOMPLETE STRUGGLE (which helped pioneer CG usage in Japan), matching a CG model to it’s analogue doppelganger, was a challenge. It is less of a challenge now, and unless you see making of documentaries which show off pre-visualization and in-progress shots, you wouldn’t know that the character Tak Sakaguchi (VERSUS) plays is for a good bit of time CG (knowing what the actor has been willing to go through (chipping of teeth), I would think he’d be alright with crane work). Knowing that this was a 2005 film, I can just imagine what Japanese CG looks like now (I have yet to see the latest film adaptation of BATTLESHIP: YAMATO).

From an action point, it can be considered one which trades dynamic direction for more interesting weapons. To continue a comparison with Kitamura’s AZUMI, Kitamura is a more dynamic director of action than Ten Shimoyama (maybe because this was Shimoyama’s fifth feature). The variety of angles, camera movements, and the flow created from such is something Kitamura should be commended for. SHINOBI should be commended for being more imaginative with what actually happens than how it is depicted (though the film does get more stylized as you go on, to match up with the abilities of the Shinobi). A variety of weapons from all over the place (not just Japan) are used (this is given detail in a behind the scenes tidbit on the DVD), even to the point that it compliments a character played by Kippei Shiina (who, in this films, shows that he could be a live action Sephiroth if a live action FINAL FANTASY VII film was to be optioned). Only thing to be criticized is that some of the chosen five die to quickly in the movie in too quick a fashion.

As for being an adaptation of the manga/anime… I have no earthly idea. Nor would I think most in America’s anime clubs would know either. Knowing that it is officially an adaptation of THE KOUGA NINJA SCROLLS by Futaro Yamada, I cannot speak of that either.

Speaking from regular film criticism, Ten Shimoyama does a good job with the film when it comes to everything having an elemental feel. Safe except from a questionable is-it-or-is-it-not-a-green-screen-shot, the feeling of nature is in the film almost as if Haruhi Kadokawa directed this. Of course, modern influence is helping the feel along with color filters (brown for the Kouga’s mountainous village and an aquatic blue for the Iga’s river-side village). That isn't to mean that the usage of such isn't as bad as it is here in America, where as natural colors cannot come out due to the filters. The characters that end of mattering the most are given the best shots while the other shinobi are introduced with their name on screen and everything (similar to Hugo Stiglitz's part in INGLOURIOUS BASTERDS).

If anything should be criticized, it should be the writing. Even though there is a likely chance that SHINOBI was written in a way that it wouldn't be over 2 hours long, SHINOBI is a film which I would have wished they went all the way into a 2.5 hour film and I think it would have still succeeded in the success it has had. As mentioned, some characters die too quickly and the way which they are killed is just as swift. The only characters who are given development are the ones who can make it passed the 1 hour mark. The rest are dead meat. This is sad for some of the Shinobi on both sides sound like they could have some pretty interesting story arcs. Instead, one might think that they are used only to convey one ideal in a conformist fashion that our main two characters (Gennosuke and Oboro) do not seem to think it is right: since Shinobi are raised to do battle, that is what they must do otherwise, there is nothing. Take the characters either way you must, either undeveloped or used to flesh out a certain philosophy.

What we have when it comes to the film is a basic study of shinobi in the world. What is their place, and how will the outside world tolerate them? Forget that a bunch of the characters within the two ninja clans are having philosophical troubles about weather or not they should fight. There is a much bigger picture. It is a VILLAGE OF THE DAMNED type situation we have. It is like that in which there is a breed of humans who have skills above that of the rest of the human population. Natural selection or artificial selection will occur one way or another. The chances of co-existence aren't existent. So, artificial selection seems to be the choice the lesser-skilled majority choose. Meaning, they choose to kill off the Shinobi.

What does the film do with this?

Just shows that regardless of the Shinobi being human also, the majority will still execute the genocide. That of course is brought to an end when the Shinobi seem to symbolically give up practicing their art (Oboro destroys her eyes at the end of the film). More could have been done with this theme, but to complain about it further would serve to only show off philosophical skills and such, which is not the point here.

The actors in the film are of a good quality. Jo Odagiri (who seems to have been under some fire from the Henshin otaku recently) plays Gennosuke. The multiple award winning actor has won Japanese Academy Awards for work he has done such as Bijomaru in AZUMI (the character Tohokingdom bashed for being too feminine (which I thought was actually a good thing)) comes back and does a more "manly" job this time around. He actually does as good of a job to let the audience know (when watching the film subtitled and in Japanese like it should be viewed) that what seems like over acting in the English language isn't when you can speak Japanese.

Yuki Nakama, gravure model and a person that the readers of this blog will probably remember as being adult Iris' first victim before getting her boyfriend in GAMERA 3: INCOMPLETE STRUGGLE. The use of models and such in films is something even America does (take a look at Michael Bay's work). The comparison though is one which makes perfectly clear that either the Japanese are just naturally better at the theatrical arts or their directors are a lot better. Nakama, along with Odagiri, shows full emotions and is a character that I felt some remorse for by the end of the film. She does a good job, but not as good as the rest of her cast, which except for one other person doesn't add up to much.

That person would be Kippei Shiina. The person referred to as a male Sephiroth earlier plays maybe the most interesting character of all - a nearly immortal Shinobi. Having foreign weapons and the insight of an old person, he actually ends up telling Odagiri's character certain aspects of the Shinobi's place in history. He even has a poetic death. Shiina is an award winning actor, but to think that he has not won an Academy Japanese award and Odagiri has is truly something to ponder about. He knows how to play wise. Just too bad we don't see more of this character.

All in all, SHINOBI is a film which if given a longer running time would have been a better film via more development and maybe more meaning. But for what it is, it is an enjoyable film which entertains and is distinctly Japanese in flavor and will please many the Nippon eiga otaku. Action is good, the basic study of the shinobi's place in the world is interesting, but it is just too much of a studio film to reach the horizons that it could have broadened itself to.

State of the Blog 2012

It is 2012, thus it is called for to type up a sort of "state of the union" address to you, the patrons of this blog. 2011 was not a very good year, and this is not on the basis that the news feed was bad for the year. The amount of news being miniscule and less than that of 2010 was to be expected. What is bad though is that I have learned that as you get older, real life crashes down and burdens come up, only to show that you not only have priorities, but such priorities are going to tire you out more often than what you are used to. I used to pump out material, but not anymore.

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Of the misfortunes which have plagued me the last year (and those who know where to look know of what I speak), the most important to talk about would be the fate of my laptop. My HP Pavilion laptop (which I have had since summer 2008) is finally breaking down. Basically, my computer is literally dieing of old age. Long hours of use year around has taken it’s toll and the future of it isn’t clear. What is clear is that to fix whatever problem I seem to be experiencing, it usually calls for long periods of waiting followed by longer periods of restarting the poor laptop over and over again. It seems to be a weekly cycle.

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If I am on the net, I will hopefully get stuff done. I told a person, who I was forwarded to on good terms, that I would help promote a certain documentary which will excite kaiju fans who can speak English while also rekindling friendships which I feel bad for abandoning. More writing will be done, and hopefully better writing, even if I have to start doing it in longhand and wait to type it up digitally. The DAM DVD review was meant to be edited but due to certain problems it hasn’t been possible. By the time this is posted, it will have been edited. Writing will continue again, though to tell the truth, doing writing on Japanese films is hard without a reliable computer source (just the way things are).

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If there is anything which anyone wants, feel free to post a comment at the bottom. Remember, I have to approve all comments thus if you do not see it appear immediately, do not panic, it’s all cool. I just want to leave on this note: hope that a piece of SPACE MONSTER GUILALA I have been working on for some time will eventually get completed (anyone who can translated Japanese and would like to team up on this please contact me).

Review: ONMYOJI (2001)

"After much consideration, it has been decided upon to remove "submission" movie reviews from the site. This reasoning for this was several fold, although chief among them was that it became hard to edit them and still try to maintain the original sentiments of the author and also that the scale for "submission" reviews seemed to be different from the one that the staff used, as they primarily hanged at the 4/5 star level for the majority. So to get a better sense of the films, we have decided to abandon such reviews and will be moving to a all staff review system for films shortly. We do thank everyone who submitted reviews though through out the years. Miles Imhoff, who was hired due to his reviews meeting a certain criteria, found this idea particularly hard to get behind, but ultimately I felt it was for the best of the site. A few other things will change in the coming days as a result of this as well."

-Anthony Romero

Because of this, I am posting this review on this blog. This review was edited by Vega - who did so in a way in which there was no need to do a second pass. It was a most easy process. He got it right away.

Onmyoji is perhaps one of the more well known Toho films out there, appearing often on the ShoTime channels in America. Opinions on Onmyoji vary; however, it is one of the better films Toho has in their fantasy genre, more specifically the genre of New Jidai Geki (New Period Piece film). Along with Legend of the Eight Samurai, this is one of the genre's better films in the areas of acting, pacing, and plot. Though the special effects are passable, the musical score is great.

The story of Onmyoji spans over 150 years worth of history, with the meat taking place in the Heian era of Japan’s history. During this time, humans are depicted as living together with fantastical creatures. Some were Yokai, but the majority were oni, creatures often interpreted as demons. To rid human existence of oni were the Onmyoji, civil servants that worked for the central government. Not only were they tasked with exorcising the oni, but they also predicted future events using tools like the lo pan and the I, Ching (The Book of Changes). They predicted coming occurrences by observing the affairs of men and also observing changes in the cosmos.
In the year 794 AD, the Onmyoji claimed that the guardian of the city of Heian was about to appear, essentially portending ill fortune. One hundred and fifty years earlier, the authorities assassinated Prince Sawara under false accusations. His vengeful spirit could not be calmed until a mound was built, Shogun’s Mound. To make sure the mound was never destroyed, a certain woman, Lady Anoe, was made immortal and appointed guardian of the site.

Back in the "present", unrest builds within the central government. The instability caused by the result of the Mikado's romantic entanglements tips the balance of power, and the head of the Onmyoji, Doson, decides to help Fujiwara no Motokata, the Minister of the Right in the Mikado’s court, who was affected by the shift. His grand design is to create a sense of turmoil to further his brewing scheme of conquest, and resurrecting Prince Sawara is the key to his plan. The one in charge of bringing order out of all this chaos is Minamoto No Tadamasa, a samurai for the court. He teams up with an Onmyoji who, from an hierarchical standpoint, is under Doson. Nevertheless, this Onmyoji proves to be more skilled and powerful. His name is Abe No Seimei...
The direction of the film by Yujiro Takita pursues no other course than that of drama. Each scene is brought to life in a way that utilizes a dramatic cue in the right place at the right time. There is tension developed between the two protagonists Seimei and Hiromasa, and there is tension between the court officials; that is what a story of this nature thrives on, and Takita makes sure that we see the emotions that are racing through this intricately woven tale. There are also visual shots that are incorporated in such a way as to portray the traditionally perceived beauty of the of Heian era of Japan. This is not to say that Takita is one of the best directors around. Admittedly, none of these shots hold any metaphoric value. The tale is told with simplicity through and through. However, the cinematography is keen, with sets detailed to an exquisite degree.

The most interesting part of the film is how it interprets women (the underplayed sex of Japan’s culture from that era) as the movers and shakers of events. The film makes the point that women should not be purely used for political and/or personal gain. Lady Anoe was, and still is, in love with Prince Sawara. It is the presence of the Mikado’s new baby that causes turmoil within the court. His old mistress, Sukehime, is pressured for not being "good enough" or "beautiful" enough to keep the Mikado’s fancy, and yet she is still used... transformed into a Namanari in an attempt to kill the Mikado. There is no fury quite like a woman’s scorn, but it is even more dangerous when one is able to manipulate that age old chestnut for personal gain.

When it comes to acting, we are clearly treated with better-than-average fair. The two stars are Mansai Nomura, playing Seimei, and Hiroyuki Sanada as Doson. Nomura is one of Japan’s most formidable Kyogen actors who also was fortunate enough to work with the legendary Akira Kurosawa in Ran (1985). Sanada has seen said by some (most notably the director of The Last Samurai) to be the "Tom Cruise of Japan". Along with winning five Japanese Academy Awards, Hiroyuki has been part of the Royal Shakespeare Company, not to mention gaining early practice with a stage adaptation of Makai Tensho (based on the 1981 film in which he starred; both the film and the play were directed by Kinji Fukasaku). Two heavy weights giving their all in this film is a real treat.

Nomura plays Seimei excellently. It is mentioned that Seimei was rumored to have been born from a fox, and Mansai’s facial features definitely show off this side of Seimei’s personality. Seimei is a unique character, often a little alienating to the people around him, particularly towards Hiromasa. However, this is a character who does show laughter, worry, a sense of urgency, and deep contemplation. Mansai covers all the emotional bases very well. The viewer may be taken out of the film by his performance only when Mansai is directed to cry. It is a hit or miss for viewers, but for this reviewer at least, it was a miss. Other than that, he excels, especially when he has to do rituals that involve certain dances.

Sanada plays a classic villain. A manipulative villain who has a quiet class and reserve about him. Only during the last third of the film does he really show an "end of the ropes - anything goes" attitude. This is something to be expected from the actor, whose villainous characters have become more and more numerous since this movie (e.g. Rush Hour 3). There really aren't any idiosyncrasies in his performance that are strong enough to pull the viewer out of the experience.

The rest of the actors and actresses do their duty to one degree or another. Hideaki Ito, who plays Hiromasa, pulls off the comic relief, hamming it up with aplomb. Kyoko Koizumi is the shining star of the female troupe, playing Lady Anoe, a woman who is immortal and carries around the usual baggage. She helps to bring a solid layer of drama to the film. Yui Natsukawa, the Lady of the Full Moon, is the woman who suffers most of the torture that arises from the Seimei-Doson conflict. She doubles not only as a melancholy-laden mistress but also as the oni/vampire-esque Namanari. Playing Mitsumushi is Eriko Imai, whose character is somewhat superfluous, except to add dramatic force to a few scenes (which require her to go into her butterfly form).

The score for the film is masterfully composed by Shigeru Umebayashi. Although the orchestra isn’t as full as it would be in the sequel, it still proves to be more than functional and helps to cradle (and even magnify) the feeling and emotion in several scenes. The best thing about the music is that it has a distinctly Japanese flavor. Not only does the style reflect this aurally pleasing aspect of the film, but also the choices of instruments lend to the atmosphere. The best example is the theme that plays over the end credits. The use of Japanese woodwind, string, and percussive fair really accents everything nicely, not to mention the occasional (and welcome) vocals.

For kaiju fans put off by the mystical elements of films such as Gamera 3: Incomplete Struggle (1999), Onmyoji is a nice place to start when gathering some cultural insight. While not a full history class on Japan, it does provide a solid starting ground on understanding Japanese mysticism and how it may have affected peoples' lives long ago in classical Japan. Careful directing, competent writing, shining performances, and a sound musical score (with a slightly addicting nature) make this film a winner. It may not be Kurosawa, but Onmyoji certainly stands tall on its own two legs.

DVD Review: Media Blaster's DESTROY ALL MONSTERS

Special Thanks to Lee Merritt, proprietor of Monsterland Forums for making this review possible.
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This has been a great year for Godzilla fans. IDW doing three different lines of comic books, a good bit of DVD news, new board games, and a good bit of other stuff. The hottest topic would be the Media Blasters releases of DESTOROY ALL MONSTERS and GODZILLA VS. MEGALON. With DESTROY ALL MONSTERS being the less anticipated release, a good bit was still to be proven with it.
Video:

To set up a precedence, let’s go back to what James Ballard said when talking about the R2 DVD, which he gave 5/5 stars.

"As you would expect, Toho's domestic DVD release of "Destroy All Monsters" is once again a pinnacle in the line of kaiju releases. The video quite frankly looks like it could have been shot yesterday. As far as I could tell there was absolutely no print damage, bar some very tiny specks of dust in once scene, and no signs of digital artifacts. On occasion there is some light grain, but really only noticeable under close inspection. The film remains consistently sharp with lush and vivid colors. The film is presented in it's original widescreen ratio, and is enhanced for widescreen TV's."

With such a fine print used by Toho for their R2 DVD, and knowing that what Media Blasters has presented to us is the HD print which was a basic restoration of the film, should it be the perfect print? Considering that I own the DVD and now the blu-ray, I’d say this looks as great as it is going to look on DVD. Is there a general softness? Yes. Is the color platte not as vibrant as what one would assume? Yes. That is to be expected. Due to Toho's restoration being just a general clean up, colors are not going to be as vibrant as what it could have been back in '68 (it has been mentioend on the net that a better colored print of the film is out there somewhere). But this is the best this film is going to look on DVD unless Toho finds a full restoration neccessary, which is not the case.

In comparing with the ADV DVD, you can see a lot of what was wrong with the ADV print. The coloring of certain things is maybe better on the ADV DVD, such as the sky in the clip above but other than that, the ADV DVD has one of the worst problems with rainbows a film could have, with the moment something in the frame shows itself as white, rainbows appear. Another problem would be the lack of color correction, which you see the real colors here with the Media Blasters DVD.

Audio:
There are three audio tracks to the film, which the choices for the tracks are those which would be most relevant to American viewers. One Japanese track (2.0 and 4.1) and two English tracks (international and AIP).

Both Japanese and International tracks are on here and are flawless. They sound like any other audio tracks. Sure, it doesn’t stand out (though it may if you are watching this with a great set of earphones, which pretty much keep the sound waves up close to your ear drums therefore the dissipation of the sound waves isn’t a factor), but there isn’t problems really.

A big source of debate for this debate seems to be about the inclusion of the AIP dub, which should have been a great, great thing. For completists, the inclusion of both the international and AIP dubs makes the set feel more complete. Problem is that a cranking sound a long with some digital noise appears on the track (mostly in the beginning). You can tell that this is a problem that they tried to fix with the sections at the beginning being patched up via audio from another track, but the problems doesn’t last all that long. Still, a little imperfection could go a long way for some aficionados. Talk of an alternate source has been spread around, but that it couldn’t be used due to Toho granting permission to only use specific sources of materials for releases - one has to wonder what about other sources makes Toho not want to permit their participation (probably a matter of money).

Special Features:

In an interesting turn for the better, Media Blasters has chosen to do something a bit differently - the handling of special features. For past Toho titles, Media Blasters just copies what was on the R2 DVD releases. This time around, special features were brought onto the release which are not on the R2 DVD - a choice likely made because of the fact these are Godzilla films. Truth be told, Media Blasters is all too modest, for what is described on the back of their DVD cover for the film is truly an understatement.

The main attraction is the audio commentary by Steve Ryfle and Godziszewski. Plugging their book here and there, they do stay on topic of the film and having been doing research for their book, it helps a lot. A lot of details and trivia revolving around the film were made freshly known to me, such as the actor of a stage play being treated to seeing the kaiju and an actress from the film. The only downside would be that there are a couple of parts of the commentary where Ed and Steve’s voice could sound a bit more dynamic, making the commentary sound more enjoyable to the ears. Other than that, they do the same good word they did with the films they commented on for Classic Media.

Follow the yellow Japanese Characters

The DVD is filled to the brim with a bunch of trailers, with space being saved by compiling whole trailers into one video track. Least of which is the trailers for other Tokyo Shock/Media Blasters films including GODZILLA VS. MEGALON, DEATH KAPPA, FRANKENSTEIN CONQUERS THE WORLD, and (the brutally awesome) RIKI OH: THE STORY OF RICKY. Instead of having a page in which you can choose to watch each trailer separately, they are strung together like a little movie, though you can press the skip button on your remote to go to a specific trailer. Same thing is the matter with the "Promo Reel", which is the American trailer (in worse condition than what you can find on youtube), the Japanese, and French trailers for the films followed by four American radio spots. Also saving space by making it an easter egg rather start a new page for listing special features is the 8mm reel clips which feature AIP stuff on them. Not bad. So, let’s count that down - 4 non-DAM trailers, 3 DAM trailers, 4 Radio Spots, and 8mm movies. That’s 12 things right there.

The other special features consist of photo galleries - one being of posters for the film and another being for concept art and such. Both are great, though there is a case or two of repetition with the poster gallery. Regardless, both are great and it would be interesting to see these things on the blu-ray. In the meanwhile, the poster gallery just doesn’t show posters, but also theatrical programs (2 from 1972, 1 from 1968). It is a rather thorough gallery which non-Japanese readers can enjoy. It is great. It is even interesting to see stuff like Gappa being on DAM posters (like how Yonggary was on some German photobistura for GODZILLA VS. HEDORAH and a VHS for KING KONG VS. GODZILLA). But, the DVD gallery bit I felt was a bit much. But it’s inclusion on here I hope will mean that such a thing will be included on the GODZILLA VS. MEGALON DVD for the number of bootleg VHS tapes that film has endured is nothing less than legendary and would make a great gallery for the historian in all of us.

If there was one thing missing from the film - one single thing - it is not the inclusion of the international and AIP credit sequences (Which the blu-ray has and those who already have the ADV DVD and a connection or two already have), but something simple - really simple seeing how the cover for the tape that this was on was on the DVD gallery bit - the alternate and extended takes from the 1980’s Toho SFX Tape. That would have been some of the easiest things to put on the DVD. There is about 10-15 minutes of material, not much. But, at least we got some stuff which defiantly trumps any Japanese release.

Conclusion:
If this is a sample of things to come, I cannot say that I am not happy for what Megalon will bring. Great audio and visual content with a great bit of special features - particularly the concept art and story board galleries and the trailers/tv spots which are most interesting if only to get a glimpse at what the generation before us could have felt when they would watch these films at the cinemas nationwide in lieu of chance exhibitions at art house theatres. A great release which everyone should own. For an American release of a foreign film which is not being released by a big company, this is a spectacular release.

4.5/5

Citizen Hyung Rae and the Death of Younggu-Art

The 1,000 words photos tell would show that like most buisness transactions, there is more than meets the eye.

For some of us, we like bad movies. Bad movies can be entertaining. Thus, even though it would be a small one, there was an audience for films like 2001 YONGGARY and D-WAR: DRAGON WARS. For those who are American, you might even have a taste for THE LAST GODFATHER, the only English-language entry of Shim Hyung Rae’s Younggu series.

Sadly, we might have seen the death of his brand of Korean cinema, meaning the possibility of no D-WAR 2, which some wanted to see. If you check, the official website has been shut down (the main Younggu-Art side along with the official D-WAR and 2001 YONGGARY sites).

Late October, it was reported that 43 employees of Shim Hung Rae’s company - Younggu-Art - were suing him for $790,000 in non-paid wages. It was to be paid with money received from the auctioning of the 1,655 square meter building which housed the company. The building was sold by Hyundai Swiss Mutual Savings Bank, (Younggu-Arts’ collateral security holder) and was bought by a developer - the only bidder. 3 month’s wages and 3 years severance pays would be paid through the profit made from the auction, with the rest going towards Shim‘s debts. Turns out Shim had borrowed 1.1 billion won against his company, something confirmed by the Financial Supervisory Service. This could be one of many tales of company funds being used inappropriately. Stories of gambling addiction revealed by former employees aren’t making things better.

Turns out that this is not the actual death of Younggu-Art. That happened back in 2009.

Back on July 19, 2009, Shim said he was shutting the firm down - claiming to be $36 million dollars (41 billion Korean Kwon by today‘s exchange rate) in debt. That isn’t the worse of his troubles. In May of 2009, Hyundai Savings Bank filed complaints in regards to 4 billion won in loans/interest. Four months later, a high court made it that Shim had to pay 2.5 billion won. The case is pending at the supreme court. In separate auctions, Shim’s two homes (one being a Hyundai apartment in Apgujeong-dong and another being a Tower Palace apartment in Dogok-dong) are being sold. One of them is 244 square meters in land area.

Shim’s fate just might be sealed when it came up that Shim was being investigated for illegal firearm remodeling. Even darker, claims have been made of Shim’s trying to influence political and business colleges via prostitution including what the Korean Herald said, "high-profile figures and young women" and even going as far as to deny investors refunds of investments back in Oct. 2009 with an illegally customized gas spray gun.

As of October 30, Shim Hyung Rae has been banned from leaving the country of South Korea. All allegations against Shim are said to have taken place from 2008-2011, the years in which Shim made THE LAST GODFATHER (Which failed at the box office in Korea and America) and was still producing MEMORY OF BREAD. Be watching, for SciFiJapan’s Korean correspondent Kim Song-Ho is to be writing a more in-depth article on this.

This is a sad day.

Sources:
http://www.koreaherald.com/national/Detail.jsp?newsMLId=20111023000245

http://news.asiaone.com/News/Latest%2BNews/Showbiz/Story/A1Story20111031-307891.html

http://english.chosun.com/site/data/html_dir/2011/11/01/2011110101160.html

Film Review: HOKUSAI MANGA (1981)

NOTE: THE FOLLOWING BLOG POST CONTAINS ADULT MATERIAL. READER BEWARE. JOURNALISMG2KM, the KAIJU GALAXY COMMUNITY and ALL AFFILIATES ARE NOT RESPONSIBLE FOR ANYTHING NEGATIVE WHICH COMES FROM THIS POST.


For those who have pre-knowledge of this film and are feeling something akin to outrage or pure curiosity, you can find my explanation/reasoning at the end (this whole work is going to be divided into sections, so you can find easily at the end of the article). That being established, HOKUSAI MANGA is not one of the best films you’ll see but it has one of the better performances you will see from a Japanese film and is an interesting film overall.


SUMMARY
HOKUSAI MANGA is the story of Hokusai - the famous Japanese woodblock artist. It is not a strict biography now, for it does tell a story with a central theme and a study upon said theme. But this film is much like the 1984 film, AMADEUS. The film begins with Hokusai (going by his real name at the time), enjoying a bath along with friends who would later become great artists in their own right (like the novelist Bakin). Hokusai shows that he has an ambition - to become a great artist (and not just a woodblock artist at that). His work initially seen as crummy. With the subject of many of his works being women - both clothed and nude - no one sees any value in them. It is called just pornographic abroad and his daughter sees them as too "logical", hence boring. This is a tough pill to swallow due to the fact that he dare get disowned by his father (who was a mirror-cleaning shogunate) just to learn to paint.


It is only when he meets his muse (a woman named Onao) does he start painting for real. Many events happen which are indirectly caused by the muse, and she eventually leaves. But once one of his paintings is sold to a publishing company, Hokusai becomes famous, doing paintings of cranes on rice, painting on large dining room-sized canvases, and even drawing Mt. Fuji from 30 plus angles at different times of day. We skip to the latter part of his life where he and his friend, Bakin, are old men. It is durring this time that Hokusai learns how to do tasteful nudes with substance.

This is one of the 36 VIEWS OF FUJI, this one specificaly shown in the film.

ANALYSIS
HOKUSAI MANGA has a point within it. It is all about women. Mostly because women are men’s muses. So, upon closer observation, this film has to do with the muse-artist relationship. A muse is an important thing to the artist (no matter what medium). It is the muse which literally makes a work "inspired". It is something they can rely on. Persistence. In that reliance, there’s something (their work) which can keep their memory going for years after they have gone. There is a scene in the film in which before the writer Bakin becomes a widower, his passing wife finally allows him to become a writer. That is who he is meant to be. As the writer Harlan Ellison said, " Posterity is the only reason to do this." (Harlan was talking about writing, but writing is an art form just as much as painting or directing).


But, there is something interesting in the muse/artist relationship. It is the sexual side of things. Most of the time, especially with male artists, their muse is a female figure of some sort. That, mixed in with a message of what a tasteful nude is, is what this film is all about. As the film shows, those who aspire to draw tasteful nudes have quite a way to go. The film shows that at the beginning of his career, Hokusai did paint nudes but they were disregarded as pornography. It is only later down on in life in which Hokusai gets the perspective in which he could do tasteful nudes such as THE FISHERMAN’S WIFE.


That is a battle of the human intellectual adaptation versus the natural animalistic instincts. When you are young, you lack insight and the animalistic side of you is king. This is shown to great detail as Hokusai’s father, who was strongly attracted to his son’s muse, ended up hanging himself just because he wouldn’t be with the woman. The sexual want is just too much. But with time, things get clear. It is because of this that most of Hokusai’s life from his late thirties to his late eighties were ignored. A good artist has perspective, and he gained it. That perspective is to illustrate the desires of a woman. Not to be pornographic but to shed light on a world untouched. To explore the world of womanly desires was a new idea back in Elden Japan. Japan was largely a male-centered country with a male-centered culture, thus to put such interest and care into what a woman’s interest is quite the perspective. Not to mention that the study of this kind of emotion is what Hokusai needed because while his early work was too logical, work like THE FISHERMAN’S WIFE is just the opposite because it deals with the most illogical thing around - human emotion.


Sad thing is that younger people may often confuse the two, art and pornography. Having done THE FISHERMAN’S WIFE later on in life with a new woman who looked like Onao, Hokusai was old but his new model quite young. She became admiring of Hokusai’s odd artistic choices but she showed that she didn’t understand his work. At her last appearance in the film, the new model starts having sex with a man. Just regular sex. Hokusai walks in on it and when she asks if he is excited and wanted to paint her in the act, he declined. She didn’t understand it and goes off.


For all of that above, this film cannot be called pornographic. There is a literal art to it. There is less than 20 minutes of nudity within the whole film (which is an hour 58 minutes long). To call this film pornographic would be like calling Stanley Kubrick’s EYES WIDE SHUT pornographic.

Ken Ogata is, to Western audiences, best known for the 1980's Paul Schrader film based on another famous Japanese artist (one of the liturate field), MISHIMA.

As far as direction goes, the film’s direction by Kaneto Shindo (who also wrote the film) is nothing too spectacular for a Japanese film. It is notable though, particularly with this reviewer, that it was this film which finally made me realize why Japanese films linger with long takes of scenes with no camera movement. It makes it seem like you are watching a play. This is quite remarkable. Though the make up of the film isn’t anything that will make you think of Kabuki or Noh theatre (rather, the make up at the end is applied to the actors just to show a difference in age), it is an interesting perspective to put the audience in. It is stuff like this which helps makes scenes like a monologue by Ken Ogata (playing the elderly Hokusai) gain momentum by not only being potentially interpreted as a personal diary said aloud to himself, but also as a monologue he is saying to the audience directly. It is almost like a moment out of GOODFELLAS.


Now, this is an interesting piece to choose to review for a blog like this. Truth is, there is one shot that could be called tokusatsu. The particular scene which enacts the inspiration Hokusai gets to draw THE FISHERMAN’S WIFE is done via both a real life enactment and a showing of what is going on within Hokusai’s head. The two wire-clad Octopi props and such were done by a notable person who has worked within the realm of kaiju eiga before - and with this being a Shochiku film, it is only natural that the art direction and possible doing of special effects be done by Shigemori Shigeta - award winning art director for SPACE MONSTER GUILALA and THE LAST SAMURAI. It’s not the best scene (there is a wire visible in one shot) but it is an interesting look into the mind of the master artist. While the kaiju connection is being discussed, it is notable that one of Hokusai’s works was used at the end of a Godzilla movie, Banno’s GODZILLA VS. HEDORAH.


Bottom line, it is a well written film with pretty good directing with the strong point being Ken Ogata’s acting. For some, recognizing the renown actor may be easy, for me it was difficult being used to only seeing him play Miyamoto Musashi (which required a good bit of make-up) in MAKAI TENSHO. It is an interesting look at the life of an artist and a nice way to spend two hours. Just be prepared for laughable content (the octopus scene might look fake to some and due to Japan’s censorship laws in regards to nudity in film and art (which proclaims that genitalia is not allowed to go uncensored in any form of media) the strains in which the filmmakers try to cover up body parts might seem a little obvious if not desperate). This film is worthy of all the awards it won and was nominated for back in 1981.

Recognize this GODZILLA VS. HEDORAH fans?

For those interested in seeing the film IMDB has it avaliable legally via Hulu.

http://www.imdb.com/video/hulu/vi1140824857


REASON
Those who wonder as to why I chose to review such a film on this site, you shall have your curiosity quenched. Going through youtube one night, I stumbled upon a clip of the octopus scene from the film posted. I was curious and once I saw the period piece setting and the fact there was a painter by the woman who had a octopus on her, I knew what it was right then and there (the things they teach you in 7th grade art class). Oddly enough, someone was going through my likes list and decided to flame bait myself. People assumed that I had liked the clip due to it being sexual in nature thus it was purely pornographic (though none of these individuals have seen the film), that I was not allowed to press the like button on such things (just because my channel’s content is that of which minors may look at), and that even if I liked the clip for it’s artistic merits, that was not the case for some claim they know me so well that it wasn’t the case.


Truth is, it wasn’t the case. I did like it for it’s artistic merits. It wasn’t pornographic, and in all reality just because the film is called EDO PORN in America doesn’t mean anything. It is a bad, inaccurate title for a Japanese film (and this isn’t the first time something like this has happened, anyone remember GODZILLA VS. THE THING or GODZILLA ON MONSTER ISLAND) that isn’t about porn (and someone tried to use the inaccurate title as something against me, going as far as calling me a dumb f***).


I hope this clears stuff up. I was in the right and this is a film I would prefer. Watch and don’t judge. And I don’t care if Children watch.

JG2KM Reaction to Criterion GODZILLA DVD

Criterion's DVD cover was met with critisism, but was generally approved of.

Recently, Criterion surprised all of us in the evening a couple of days ago when we found their official page for their release of the first Godzilla film, a film they leased out from Classic Media (who released their own 2 disc version of it). So, what do we make of this news? The news of what special features will be part of the set coupled with a release date which is very, very close by (January 2012)? Well, let’s see…

First, let’s go through the special features. Both versions of Godzilla are getting an audio commentary by author David Kalat. Kalat is one of the more known writers on the Godzilla film. His most notable work is that of A CRITICAL HISTORY AND FILMOGRAPHY OF TOHO’S GODZILLA SERIES (with the original version being the best, the updated version was not well received for it’s cutting back on information to make room for the Millennium series of Godzilla films). His work, while containing some factual information about the production of each film, the manifesto does try to center itself on the subtext, meanings, and interpretations of the films.

This isn’t the first time that Kalat has done a Godzilla commentary though. He was employed by Classic Media to do the audio commentary for GHIDORAH, THE THREE HEADED MONSTER. Reviews criticized him for going off topic (no matter how informational he may be) and making simple errors in the form of generalizations. But he did make an impression as being quite enthusiastic about his work, thus he is regarded by some as a favorite.

Luckily, we can see to an extent what he is going to talk about in the commentary by viewing his book. For those who do not own his book, refer to it here:
http://books.google.com/books?id=9QyaTVYvEPQC&printsec=frontcover&dq=a+critical+history+and+filmography+of+toho

However, particularly when it comes down to the commentary for GODZILLA, KING OF THE MONSTERS, one cannot think that Kalat can out-do the Godziszewski/Ryfle commentary track. When the duo provided audio clips of interviews from people involved, there is next to no topping that unless he is allowed to borrow the audio clips for his own use.

Next, and this is easily the most important feature on the set, will be newly filmed interviews, particularly with effects technicians Yoshio Irie and Eizo Kaimai. This is most interesting, and one has to wonder about these individuals. When doing an IMDB search, we see that Eizo Kaimai was a person who had worked on Honda’s THE H-MAN while Yoshio Irie (unless there are two of them and IMDB doesn’t have a profile of an older Irie) is a fairly new guy, having worked on titles such as 2008’s ICHI... or so you would have thought! Thanks to Brett Homenick bringing this to my attention, turns out Irie is no stranger to interviews, including one which was done with some of the fore-fathers of the G-FAN/Kaiju Fan fanzines.

http://www.historyvortex.org/InterviewYoshioIrie.html

Next which caught my eye was the "New interview with Japanese-film critic Tadao Sato". This is a new name, at least to me anyway. According to Wikipedia, Tadao "is a prominent Japanese film critic and film theorist. Satō has published more than 30 books on film, and is one of the foremost scholars and historians addressing Japanese film, though little of his work has been translated for publication abroad." This is something which I am really interested in because - most for - the fact that the cultural barrier between America and Japan is such that there is a good bit more American audiences who are going to buy this title can learn. An interesting bit of which is a Japanese view of Godzilla which some claim was only around when GMK (2001) was made that Godzilla was a representation of souls lost in the Pacific theatre of WWII. However, writers like Norio Akasaka wrote that Godzilla was a, "representation of the spirits of soldiers who died in the South Pacific durring the Second World War… after coming from the South Pacific to destroy of the Ginza and the Diet building, Godzilla stops suddenly in front of the Imperial Palace, then turns his head right and heads back out to sea with this look of painful sadness on his face", and Akasaka would go on to compare Godzilla to a story by the famous Yukio Mishima (who Paul Schrader made a film about) which critique’s Japan’s moral after the world. More of this kind of material would be nice to hear, hopefully adding freshness to the usual "Godzilla is an allegory for the bomb" which long time fans may be all too used to.

You got William Tsutsui who works at a university in Texas... then you got Gred Pflugfelder who works at the New York-based Columbia University. Now, giving the set something which the British Film Institute product had which the Classic Media release didn’t have was a feature on the Fukuryu Maru AKA the Lucky Dragon No. 5. However, instead of recycling the BFI feature, Criterion decided to have Greg Pflugfelder(Director of the Donald Keene Center of Japanese Culture at Columbia University) do a feature titled THE UNLUCKIEST DRAGON (which sounds like a twisted version of a film children would watch) based on the Lucky Dragon No. 5 incident which was one of the three main inspirations for GODZILLA. He's notable for having done a Godzila exhibit back in 2004 in New York. Here is a link to his page: http://www.columbia.edu/cu/weai/faculty/pflugfelder.html

The last interesting thing is an essay done by J. Hoberman. A critic who works right now as a senior critic for THE VILLAGE VOICE, this BA and MFA-holding film critics might just be the most interesting person giving a kind of contribution as far as non-Asian contributors are concerned for Hoberman is 63 years old - he was eight years old when GKOTM was released into American theatres, 11 when GIGANTIS, THE FIRE MONSTER was released, so on, so forth. He might just have insight which is most interesting being older than Godzilla himself!

There are other special features on the set. Newly done subtitles which will hopefully give us the most accurate translation of the film since the legendary 1980’s bootleg tape, an interview with Akira Ifukube most likely ported from the R2 DVD set, and a mysterious featurette on the film’s photographic effects which I don’t know what to make of it right now (could be something newly produced or something which Criterion has loaned from Toho or maybe Classic Media?).

Can this be the definitive release of GODZILLA? When comparing it to the other releases, it might be film and special features wise. We’ll just have to wait and see.