Monsters invade the Morikami Museum this summer as vintage toys from the 1960s, ’70s and ’80s, inspired by Japanese tokusatsu films and TV shows go on display in the exhibition, Kaiju! Monster Invasion! Classic Japanese tokusatsu eiga, or special effects films, typically utilized an fx technique called sutsumeishon (suitmation) in which monsters of colossal size, termed Kaiju, were portrayed by stuntmen in rubber suits moving about on sets of miniatures. Beginning with the release of the film Gojira (Godzilla) in 1954, kaiju of all types have captured the imagination of legions of fans worldwide and have spawned a lucrative toy industry that endures to this day. The Morikami’s exhibition displays over 100 figures from an extensive private collection. Some kaiju are dinosaurian in appearance; others are based vaguely on insects, sea creatures, or plants; still others combine characteristics of all of these and more. All are included in the exhibition, seeming to give form to humankind’s deepest anxieties in an age dominated by nuclear, biological, and environmental peril.
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The Morikami Museum and Japanese Gardens is open 10 a.m. to 5 p.m. Tuesday through Sunday. Admission is $12 for adults (18 – 64), $11 for seniors (65+), $7 for children and college students with identification. The Morikami is located at 4000 Morikami Park Road in Delray Beach, Florida. For more information about the Morikami, its exhibitions, programs and events, visit http://www.morikami.org/ or call 561-495-0233.
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Above paragraph is from "wonderingeducators.com". It opens June 1st.
Last time I decided to write about a samurai film, it was Kinji Fukasaku’s SATOMI HAKKEN DEN. Now, I come to you with a much more forgotten film (here in America at least , a film which though forgotten has yet to loose it’s beauty and such. That film is TEN TO CHI TO, better known by it’s international title, HEAVEN AND EARTH (1990). This is another film which I love very much, both for the visuals and the feeling you get while watching the film.
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HEAVEN AND EARTH is a film which is about something that is very popular subject matter in Japan (popular enough that it is also the subject matter of Akira Kurosawa’s 1980 venture, KAGEMUSHA), the Sengoku period of Japanese history with the battles of it’s two most popular rivals - Kagetora and Takeda. However, unlike KAGEMUSHA, the central plot isn’t about Takeda’s need for a double. It is rather Kagetora’s corruption and love life.
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Distributed by Kadokawa, the film was written and directed by Haruki Kadokawa. With his direction, it is obvious that he is well versed in the Shinto ways (Haruki was known to have his own Shinto shrine where he would conduct his own ceremonies). With this, the art direction and look of the film is very beautiful. Many scenes seem to associate the feeling of the scene with the element most shown in the scene. Rain, fog, cherry blossom petals, and waterfalls are all keys to this. Even parts showing the seasons changing (for the purpose of acknowledging the change) help this. Not to mention photography of the actors against mountains. Great cinematography. The secret is in the establishing shots.
The film’s main plot revolves around Kagetora's corruption and love life. Many old expressive nuances are used in the film, like the use of the device known as the moustache that grows over the course of the film to comment on his acts of cruelty - some which get to the viewer. Such an act is when he (though he hesistates) kills a traitor's wife and son. Though it should be noted that a revelation of the difference between American and Japanese cinematic techniques comes out. During the scene, Kagetora shows restraint on his face with his college asking him why he hesitates. While an American director would close in on the respective character’s faces, Kadokawa decides to do things the Kurosawa way and keep the shot so that not only is the camera still, but we have both Kagetora and his college in the same frame. Really takes a keen eye to notice not only the difference in the filming techniques, but to also notice the respective actor’s performances in scenes shot such as this.
Like some of the Kadokawa company’s other films, Haruki decided to push the limits of his productions. So, at the time, HEAVEN AND EARTH became the most expensive Japanese film, budgeted at five billion yen ($50,000,000 in today’s US dollars). The film would be shot in two places: Japan for the drama scenes (filming in Hokkaido, Nara, and Tokyo) and Canada for the recreation of battle scenes. Originally, award winning actor Ken Watanabe (to later gain popularity with another landmark samurai film - THE LAST SAMURAI) was to play Kagetora, who would be ultimately played by Takaaki Enoki. The reason for this was because of Watanabe’s last minute acute myelocytic leukemia.
In Canada (more specifically, in and around Alberta), the full crew included 80 wranglers, 95 Assistant Directors, seven full camera crews (two Japanese; five American), 40 tons of wardrobe, 3000 extras, and 800 horses with riders. This was not without it’s setbacks. Canada’s Ministry of Transportation had rules regarding the use of the Trans Canada Highways. So, the total of 115 buses that would transport the cast and crew would time the buss’ departure from Calgary, Canada for every 90 seconds at different points to help avoid a crowing problem on the highway. The only real accident which would happen on set would be the loss of a thumb belonging to a Japanese wrangler who loss it due to rope attached to a horse. The thumb was saved though.
Once on the plains, it took on average 25-30 minutes to get the 3000 extras into their costume for the film. The costume for the film would be cause for many a complaint for historical accuracy enthusiasts. Such is the use of Mempo Masks - used to hide the faces of the large amount of Caucasian Canadian extras playing samurai and the use of armored sleeves on only the right arm which was done to help with the use of the Japanese long bow, which was asymmetrical. The horses that the riders would ride though were not professionally trained horses. Instead, they bought regular horses to train, which helped save money after the feed budget for the horses started going over the $1,000,000 mark. Rather, they were trained for four months. Afterwards, the horses were auctioned off, making back more money than what the horses were bought for originally.
When it came to the distribution of the film, Kadokawa had again returned to one of the most common (at the time) methods for assured profit for a film: the use of advanced tickets. Due to a previous film that Kadokawa had part in, THE INUGAMI FAIMLY, he was by contract obligated to Toho to sell the large amount of 50,000 advanced tickets. Some people have noted their shock at the audacity at this move. This is because some of what Kadokawa was doing came fairly close from breaking fair trade laws. A member of Kadokawa published has gone on record mentioning, "workers were simply given books of tickets and the cost deducted from their pay - all without their consent." The film would go on to be (as of 2009) Japan’s 31st highest grossing film of all time, grossing 9.1 billion yen. The film was even more popular once future Japanese pop music legend Tetsuya Komuro composed the soundtrack and theme song for the film (aptly titled "Heaven and Earth", some of the music from the single would be used in Takeda and Kagetora’s final battle, minus the lyrics or main chorus section). Since then, it has been released on DVD in two forms: theatrical and a director’s cut which restores over 20 minutes of footage.
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In America, the film was released in the usual art house circuit. The American version would have subtitles printed into the film itself with a little intro. To give the film an English speaking voice, character actor Stuart Whitman narrated the film. The film would go on to make $307,775 at the box office. A VHS costing $80 initially would be released by Live Video, who would also retain the television rights, showing the film on the Shotime channels on a regular basis some time ago. It would be host to some high quality boot leg variations that could be found over ebay.
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HEAVEN AND EARTH has become one of the legends of Nippon Eiga history. Being somewhat of a success story when it comes to the film as a product, the film as a film is though simplistic is beautifully shot with a nice love story sub-plot and the exhibiting of Kagetora’s downfall into darkness to achieve his goal of protecting Echigo during the warring states period. A beautiful film indeed. Recommended, and it is also recommended to watch the version that occasionally comes on Shotime rather than buy the VHS tape for sake of picture quality.
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COMPARISON TO KAGEMUSHA
There is a need to compare this film with Akira Kurosawa’s KAGEMUSHA - just for the study of the activity in which both films are based on. The biggest difference when approaching the films as large scale recreations of the event, we notice that unlike Kadokawa - who kept his armies color coded to blacks and reds - Kurosawa decidedly used more color variety with his soldiers, to make what one author referred to as, "oil paints running together". However, the battles themselves in their content are also different. Kurosawa does allow bloodshed in his film making some to claim that his film is more honest when it comes to depicting war, Kadokawa’s film is almost gore-less.
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LYRICS TO TETSYA KOMURO'S MV
"Sound of water flowing into the river flows forever
echoing across a thousand days in the ear
you are far away fog closed spring
it is my dream from this River ritai
you belive in love, beloved
surely meet daily over past
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every man is a repeat of today's date color color
look inside yourself if you stay with
the evening even belive in love
vanishes life over to meet someday
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Chorus (sung in english)
there will be always
heaven and earth forever
there will be always
heaven and earth forever
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Black hair swaying in the wind in your memories float
until then surely meet reborn
you belive in love, beloved
surely meet daily over past
Evan Brehany is an life long kaiju eiga fan. He currently resides in Georgia. Evan has contributed to Tohokingdom, G-Fan Magazine, and the Godzilla 2012 blog. He is also an administrator at the Monsterland and Kaiju Galaxy message boards.
JournalismG2KM is one of the three parts of the Kaiju Galaxy & Monsterland Forums community. Present on the blog is a wide range of articles reguarding news, reviews, and retrospects on different aspects of Japanese cinema, particularly kaiju eiga. Our staff is of four people, Evan Brehany, Kuroneko-Sama, Donny Winter, Logan Bombard, and Matti Keskiivari. Special thanks to Lee Merritt for the creation of the site banner at the bottom.
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