YOKAI MONSTERS: 100 GHOSTS!

Yokai Monsters: 100 Ghosts ~ 1968, Kimiyoshi Yasuda, Japan

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100 Ghosts is the strongest film in what is already a remarkably strong franchise, the Yokai Monsters series, three rad movies which were produced by Japan’s Daiei Studios in the late 1960’s. 100 Ghosts feels like a Japanese book of scary stories masquerading as a costume drama, but each of the individual tales are well integrated into the plot, so in the end it feels like a single, concise narrative, rather than an anthology film, like Creepshow, or Two Evil Eyes. Unlike Spook Warfare, 100 Ghosts keeps its narrative focused on the mortal plane, and dishes out the yokai in more modest doses. This time, the Yokai don’t really feel like characters, and they have no evident personalities. Instead, we see them more as supernatural agents of cosmic retribution; delivering justice to those who break society’s moral code, and this makes them infinitely more frightening than the squabbling, almost humorous depiction we got in Spook Warfare. Really, this movie actually gets pretty damn spooky toward the end, and much like Daimaijin, another Daiei studios film which is thematically similar to 100 Ghosts (And also shares much of the same cast), 100 Ghosts takes it’s time setting the scene before it hits us with a heavy dose of monster. The pay off in this film’s third act is well worth the wait.

THE PLOT~  When a group of thugs rides into a small village in rural Japan and commences to destroy the local shrine, the villagers find themselves understandably confused and distressed. It’s about to get worse, though, because this is just stage one of their shitty plan; and stage two is to follow up the besmirching of this religious site with the abrupt destruction of the local tenement house, a structure which much of our central cast calls home. Apparently his is all legal, too, due to a shady alliance between a local businessman and a super corrupt Lord, who is basically a damn gangster. Once everything is torn down and smashed, the bad guys are going to open up a cheap brothel and basically ruin everybody’s lives, so naturally our main characters wanna put the kybosh on this evil scheme like, ASAP. Along with the help of a wandering samurai, the villagers hatch a plot to save the day.

I know what you’re thinking… When you look at it, this sounds like the plot to the most generic 80’s teen movie of all time. It’s basically Breakin’ 2: Electric Boogaloo, only in Japan, with monsters. “Hey, gang, we gotta stop the evil billionaire from tearing down our rec-center and opening a strip mall! Let’s organize a concert to raise community awareness!” Yeah, pretty much that’s the exact plot of 100 Ghosts, but you don’t really  notice that when you watch it, because this movie is awesome as hell, and also a lot of people die. Plus, in 100 Ghosts, our human characters aren’t even able to pull it off anyway, and the real solution ends up having nothing to do with them. Instead, it’s the yokai that save the day. Allow me to explain:

Having smashed the shrine to smithereens, our two bad guys decide to prematurely celebrate how awesome it is to be a big shit head with a night of recreational ghoul summoning. Sounds reasonable. They do so in the format of a rad party game called ‘The 100 Spirits ritual,’ which seems to be something like a group-friendly version of “Bloody Mary.” In order to conduct the 100 Spirits ritual, you must first gather a group of your friends and neighbors around a story teller, who then recites a series of cautionary ghost stories, which have all been handed down over the course of many centuries, or maybe just made up on the spot, depending on the credibility of the dude you hire. At the end of each story, a candle is lit (Or put out, I can’t remember. Don’t conduct this ritual at home.) Once all of the night’s stories have been told, and all the candles are lit, it is crucial that the storyteller conduct a “Curse elimination ritual“, because apparently just hearing these forbidden tales is enough to curse the shit out of you. Sounds like a pretty important part of the exchange to me, I would definitely want to take the extra time for the Curse Elimination Ritual, but our bad guys opt out. Having just sat through, like, 100 cautionary tales, they immediately prove that no amount of second-hand information is enough to teach them anything. Instead, they kick the story teller out, telling him not to let their sliding, paper door thing smack him in the side of the ass on the way out, and go on to chuckle turdishly about how ghosts are for losers and how neither of them are about to die terribly. Predictably, after this, the bad guys get the hell haunted out of them something fierce, which is super great to watch.

Like all of the Yokai movies, 100 Ghosts features a vast menagerie of ethereal Japanese bozo monsters, but none of them particularly hog the spotlight, except, of course, for the Umbrella Monster, which, just the very name of this thing is enough to raise an eyebrow. In all fairness, according to Yokai Attack; a nifty little book written by Hiroko Yoda (presumably of no relation to Jedi Master Yoda) and Matt Alt, the Umbrella Monster’s true name is Kara-Kasa, but holy shit, dude, who cares? Check this friggin’ thing out:

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‘What’ indeed!

Pretty much, this particular monster doesn’t do a whole hell of a lot. It likes to sneak up and lick people, and it looks like the deranged little brother of that sexy lamp from A Christmas Story.

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See the resemblance? Yokai are weird sometimes… Usually, even.

Like all of the Yokai films, even for the lousy ass one that Takashi Miike made in 2005, the greatest strength of 100 Ghosts is in just how many awesome, and unique, Japanese bogey men and women are crammed into the film’s brisk 90 minute run time, as well as the impeccable work by the art department in putting all of them together. Besides all the wonderful monsters, the set and costume design throughout the picture are also impeccable, and I’d say that 100 Ghosts really is Daiei at it’s best. All three Yokai films are legit gems, which remain puzzlingly under-appreciated stateside, and 100 Ghosts is easily the raddest of the batch. Go seek it out!

A+

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YOKAI MONSTERS: SPOOK WARFARE!!!

Yokai Monsters: Spook Warfare (AKA Big Monster War)- 1968, Yoshiyuki Kuroda, Japan

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Possibly the coolest thing Daiei studios ever did was it’s Yokai Monsters trilogy, three impeccably awesome monster flicks which highlighted a group of wildly diverse and creative Japanese folks spirits, from within the format of a period costume drama. These films are satisfying, fun, effective, and they feature peerless Showa era art direction, as well as Suitomation work which far exceeded the craftsmanship seen in better known Daiei franchises, such as the Gamera or Daimajin films. Seriously, these movies are inexcusably under-appreciated outside of Japan, and if I do one thing in my life which is both effective AND NOT blatantly immoral, let it be that I spread awareness of rad shit to people who don’t care. Yokai Monsters– if you’re reading this, it’s too late, I have already won.

“But just what in the hell is a yokai?” You ask, your Caucasian features twisted into a confused, pained mask of fair skinned befuddlement. Well, good friends, don’t be embarrassed, it’s not out of line for we non-Japanese folks to have no clue just what in the fuck a Yokai is, but there’s good news: I’m here to help you.

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You see, ‘Yokai’ is, from what I can tell, sort of an umbrella term, under which a general class of Japanese spirits, ghosts, and bogeymen are grouped. They’re similar to the Western concept of a ghost in its quasi intangible, immortal nature, but yokai aren’t necessarily the spirits of deceased human beings. There’s an incredible amount of diversity in the yokai community, one of these dudes appears to be nothing more than a long strip of sentient paper which flys around through the air. Another is an umbrella with one eye that likes to lick people. It’s kinda just a big, spooky, ghoul grab bag that contains an endless aray of total weirdos, but as freaky as these critters are, they’re also damn neat, and an absolute motion picture gold mine. All three of the Yokai films feature a wide range of these spirits, and that alone makes them a must-see  for fans of Japanese horror cinema.

THE PLOT~ When a terrible, Ancient, Babylonian Demon called ‘Daimon’ is accidently freed by foolish grave robbers, it flies across the globe and settles in Fuedal Japan, for no reason. Daimon, eager to get back into the swing of evil bullshit, kills and impersonates a local Lord, and in so doing, evicts Kappa, a water dwelling Yokai which had lived on the Lord’s property, presumably forever. Kappa is pissed, and he goes to tell all the other Yokai that some big, gnarly, foreign spirit is busting up shit in Japan, and he needs their help to make it right. Initially, all the other Apparations call bullshit on Kappa’s story, because he’s sort of like the Dave Chappelle of the Yokai kingdom, but they eventually come around and agree to help him. In the end, all the yokai are gathered for a massive conflict between the indigenous spirits of Japan, and this monstrous intruder, who just can’t play nice.

yokai06Also, sometimes the Yokai use profanity, and we all know that’s awesome.

The subtext should be pretty clear; this is a Nationalist, Japanese, knee-jerk reaction against foriegners, the outside world, and Western Influence. It’s also very possible that it’s specifically a religious statement, that is to say, Spook Warfare could be read as a Shinto-Centric denouncement of Christianity, an imported religion which had begun to gain popularity throughout Japan. Daimon is a Babylonian demon, but we may have just swapped one Middle-Eastern faith for another, making him a thinly veiled stand-in for Christianity all the same. His behavior and characteristics are also very much in line with the traditional European vampire, and at the end of the film, he is chased off by figures which are forever associated with an indigenous religion of Japan, so the argument that this is a big “You’re not welcome” sign pointed right in the face of people who straight up dig Jesus feels pretty sound. At one point, Daimon even goes after the children, and that’s when the Yokai REALLY get pissed. This is essentially the Yokai film equivalent of finding out that a missionary gave a pocket Bible to your ten year old, so now you’re losing your shit because Richard Dawkins is your god and you don’t want any of that stuff in your house.

That having been said, it’s not really as over the top as it sounds, and it’s hardly just cause for rounding up the neighbors and burning copies of Spook Warfare in the center of your cul-de-sac. This is just a little bit of Nihonen Xenophobia, and that’s a perfectly natural reaction for a culture to have when it perceives its natural identity to be challenged. Cut Japan a break on this one, and hopefully, they’d do the same for you. You’d be missing out on a great film otherwise.

Yokai Monsters: Spook Warfare is great. All three of these films really straddle the line between monster movie and ghost story, they’re fun, imaginative, and feature some of the best costume, set, and prop design ever to come out of the Showa era. I couldn’t recommend them more.

A

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The X From Outer Space!!!

The X From Outer Space ~ 1967, Kazui Nihonmatsu, Japan

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In the 1960’s, the assorted motion picture studios of Japan had all come to see Toho’s Godzilla as a big, green, lumbering money factory, just ripe for exploitation, and they all knew that if they wanted a slice of that kaiju pie, they needed to rip him off, pronto, before the heat died down. Suddenly, everybody in town had some giant, crappy monster they just had to cram down people’s throats, and the race to hop on Godzilla’s coattails had begun. First, there was Daiei, and their substantially less popular yet still kinda popular turtle monster Gamera. Then, there was Nikkatsu, who gave us Gappa, just one of the modern cinema’s many creatures who found themselves overshadowed by their own rad theme song. Then, in 1967, Shochiku, gave the world Guilala, star of the Science Fiction/monster outing The X From Outer Space. Wanna make a Kaiju film? Come up with a funny name beginning with the letter ‘G.’ You are now 80% of the way there.

THE PLOT~ We Earthlings just can’t figure out why all of our astronauts keep dying on the way to Mars. Let’s look at what we DO know; we KNOW that they all report the same peculiar glitches in their onboard computer systems… We know that they all get straight up menaced by a mysterious UFO as they approach the Red Planet, and we also know that right after that, they die… But how?!? Huh! It’s a real head-scratcher… Oh well, no matter, because even if we can’t put two and two together, we damn sure can put together special mission AAB-Gamma; just another collection of doomed astronauts who we have decided to condemn to death in the cold, dark recesses of space. We’re geniuses!

doomedYou’re all gonna die, you idiots!!!

From the get go, AAB-Gamma is plagued with ill omens and terrifying space disasters, they face everything from failing equipment, high levels of radiation, asteroid showers, punctures in the spacecrafts hull, mysterious illnesses, and, of course, that damn UFO I mentioned before. They eventually have to throw in the towel and admit defeat when this malicious alien spacecraft sprays the Astro-Boat down with some sort of weird, Martian spores, rendering the vessel totally immobile for some reason. They’re saved, shockingly enough, when they’re able to send out a distress signal, but not before collecting a sample of the alien spores from the outer hull of the ship, which they bring back to Earth for study. Guess what? Monster egg; that thing hatches overnight and right around the halfway mark, Guilala makes his big entrance. Within minutes of hatching, our boy Guilala grows to a standard Japanese monster height of 300 feet, and begins his stomping/smashing career. Naturally, all of our defenses fail to repel this abomination from space, and the crew of AAB-Gamma discovers that the only hope mankind has left is in it’s ability to synthesize a compound which can subdue Guilala, and this process can only be done in the absolute vacuum of space. So back they go, into space, to make some anti-monster goop.

Anyway.

It’s pretty middle of the road. By this point, essentially every Godzilla film featured aliens prominently, so in that way, The X From Outer Space effectively hops right into the swing of things with commendable ease, and our human characters are much more interesting than the interchangeable cyphers which populated Toho’s Godzilla-verse. There’s even a love triangle in this film! It’s poorly written, but it’s there! And that’s all good! It’s more than you usually get from Toho or Daiei’s human characters. Additionally, as I’ve said before, Guilala doesn’t even turn up until right around the halfway mark, and he’s really not in the film that much, when you step back and look at it. Believe it or not, that works out in the our favor, because what we end up with for the lion’s share of the run time is a delightfully adequate 1960’s space adventure, and honestly, that’s a lot more entertaining than all this giant monster business. We run into significant trouble when this movie expects us to give a shit about Guilala, or what he’s up to, and while these sequences are fairly well done from a technical perspective, they’re noticeably more boring than the work Toho and Daiei were doing at that time.

Guilala kind of sucks, too. He might have been fine as a secondary character, maybe teaming up with Gigan or something, but on his own, out in the spotlight, it’s pretty clear that he’s just not star material. First of all, he sort of looks like Big Bird.

x big bird comImage: Sesame Street's Big BirdIt’s like I’m seein’ double!

This particular look works just fine on the mean streets of Sesame, but it’s hard to take a Kaiju seriously when you keep thinking “Hey, is that that dude who taught me to count?” Not good.  Secondly, Guilala’s limbs are all swollen, puffy, and frilled, giving him the appearance of an alien Big Bird wearing Jerry’s pirate shirt from Seinfeld.

x pirate shirt compuffy_shirt_2964582k“I don’t wanna be a pirate!” – Guilala

That’s what you’re going to remember about this friggin’ monster, he looks like Big Bird, his name is way too difficult to pronounce, and Jerry Seinfeld’s freaking pirate shirt. I’m sorry, Guilala, but by the natural law of Survival of the Fittest, you must go, for you are not fit. Go and die.

And he did, pretty much. Guilala failed to win over the Japanese theater going public, and the next time anybody saw him was decades later in Monster X Strikes Back: Attack The G8 Summit, which was a damn comedy. The X From Outer Space isn’t terrible, it’s probably a decent way to spend your time if you’re a rabid, foaming-at-the-mouth kaijuphile, but truthfuly, it’s a lukewarm experience, and certainly not a highlight of the genre.

C

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