Ju jin yuki otoko

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(5/10) Known internationally as Half Human, this abominable snowman film is most famous for its unavailability. After complaints about how primitive villagers were portrayed in the film, Japanese studio Toho pulled it from circulation right after its release in 1955, and has sat on it since. A grainy print of Godzilla director Ishiro Honda’s movie is available internationally. The lead actors of Gojira are still stiff as ever, but Akemi Negishi is stunning as a mountain girl, the snowman is beautifully realised, and the cinematography impressive for a B movie.

Momoko Kochi as the female lead in Ju jun yuki otoko, having just been kidnapped bu the snowman.

Momoko Kochi as the female lead in Ju jun yuki otoko, having just been kidnapped bu the snowman.

Ju jin yuki otoko (1955, Japan). Directed by Ishiro Honda. Written by Shigeru Kayama and Takeo Murata. Starring: Akira Takarada, Momoko Kochi, Akemi Negishi, Nobuo Nakamura, Kokuten Kodo, Yoshio Kosugi, Fuminori Ohashi, Shoichi Hirose, Haruo Nakajima. Produced by Tomoyuki Tanaka for Toho Company.
IMDb rating: 6.2/10. Tomatometer: N/A. Metascore: N/A.

Poster.

Poster.

From 1954 to 1958 there was yeti fever in the movie industry, ignited by the tales of abominable snowmen brought to the western media by mountaineers Eric Shipton in 1951 and Edmund Hillary in 1953. Shipton provided the press with photographs of giant humanoid footprints in the snow, and Hillary also told tales of huge footprints. The craze was further aided by sherpa Tenzing Norgay’s accounts of the old Nepalese folk-tales of the giant bear-man of the Himalayas, and his assurance that people he knew had seen the yeti with their own eyes. Continue reading

Gojira

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(7/10) Inspired by King Kong and The Beast from 20,000 Fathoms, Gojira gave birth to the massive Japanese kaiju movie industry, and more or less single-handedly brought science fiction into the country’s mainstream. Eiji Tsuburaya pushed Japan’s severely under-developed special effects industry forward by a mile, but the quality was still a far cry from Hollywood at its best. Despite its clumsy rubber monster and the under-developed characters, Gojira is a tremendously gripping and stark allegory for Japan’s experiences during WWII, and director Ishirô Honda elevates Gojira above its B movie roots with his beautifully grim visuals and his relentlessly intimate focus on the casualties of war.

Gojira/Godzilla (1954, Japan). Directed by Ishirô Honda. Written by Ishirô Honda, Takeo Murata & Shigeru Kayama. Starring: Akira Takarada, Momoko Kôchi, Akihiko Hirata, Takashi Shimura, Kokuten Kôdô, Haruo Nakajima. Produced by Tomoyuki Tanaka for Toho Film.
IMDb rating: 7.5/10. Tomatometer: 93% Fresh. Metascore: 78/100.

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Gojira destroying Tokyo.

In 1954 a horror was unleashed upon the world that resonates to this very day. Few movie monsters have the distinct honour of impacting our culture so that it actually changes our language, and becomes a concept in and of itself, even for people who have never seen the films they appear in. We talk about ”the King Kong of” some product, Frankenfood, the Governator and of course Bridezilla. The list could perhaps be made slightly longer, but you’ll be hard-pressed to find many more monsters, or indeed film concepts, that resonate so strongly throughout the entire world. Godzilla is one of those rare creatures that everybody in the world can conjure up an image of, regardless of age or geography. And like most great movie concepts, the reason for Godzilla’s timeless appeal is a number of happy (or unhappy) coincidences. Continue reading