My Big Project. This is something I've wanted to do for a while, cuz I'm a big kid at heart - review the entire Godzilla saga, 1954 to present day. With a new, big budget American reboot in production, as well as a return to Japanese movie screens in 2014 (his 60th birthday) via Toho Studios, I figured that now would be a good time to reflect on the Big G's legacy. Plus, it will keep me busy and out of trouble.
For the record, I will review all of the Godzilla films in the order of their original releases (with one exception). I will also be reviewing many of the peripheral kaiju (giant monster) movies released by Toho Studios during the intervening years - these I will not be reviewing in the exact order of their releases, but they will will be, more or less, in something I like to call "aesthetic order". It's just my excuse to give each Wrath of Godzilla entry some kind of overarching theme. You'll see.
The entire Godzilla catalog is divided into three different eras/series. The first is the Showa series (1954-1979), next is the Heisei series (1984-1995) and finally the Millenium series (1998-2004). I will be explaining the differences between each of these as I go along. Basically, each series is a new beginning for the Big G (Godzilla, for the lay person). Alright, time to begin. . .
Gojira a.k.a. Godzilla (1954)
It's always struck me how Japan's most recognizable and revered cultural icon is also the embodiment of the country's most horrific national tragedy, the nuclear bombings of Hiroshima and Nagasaki. I've always felt that Japanese pop culture, in general, has a strange sado-masochistic core, almost like the Japanese people are punishing themselves for their involvement in World War II. Even when Godzilla is saving the people of Japan from evil aliens, he still decimates entire cities in the process. And he can never, ever, be stopped. Permanently, at least. It's all kind of weird.
This is the most serious and dramatically sound Godzilla movie of all time. Do not confuse this movie with the recut American version "Godzilla, King of the Monsters" (1956 - I'll properly review this one later), which is not only 20 minutes shorter, but features newly-shot scenes with American actor Raymond Burr, which were shoehorned into the movie. Much of the original Japanese version's power was lost in this translation, but for the past 50 years "Godzilla, King of the Monsters" was the only version of the original movie that was available in America - until 2004, on Godzilla's 50th birthday. Classic Media, God bless 'em, finally released the Japanese version of "Gojira" onto big screens everywhere. Ah, I remember the day I finally got to see the original as it was meant to be seen, in theaters - and I also remember being quite surprised at how effective and powerful some of the scenes were. I gained a new respect for my childhood icon that day.
Producer Tomoyuki Tanaka's current film project falls apart. Toho Studios needs a movie to fill the void, so Tanaka, spurred on by the success in Japan of the American flick "Beast From 20,000 Fathoms", decides that a monster movie would be the way to go. He assembles his team: science fiction author and screenwriter Shinichi Sekizawa, Akira Kurosawa pupil (and first-hand witness of Hiroshima) Ishiro Honda as director, legendary composer Akira Ifukube, and special effects master Eiji Tsuburya. The story: atomic bomb testing in the Pacific has mutated a sea-going dinosaur into a 150 ft tall, atomic fire-breathing engine of destruction. Soon Tokyo becomes the target for Godzilla's wrath, and only a superweapon created by Dr. Serizawa, the Oxygen Destroyer (a side effect of Serizawa's search for a new power source) can stop the beast. But would unleashing a power greater than the atomic bomb truly solve the problem?
So where did the name Gojira come from? Apparently, it's a hybridization of the Japanese words for "gorilla" and "whale". According to legend, there was a rather large man who worked behind the scenes at Toho Studios nicknamed "Gojira". The producer decided to name the monster after him. This monster goes on to become one of the most popular icons in cinema history. I think "Shifty Bastard" would be a pretty good name for a movie monster, don't you? Well?
Godzilla was originally intended to be brought to life with stop motion animation, like "King Kong" (1933), but was deemed too costly and time consuming a process to be effective. So special effects man Eiji Tsuburya created the classic man-in-suit and miniature model effects that would become the staple of the entire series (although there are still two stop motion moments in the movie). Shot in moody black and white and coupled with Akira Ifukube's brilliant and haunting musical score, the look and feel of this film was a revelation at the time. Also keep in mind that the bombings of Hiroshima and Nagasaki happened less than 10 years earlier, and this movie features some rather stark recreations of the destruction and desolation of those events. It was the first movie to deal with the horrors of the bombings head on, and at the time it was considered to be quite overwhelming to many audience members. Heck, there's a scene where a mother is cradling her children while the whole city is burning around them, consoling her kids with assurances that they'll "soon be with their father". It still gets me.
Sure, much about this movie is dated. The effects are old school, but still charming and effective in their own right. When the character of Dr. Yamane is explaining dinosaurs to a group of gathered officials, it shows how far the field of paleontology has come in the last 60 years. And there are some soap opera theatrics to please the soap opera theatric portion of the audience - there's a love triangle of sorts between Dr. Serizawa, his fiancee Emiko, and a sailor named Ogata (trivia bit - Momoku Kuichi, who plays Emiko, would later reprise her role 40 years later in "Godzilla vs Destroyah"). Nonetheless, it was a groundbreaking movie that started a whole genre and was the wellspring for over a half-century's worth of stories. A great movie.
Did I mention Ifukube's brilliant score? Dark, melancholy and classic.
Godzilla Raids Again (1955)
After the international success of "Gojira" (except in America - it wouldn't appear here until '56), Toho quickly produced a sequel. Tomoyuki Tanaka returned as producer, and Eiji Tsuburya came back to create the special effects, but other than that, it was a new team of filmmakers led by director Motoyoshi Oda. In this one, a new Godzilla appears, fighting another mutated dinosaur named Anguirus (which looks like a spiky armadillo). Their battle takes them from a coastal island to the city of Osaka, and eventually to an icy island in the North Pacific. The story is witnessed through the eyes of a couple of "fish spotters", pilots who work for fishing companies by flying over the ocean and spotting schools of fish for their fleets to catch.
It's a decent monster movie, but that's just it - coming after the emotionally resonant "Gojira", it pales in comparison. But it's fun. While still in black and white, gone is the moody cinematography. Also missing is the great score by Ifukube. The new score is typical B-monster movie fare. And the new director just doesn't shoot the special effects sequences as effectively as Honda did. Oftentimes, the monster fights are shot in fast motion instead of slow motion, adding to the hokeyness.
Still, it features Godzilla in his first monster battle. And it also features actor Hiroshi Koizumi as one of the fish spotters. He would later return in many different roles in many more Godzilla movies. And Takashi Shimura reprises his role from "Gojira", Dr. Yamane.
-Spoiler Alert-
So Godzilla was killed in the original movie, completely dissolved by the Oxygen Destroyer. How could he star in a sequel? My theory - there were two Godzillas mutated by the A-bomb tests, a mated pair. I think that the original Godzilla was the female and the new Godzilla, from this movie onward, is male. Why do I think this? Because this new Godzilla kind of acts like a male jackass. He's constantly picking fights. He acts like a strict Japanese father figure when his kid comes around ("Son of Godzilla"). And he develops a crush on a cute native islander girl in "Godzilla vs the Sea Monster". And Anguirus? Godzilla clearly kills Anguirus in "Godzilla Raids Again", yet an Anguirus appears a couple of more times in future movies. Another mutated mated pair? Perhaps. All speculation.
"Godzilla Raids Again" was eventually released in America. The distributor recut the movie and added lots of unnecessary narraration (also listen for the voice of George Takei, a.k.a. Mr. Sulu, as one of the dubbed voices). They also changed the title to "Gigantis, the Fire Monster". Why, you might ask, since "Godzilla, King of the Monsters" had been such a big hit in America, would they omit Godzilla's name entirely? Nobody knows for sure, but it's widely suspected that the new distributor feared that there would be legal repercussions if they used the "Godzilla" name, so they changed it just to be sure. They probably didn't have to, but they did.
Varan the Unbelievable (1958)
Here it is, the final black and white kaiju movie released by Toho. After burying Godzilla in an avalanche at the end of "Godzilla Raids Again", Toho decided to try their hand at making some all-new monsters to take over for the Big G. One of the first was "Varan the Unbelievable".
In a remote area of northern Japan, referred to as the "Tibet of Japan", a couple of university students have gone missing while looking for a rare Siberian butterfly. The sister of one of the missing men (a reporter), accompanied by her fat, funny photographer co-worker and another university student (who's only motivation, I can figure, is to get into the young lady's pants) travel to a remote village who's inhabitants live in fear of their "god" who lives in a nearby lake. Then a stupid dog crosses the village/lake barrier, followed by a stupid kid, chasing the dog. Then our stupid heroes decide to go after the stupid kid and the stupid dog. Our stupid heroes manage to convince the stupid villagers (except for the high priest) to join them in their search. This pisses off the "god", which is actually a giant four-legged lizard named Varan, who lives in the lake. Varan eats the high priest, who was the only smart person in the area.
Then the stupid military arrives. They stupidly decide to shoot the lake full of poison, which pisses off Varan. Varan says "screw this" and takes off into the air like a flying squirrel. He heads for (where else?) Tokyo. The stupid military throws everything they have at him, pissing him off even more. Then a scientist shows up (played by Akihiko Hirata, who also played Dr. Serizawa in "Gojira") with some high powered bombs they use to blow up mountains. They make Varan swallow a couple of these bombs, then detonate them. Varan, in major need of some extra-strength Rolaids, shambles out the sea.
The moral of the story: humans just can't leave well enough alone.
The original team who made "Gojira" reunited for this one - director Honda, writer Sekizawa, effects man Tsuburya, composer Ifukube. Lightning, however, did not strike twice, and "Varan the Unbelievable" never took off either in Japan or America (where it arrived in a heavily edited and reworked version). Varan does return, however. He makes a cameo appearance in "Destroy All Monsters" (1969). Still, this movie is fun in a "Mystery Science Theater 3000" sort of way, and Ifukube goes above and beyond to deliver another classic score - many of the musical tracks from this movie would go on to become classic Toho monster movie themes in the years to come. Here's the trailer for the American version. . .
Whew. Thus endeth the lesson for today. When we return, Godzilla gains a couple of disciples and his legend continues to grow.
Saturday, July 30, 2011
Thursday, July 14, 2011
Summer Movie Roundup: Championship Edition
I've been asked to share my opinions the following movies. You have been warned.
The Ward
John Carpenter is one of my favorite directors of all time. It's been 10 years since his last movie ("Ghosts of Mars" - disappointing compared to most of his films, yet fun in a cheesy sort of way), so I was a little hesitant to see this at first. Turns out it's a decent little horror movie. In the 1960s, Amber Heard is sent to an all-female nuthouse after committing arson while wearing naught but her nightie. Faster than you can say "Sucker Punch", the other inmates begin to disappear, killed by what appears to be a filthy rotten ghost girl. I won't spoil anything for you, since the movie has a twist ending, but let me just say this - it's all been done before. While watching this movie, I came up with three options as to how exactly the movie would end. One of those options was correct. There are many creaky plots devices and horror movie cliches on display in this movie, which gives it a lot of the "been there, done that" syndrome. However, Amber Heard is a rather game lead actress, and the sound design and music are exceptionally creepy and atmospheric, with that classic spooky Carpenter aura (for me, that's like a warm blanket). And, even though I saw the end coming, it makes me want to rewatch the movie and see how it all fits together. While I feel this is ultimately a "middle-of-the-road" movie, this is one of the better horror movies of 2011. Unfortunately, it's been a rather lax year for horror. So far. . .
The Tree of Life
This is one of those movies that means something different to each and every person that watches it, as it was intended to. Some people experience intense personal revelations while watching it, others are bored stiff. For me, it's one of my favorite movies of the year. Here's a little filmgoing litmus test - if you can sit through "2001: A Space Odyssey" without getting restless, then this is exactly the movie for you. "The Tree of Life" not a science fiction movie, but it has that same sort of cosmic perspective and meandering pace that marks the Stanley Kubrick classic. What's the plot, you ask? There really isn't one. It's an experience, not a story. Sean Penn plays a high powered big city architect who's dissatisfied with his life, specifically in relation to his father (Brad Pitt). He reminisces on his life growing up with his family in the 1950s, and the loss of innocence that occurs over this period of time. Supposedly this is a rather autobiographical film for director Terrence Malick, but it's far more than just a mere biopic. It's about the eternal struggle between grace and nature, presented in microcosm (the story of the boy and his father) and macrocosm (the story of the creation of the universe and man's place within it). Like Mr. Malick's other films, the photography is rich and beautiful and unique, as is the sound design. There is an entire sequence depicting the creation of earth, featuring some startlingly gorgeous shots of outer space, as well as some extremely well done CGI dinosaurs. There's that creepy metaphorical attic. And then there's the end sequence, which is entirely interpretive and totally up to the viewer to decipher and find meaning in (like the Sean Penn character is trying to do through the entire movie). I know what the ending means to me. But I'm not telling.
13 Assassins
Lord Naritsugu is an Asshole. The first twenty minutes of this movie make that perfectly crystal clear. You really want to see him pay. Even worse, he's on the fast track to becoming a very influential player in the government of feudal Japan, which will put the entire country at the mercy of his Assholeness. So Lord Doi, the "chief justice" of Japan, goes behind the shogun's back and hires old samurai Shinzaemon to kill Naritsugu and save the country. For the next hour, we see Shinzaemon recruit and train his fellow samurai squad, plan the attack, mentally spar with Narisugu's head bodyguard (Shinzaemon's ex-classmate at samurai school) and prepare for the coming battle. The last 45 minutes or so is a very,very satisfying battle indeed. This, in case you haven't already deduced, is a samurai film. And it's also the perfect example of how to do a great action film. Director Takashi Miike dials back his usual over-the-top weirdness and plays it (mostly) straight, delivering a flick full of Japanese codes of honor and self-sacrifice, choice moments of humor, well-shot bloody swordplay, clear and simple (but effective) characterizations, and solid performances by many great Japanese character actors. And there are flaming bulls. This is my most-viewed movie of 2011, as of right now. It's a total crowd pleaser (yes, I've seen it with a couple of crowds). The only flaw - the English subtitle translations for the opening setup fly by waaaaay too quickly, but that's not a problem if you're watching it on dvd. By the way, it's on dvd now. Hint, hint.
Transformers: Dark of the Moon
Giant robots beating the crap out of each other, Part 3. That's pretty much it. On those terms, however, it succeeds smashingly well (ha ha, smashingly - get it?). I grew up with the original Saturday morning cartoon series in the 80s. While it was merely a marketing tool used to sell toys to young schmoes like me, there was still a solid mythology, stark characterizations and a few rather intriguing and imaginative plotlines. Then came the 1986 animated movie. In order to sell new toys, they killed off and replaced a helluva lot of characters, traumatizing thousands of kids (like me). Optimus Prime was replaced by Rodimus Prime, and I ceased to care about 'Transformers". The show and it's various incarnations continued, on and off, for next two decades. Then it was announced that Michael Bay would be making a new "Transformers" movie in 2007, based on the classic 80's cartoon series. I instantly knew from seeing Bay's previous movies that any of the intriguing storylines or well-drawn characters from the show would be jettisoned in favor of breakneck action, pretty music video imagery and lots of unfunny comic relief. I was not disappointed. However, friends, I actually enjoy watching a braindead Michael Bay movie now and again (like "The Rock" or "Armageddon" or "Bad Boys 2") so I felt that the original "Transformers" was 'okay' in my book.
The sequel sucks. It's so action packed it puts me to sleep. There was literally no script. And the less said about the twin "Jar-Jar" bots, the better.
Michael Bay's intention with the third movie was to make up for the horrible second movie. He succeeded. It's still full of unrealized potential, but it's the very definition of the term 'spectacle'. I urge you to see it in IMAX 3-D, if you've got the chance. Sure, it's still full of lame comic relief (although this is the funniest movie of the three), too-similar robot designs, Shia LaBeof's stupid domestic problems (although it is rather funny that he's saved the world twice and still can't get a job), a really fake-looking digital John F. Kennedy and wafer thin characterizations - but it's got Leonard Nimoy (freakin' awesome as Sentinel Prime), the real Buzz Aldrin (talking face-to-grill with Optimus Prime!), a high robot body count (traumatize those kids, Michael), the lovely Rosie Huntington-Whitely (replacing Megan Fox, who's presence is not missed), some actual emotional content that is effective and slightly moving, and a final hour-long action sequence in Chicago that is, by far, the high point of the series. Did I mention spectacular? And that slimy bastard Lazerbeak is in the movie. And I think the trailer is good, too. So when are the Dinobots gonna show up? In part 4? I needs me some Grimlock.
The Ward
John Carpenter is one of my favorite directors of all time. It's been 10 years since his last movie ("Ghosts of Mars" - disappointing compared to most of his films, yet fun in a cheesy sort of way), so I was a little hesitant to see this at first. Turns out it's a decent little horror movie. In the 1960s, Amber Heard is sent to an all-female nuthouse after committing arson while wearing naught but her nightie. Faster than you can say "Sucker Punch", the other inmates begin to disappear, killed by what appears to be a filthy rotten ghost girl. I won't spoil anything for you, since the movie has a twist ending, but let me just say this - it's all been done before. While watching this movie, I came up with three options as to how exactly the movie would end. One of those options was correct. There are many creaky plots devices and horror movie cliches on display in this movie, which gives it a lot of the "been there, done that" syndrome. However, Amber Heard is a rather game lead actress, and the sound design and music are exceptionally creepy and atmospheric, with that classic spooky Carpenter aura (for me, that's like a warm blanket). And, even though I saw the end coming, it makes me want to rewatch the movie and see how it all fits together. While I feel this is ultimately a "middle-of-the-road" movie, this is one of the better horror movies of 2011. Unfortunately, it's been a rather lax year for horror. So far. . .
The Tree of Life
This is one of those movies that means something different to each and every person that watches it, as it was intended to. Some people experience intense personal revelations while watching it, others are bored stiff. For me, it's one of my favorite movies of the year. Here's a little filmgoing litmus test - if you can sit through "2001: A Space Odyssey" without getting restless, then this is exactly the movie for you. "The Tree of Life" not a science fiction movie, but it has that same sort of cosmic perspective and meandering pace that marks the Stanley Kubrick classic. What's the plot, you ask? There really isn't one. It's an experience, not a story. Sean Penn plays a high powered big city architect who's dissatisfied with his life, specifically in relation to his father (Brad Pitt). He reminisces on his life growing up with his family in the 1950s, and the loss of innocence that occurs over this period of time. Supposedly this is a rather autobiographical film for director Terrence Malick, but it's far more than just a mere biopic. It's about the eternal struggle between grace and nature, presented in microcosm (the story of the boy and his father) and macrocosm (the story of the creation of the universe and man's place within it). Like Mr. Malick's other films, the photography is rich and beautiful and unique, as is the sound design. There is an entire sequence depicting the creation of earth, featuring some startlingly gorgeous shots of outer space, as well as some extremely well done CGI dinosaurs. There's that creepy metaphorical attic. And then there's the end sequence, which is entirely interpretive and totally up to the viewer to decipher and find meaning in (like the Sean Penn character is trying to do through the entire movie). I know what the ending means to me. But I'm not telling.
13 Assassins
Lord Naritsugu is an Asshole. The first twenty minutes of this movie make that perfectly crystal clear. You really want to see him pay. Even worse, he's on the fast track to becoming a very influential player in the government of feudal Japan, which will put the entire country at the mercy of his Assholeness. So Lord Doi, the "chief justice" of Japan, goes behind the shogun's back and hires old samurai Shinzaemon to kill Naritsugu and save the country. For the next hour, we see Shinzaemon recruit and train his fellow samurai squad, plan the attack, mentally spar with Narisugu's head bodyguard (Shinzaemon's ex-classmate at samurai school) and prepare for the coming battle. The last 45 minutes or so is a very,very satisfying battle indeed. This, in case you haven't already deduced, is a samurai film. And it's also the perfect example of how to do a great action film. Director Takashi Miike dials back his usual over-the-top weirdness and plays it (mostly) straight, delivering a flick full of Japanese codes of honor and self-sacrifice, choice moments of humor, well-shot bloody swordplay, clear and simple (but effective) characterizations, and solid performances by many great Japanese character actors. And there are flaming bulls. This is my most-viewed movie of 2011, as of right now. It's a total crowd pleaser (yes, I've seen it with a couple of crowds). The only flaw - the English subtitle translations for the opening setup fly by waaaaay too quickly, but that's not a problem if you're watching it on dvd. By the way, it's on dvd now. Hint, hint.
Transformers: Dark of the Moon
Giant robots beating the crap out of each other, Part 3. That's pretty much it. On those terms, however, it succeeds smashingly well (ha ha, smashingly - get it?). I grew up with the original Saturday morning cartoon series in the 80s. While it was merely a marketing tool used to sell toys to young schmoes like me, there was still a solid mythology, stark characterizations and a few rather intriguing and imaginative plotlines. Then came the 1986 animated movie. In order to sell new toys, they killed off and replaced a helluva lot of characters, traumatizing thousands of kids (like me). Optimus Prime was replaced by Rodimus Prime, and I ceased to care about 'Transformers". The show and it's various incarnations continued, on and off, for next two decades. Then it was announced that Michael Bay would be making a new "Transformers" movie in 2007, based on the classic 80's cartoon series. I instantly knew from seeing Bay's previous movies that any of the intriguing storylines or well-drawn characters from the show would be jettisoned in favor of breakneck action, pretty music video imagery and lots of unfunny comic relief. I was not disappointed. However, friends, I actually enjoy watching a braindead Michael Bay movie now and again (like "The Rock" or "Armageddon" or "Bad Boys 2") so I felt that the original "Transformers" was 'okay' in my book.
The sequel sucks. It's so action packed it puts me to sleep. There was literally no script. And the less said about the twin "Jar-Jar" bots, the better.
Michael Bay's intention with the third movie was to make up for the horrible second movie. He succeeded. It's still full of unrealized potential, but it's the very definition of the term 'spectacle'. I urge you to see it in IMAX 3-D, if you've got the chance. Sure, it's still full of lame comic relief (although this is the funniest movie of the three), too-similar robot designs, Shia LaBeof's stupid domestic problems (although it is rather funny that he's saved the world twice and still can't get a job), a really fake-looking digital John F. Kennedy and wafer thin characterizations - but it's got Leonard Nimoy (freakin' awesome as Sentinel Prime), the real Buzz Aldrin (talking face-to-grill with Optimus Prime!), a high robot body count (traumatize those kids, Michael), the lovely Rosie Huntington-Whitely (replacing Megan Fox, who's presence is not missed), some actual emotional content that is effective and slightly moving, and a final hour-long action sequence in Chicago that is, by far, the high point of the series. Did I mention spectacular? And that slimy bastard Lazerbeak is in the movie. And I think the trailer is good, too. So when are the Dinobots gonna show up? In part 4? I needs me some Grimlock.
Friday, July 8, 2011
What the Hell's a "Django"?
Quentin Tarantino's got a movie coming out next year called "Django Unchained". Like his previous movie "Inglorious Basterds", it will be a loose remake of a classic movie from the 60's-70's grindhouse era, in this case a movie called "Django"(1966). Any Tarantino fan who watches the original "Django" will witness the origins of his filmmaking style, as this is one of his favorite movies and was clearly an enormous influence on him as an artist. Everything from the tone of storytelling, to the over-the-top violence (there's a scene where the villain cuts off a guys's ear and makes him eat it - shades of "Reservoir Dogs"), to the period soundtrack, to the way the movie was shot (there are camera shots in the "Kill Bill" movies taken directly from this movie) screams Tarantino.
Yeah, but what the hell is "Django"? Well, it's the name of the main character. Alright, fine. . .
Django (1966)
Spaghetti Western (n): A specific genre of film mostly exclusive to the 60's-70's. They are American-set Westerns made by Italian filmmakers (and usually filmed in Spain). An Italian director named Sergio Leone popularized the genre when he made a film called "A Fistful of Dollars" in 1964, starring some television actor named Clint Eastwood. It was a huge worldwide hit, and after two successful sequels, "For a Few Dollars More" (1965) and "The Good, the Bad and the Ugly" (1966), the spaghetti western was cemented as one of the most profitable film genres on the planet. Many, many imitators soon sprung out of the woodwork, and one of these imitators was "Django", directed by Sergio Carbucci and starring a relatively unknown Italian actor named Franco Nero. It's worldwide box office success eclipsed that of Leone's "Dollars" trilogy and a new phenomenon was born. Funnily enough, the movie got a bare-bones release in America and, to this day, "Django" remains only a cult film.
Allow me to illustrate exactly how popular the original "Django" was around the rest of the world. From 1966 to 1974, there were over sixty movies released with the name Django in the title. Keep in mind that only one of these movies was an actual sequel - film distributors, in order to cash in on the hype and raise box office numbers, would add the name Django to the titles of their movies. None of these movies had characters named Django in them, originally. Heck, a lot of these movies weren't even Westerns! Imagine if, after the success of "Star Wars", every movie for the next few years had Star Wars in the title! "The Star Wars Terminator". " Raiders of the Lost Star Wars Ark". "Terms of Star Wars Endearment". Crazy.
Plot - When we first meet Django, he's marching across the muddy plains while dragging a coffin behind him. He's on a mission - to find and kill the man responsible for murdering his wife. The man in question, Jackson, is an ex-Confederate soldier who leads a gang of red-hooded hoodlums who operate near a town on the U.S.-Mexican border. These guys like to burn crosses, and they really hate people who aren't white. Hmmm, sounds familiar. . .
Along the way, he gets mixed up with a gang of Mexican banditos and must play each group off of one another. Steely-eyed Franco Nero is Django, and he's the epitome of badass, even when he's getting his bad ass handed to him. Nero became a huge international star after this movie came out, and still is today. He was never very popular in America, yet he still appeared in the occasional stateside film (he was the main drug dealer villain in "Die Hard 2", and his voice can currently be heard in "Cars 2").
This is a great party movie. It's campy, bloody, crowd-pleasing and has a great, catchy theme song which became an international phenomenon in its own right. Lots of fun for appreciators of classic badass cinema. A Tarantino-directed remake might possibly rule the Earth, but more on that later.
Cut to 2005. Tarantino is the Executive Producer of a horror movie called "Hostel" (directed by Eli Roth). The subject matter of "Hostel" is highly influenced by some of the horror movies of a Japanese director named Takashi Miike. In honor of the filmmaker, Tarantino asks Miike to make a cameo appearance in the movie. Miike says yes. Look for a Japanese dude with sunglasses, right before the main characters enter the hostel.
In 2006, Miike decides to make a Western of his own. He calls it -
Sukiyaki Western Django (2007)
As a way of saying thanks to Tarantino, Miike gives Quentin a role in his film. The circle is now complete.
Let me clarify - "Django" was a huge hit in Japan, and a major influence on Miike as well. Takashi Miike is one of my all-time favorite filmmakers - "The Happiness of the Katakuris", "Audition", "Gozu", the "Dead or Alive" trilogy, "The Bird People in China", "The Great Yokai War", "Zebraman", "Ichi the Killer", "Rainy Dog" and one of my favorite movies of 2011, "13 Assassins". Watching a movie from "Madman Miike" is like opening a box of surprises - sometimes revolting, sometimes beautiful. But I like to say that his movies, as extreme as they can get, are chock full of heartfelt weirdness.
"Sukiyaki Western Django" is the story of a nameless gunslinger on a quest for vengeance who wanders into the middle of a gang war between the red-clad Heike and the white-clad Genji clans. Caught in the middle are the hapless townsfolk, including the sheriff, my favorite character in the movie. Years of being pushed around by the gangs has split his personality in two - he's constantly arguing with himself, Gollum in a cowboy hat. Tarantino plays an ace gunslinger who has peripheral ties to the story, and he overacts as only Quentin Tarantino can. Which means a lot.
Like the title dish, sukiyaki, the movie is a mix of ingredients. From the weird, stylized opening scene, to the fact that all of the dialogue is in English (making for some, um, interesting line readings), to the cartoon violence, to the occasional strikingly beautiful image, to the antiquated sayings ("Keep it in your pants, lily-liver!"), to Miike's trademark food fetishes, to the deadly serious flashback scene, to some "Kill Bill"-like animated inserts, to the tonality shifts (uber-cool to stupid funny to brutally serious and back again), to the samurai versus cowboy motif, to the Japanese language rock-opera version of the "Django" theme song, this movie is insane - and the perfect second part in a "Django" double feature.
And in case you were wondering if this movie has a connection to the original "Django", well, yes. Besides references to the original sprinkled throughout the film, the closing moments of the story reveal exactly how this movie ties in with the 1966 classic. I won't spoil it for you. It's kind of preposterous, and I wouldn't dare rob you of this revelation.
So. 2012. Quentin Tarantino's "Django Unchained". As of right now, Leonardo DiCaprio will be playing the main villain. Jamie Foxx was just cast as Django (beating out Will Smith, who lobbied for the role). Christophe Waltz (the Jew Hunter from "Inglorious Basterds") is Django's Obi-Wan Kenobi. And Samuel L. Jackson will make an appearance, of course. Rumor has it, Lady Gaga might be in the movie, too. Or maybe she will be providing a modern update of the Django theme, who knows?
Point is, I'm there. And hopefully you will be there, too.
Yeah, but what the hell is "Django"? Well, it's the name of the main character. Alright, fine. . .
Django (1966)
Spaghetti Western (n): A specific genre of film mostly exclusive to the 60's-70's. They are American-set Westerns made by Italian filmmakers (and usually filmed in Spain). An Italian director named Sergio Leone popularized the genre when he made a film called "A Fistful of Dollars" in 1964, starring some television actor named Clint Eastwood. It was a huge worldwide hit, and after two successful sequels, "For a Few Dollars More" (1965) and "The Good, the Bad and the Ugly" (1966), the spaghetti western was cemented as one of the most profitable film genres on the planet. Many, many imitators soon sprung out of the woodwork, and one of these imitators was "Django", directed by Sergio Carbucci and starring a relatively unknown Italian actor named Franco Nero. It's worldwide box office success eclipsed that of Leone's "Dollars" trilogy and a new phenomenon was born. Funnily enough, the movie got a bare-bones release in America and, to this day, "Django" remains only a cult film.
Allow me to illustrate exactly how popular the original "Django" was around the rest of the world. From 1966 to 1974, there were over sixty movies released with the name Django in the title. Keep in mind that only one of these movies was an actual sequel - film distributors, in order to cash in on the hype and raise box office numbers, would add the name Django to the titles of their movies. None of these movies had characters named Django in them, originally. Heck, a lot of these movies weren't even Westerns! Imagine if, after the success of "Star Wars", every movie for the next few years had Star Wars in the title! "The Star Wars Terminator". " Raiders of the Lost Star Wars Ark". "Terms of Star Wars Endearment". Crazy.
Plot - When we first meet Django, he's marching across the muddy plains while dragging a coffin behind him. He's on a mission - to find and kill the man responsible for murdering his wife. The man in question, Jackson, is an ex-Confederate soldier who leads a gang of red-hooded hoodlums who operate near a town on the U.S.-Mexican border. These guys like to burn crosses, and they really hate people who aren't white. Hmmm, sounds familiar. . .
Along the way, he gets mixed up with a gang of Mexican banditos and must play each group off of one another. Steely-eyed Franco Nero is Django, and he's the epitome of badass, even when he's getting his bad ass handed to him. Nero became a huge international star after this movie came out, and still is today. He was never very popular in America, yet he still appeared in the occasional stateside film (he was the main drug dealer villain in "Die Hard 2", and his voice can currently be heard in "Cars 2").
This is a great party movie. It's campy, bloody, crowd-pleasing and has a great, catchy theme song which became an international phenomenon in its own right. Lots of fun for appreciators of classic badass cinema. A Tarantino-directed remake might possibly rule the Earth, but more on that later.
Cut to 2005. Tarantino is the Executive Producer of a horror movie called "Hostel" (directed by Eli Roth). The subject matter of "Hostel" is highly influenced by some of the horror movies of a Japanese director named Takashi Miike. In honor of the filmmaker, Tarantino asks Miike to make a cameo appearance in the movie. Miike says yes. Look for a Japanese dude with sunglasses, right before the main characters enter the hostel.
In 2006, Miike decides to make a Western of his own. He calls it -
Sukiyaki Western Django (2007)
As a way of saying thanks to Tarantino, Miike gives Quentin a role in his film. The circle is now complete.
Let me clarify - "Django" was a huge hit in Japan, and a major influence on Miike as well. Takashi Miike is one of my all-time favorite filmmakers - "The Happiness of the Katakuris", "Audition", "Gozu", the "Dead or Alive" trilogy, "The Bird People in China", "The Great Yokai War", "Zebraman", "Ichi the Killer", "Rainy Dog" and one of my favorite movies of 2011, "13 Assassins". Watching a movie from "Madman Miike" is like opening a box of surprises - sometimes revolting, sometimes beautiful. But I like to say that his movies, as extreme as they can get, are chock full of heartfelt weirdness.
"Sukiyaki Western Django" is the story of a nameless gunslinger on a quest for vengeance who wanders into the middle of a gang war between the red-clad Heike and the white-clad Genji clans. Caught in the middle are the hapless townsfolk, including the sheriff, my favorite character in the movie. Years of being pushed around by the gangs has split his personality in two - he's constantly arguing with himself, Gollum in a cowboy hat. Tarantino plays an ace gunslinger who has peripheral ties to the story, and he overacts as only Quentin Tarantino can. Which means a lot.
Like the title dish, sukiyaki, the movie is a mix of ingredients. From the weird, stylized opening scene, to the fact that all of the dialogue is in English (making for some, um, interesting line readings), to the cartoon violence, to the occasional strikingly beautiful image, to the antiquated sayings ("Keep it in your pants, lily-liver!"), to Miike's trademark food fetishes, to the deadly serious flashback scene, to some "Kill Bill"-like animated inserts, to the tonality shifts (uber-cool to stupid funny to brutally serious and back again), to the samurai versus cowboy motif, to the Japanese language rock-opera version of the "Django" theme song, this movie is insane - and the perfect second part in a "Django" double feature.
And in case you were wondering if this movie has a connection to the original "Django", well, yes. Besides references to the original sprinkled throughout the film, the closing moments of the story reveal exactly how this movie ties in with the 1966 classic. I won't spoil it for you. It's kind of preposterous, and I wouldn't dare rob you of this revelation.
So. 2012. Quentin Tarantino's "Django Unchained". As of right now, Leonardo DiCaprio will be playing the main villain. Jamie Foxx was just cast as Django (beating out Will Smith, who lobbied for the role). Christophe Waltz (the Jew Hunter from "Inglorious Basterds") is Django's Obi-Wan Kenobi. And Samuel L. Jackson will make an appearance, of course. Rumor has it, Lady Gaga might be in the movie, too. Or maybe she will be providing a modern update of the Django theme, who knows?
Point is, I'm there. And hopefully you will be there, too.
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