Into The Wild Reviews: Gamera Guardian Of The Universe (1995)

"Sometimes you gotta fight for your right to have a monster!"  - Tori Amos

Upon first venturing this blog as an extension of the wall of busy that I often find myself chasing regularly, one of the prime inspirations was that of my love of not only reviewing the kinds of movies and media that pique the curiosity, but also of favorites from years past. Which leads to the site's namesake which hopefully aptly describes the often scattershot focus of material covered, as well as my adoration for old Japanese genre works which played almost ritualistically in the family home as a child. This upcoming review, while of a film reboot made over sixteen years ago, helps represent a major shift in not only how I enjoyed this style of work, but of how I looked at it in a broader context. As often as some may gripe about my giving giant monster movies a pass, while megadollar Disney revisions a brutal shaft, it's important to consider the mighty word..intent..

                                  Hard to believe it's been sixteen years since the theatrical re-interpretation of Daiei's rocket powered, hard-shelled answer to the big G hit Japanese screens with a more than welcome reception, and granted the classic kaiju feature a spectacular new visual arsenal. Combining the sure-handed direction of former Nikkatsu director, Shusuke Kaneko (later known for his films based upon the popular Death Note manga series), alongside former Gainax luminary & storyboard mastermind, Shinji Higuchi, and featuring script by Mamoru Oshii stalwart, Kazunori Ito, this version of the often laughable Gamera franchise that started in the wake of a Gojira-taming period in the 1960s, is a much more serious, kinetic affair that gives the origin of the legendary "Friend To All Children" a refreshing spin.

Beginning somewhere south of Japan, near the Philippines, a trawler carrying a hidden cache of plutonium runs into what is initially assumed to be a strange, "moving" atoll. Upon closer inspection, the so-called mini-island hosts dozens upon dozens of metallic mitama-shaped objects that are naturally collected, until crew members run across a stone slab covered in archaic writing inscribed into it. But after a few pictures are taken, and before further analysis could be made, a tremor hits the atoll, destroying the slab and throwing crew members into the ocean where one of them for a brief moment sees the terrifying vision of this questionable island...staring right back at them.

As this bizarre discovery unfolds, other nearby islands are experiencing attacks by what some are calling giant birds. The discovery enlists the expertise of scientist Mayumi Nagamine (Shinobu Nakayama of Fist Of Legend & Rakutenshi fame) with the assistance of bumbling inspector Osako (Yukijiro Hotaru), to which they help piece together the mystery that these two grand scale events are (surprise!) directly co-related. Soon, both investigating parties convene, while one of the investigators hands one of the many found mitama-amulets from earlier to the daughter of head sleuth, Kusanagi. And it is here, that the connection between child and you-know-who comes into play. And not a moment too soon as the flying enemy (behold, the return of fan favorite, Gyaos!) is on the advance(and possibly growing in number), and no military force seems capable of stopping them!

Not if this shellfull of turtle-meated badassedness has anything to say about it.

And that's pretty much the plot of this initial entry, which pretty much sticks to the formula of many a kaiju favorite. But what Gamera: Guardian Of The Universe lacks in terms of story nuance, it more than makes up for in sheer energy, and visual punch. Even as a costumed actors-in-suits rolling around detailed miniatures are concerned, the craft, cinematography, and editing congeal in ways that the Heisei Gojira films just weren't delivering at the time. There is a gravity and energy to the monster battles in this piece that while still scream toy set disaster time at the playpen, there is also a true feeling of enthusiasm for the work that truly goes a long way for films of this ilk. There is even a "humans attempt large scale plan to save Tokyo" sequence that works to nice effect. And while the Gyaos closeup effects resemble little more than done-up hand puppets at times, the articulation is much more versatile than its previous appearance in Gamera Vs. Gyaos in 1967. We even have a spirited take on the "attack the local train line" scene, which works.There are even some aerial battles here that are pretty reminiscent of indelible images from the classic Gainax anime, Shin Seiki Evangelion. And possibly the biggest standout image of them all is of a Gyaos perched into a nest-like crater made out of the Tokyo Tower as the sun grants us a startling visage.

Of the new decisions made to this rendition of the monsters, the concept that Gamera was in fact created to counter the advance of the also human-made Gyaos hordes is an interesting switch to the admittedly throwaway ancient god idea of the original. Adding a dose of ecological message not only granted Gamera a timeliness closer in tone to the original Gojira, but it also plants humanity square in the moral quagmire, as Gyaos was initially designed to cleanse the Earth from polluting forces. It makes Gamera on one hand our guardian, but it also makes the viewer wonder to which extent does this trust stretch. The implication that our bond with the legendary turtle is tentative at best helps set up a new franchise nicely.

And what of the human element in the film? Again, as far as these films tend to go, the humans are rarely given much shrift to work with, and with this one it's no exception. The acting is hammy at best, and awkward at worst. Which for most other films would be the kiss of death. But for this writer, this comes as no real shakes since when one considers it, kaiju, as well as most tokusatsu films are known for stilted acting, and occasional screen mugging (the classic "gasp" look always comes to mind). In fact, it has become part of the vernacular. When one watches a Kaneko film, or any other piece from the JFX world, it's almost expected. Regardless, the presence of Nakayama & veteran Onodera as Naoya Kusanagi are more than welcome. But even if little is done with the character, the real standout is Ayako Fujitani (Shiki-Jitsu) who's mostly unspoken connection with the heroic creature still carries visual impact. (Could it be the stare? Sidenote: Fujitani is also widely known as the daughter of the one-and-only Steven Segal) 

Another thing one can't help noticing this go-round is the multiple nods made to other films made around the time of the film's 1995 release. And when one thinks giant reptilian creatures on a rampage, and munching down on anything running on two legs, one can only really consider Jurassic Park(1993) for the expected samples. From the gag-inducing diet-check scene, to even a few snatches of Kou Otani's otherwise excellent score, it's clear that Kaneko & Co. took big notice of Spielberg's CG-drowned monsterfest.

So the first entry into Gamera's Heisei Era remains something of a kaiju classic. And while it still requires quite a bit more seriousness, and power to match that of the Great heavyweight, Gamera: Guardian Of The Universe at sixteen years continues to be a wholly entertaining marriage of FX schools, and genre era. It's cheeky enough for some great laughs, but it also offers some serious bang for monster-loving buck. Of the big G is still the king, then little G is the immovable prince. And with three more movies (including a well-noted "fan film", and a more recent "inspired"-style piece.) it was clear that this Testudine icon still bore some fire within.

Coming To Terms With Evangelion 2.22

Well, I guess it's time to post about something I swore I wasn't going to. After two mildly diverging posts regarding this film via Anime Diet( Here & Here) , I guess it had made a much bigger impact on me than I had initially imagined. And it isn't for lack of trying that the second installment of Gainax/Khara's big-budget redux/sequel to the Shin Seiki Evangelion saga came off to me as something of a disappointment. But upon catching this again in all of its Blu-ray glory this week, it is perhaps more about running into what this film is by form, rather than what I was hoping it would have been as a feature. And in this manner, I rather enjoyed it much more this time than any time prior. And it is perhaps due to the fact that I am finally coming around to what it is, rather than some kind of imagined ideal. Especially considering that there was indeed a time when a Hollywood-produced live action version was in the planning stages.

And with this thought in mind, I can now see that what has happened is something quite possibly BETTER than anything that could come out of a large english-language production. (consider - AKIRA..) So what has happened here, is that Anno/Tsurumaki have beat Hollywood at their own game and fashioned a brilliant response to what could have been, as well as a reasoned response to the original classic series and films without tarnishing any of the legacy that made this property what it is. To now consider that this is a splashy, loud actioner with a reverence to what has come before makes it a heartening project when considering what it could have also been; a cold, forced rehash of the series made only for venture capital reasons.

And seeing as how in many ways with it's relentless easter egging, and scattered visual & thematic clues, what we have is a piece that functions less as a complete, coherent narrative, and more of an exploration of this apocalyptic tale from a looped perspective. With our leads unknowingly in a position of "doing it all over again", we are privy to a sort of spiritual growth of sorts. It works not unlike when a celebrated musician does a revitalized, mature version of an old favorite. The notes have a taste for the familiar, but the keys have changed, offering another emotional dimension that wasn't there prior. This is where 2.22 works for me personally. As a testament to the story and characters that have gone on to icon status with their broken, flawed personalities, and conflicting motives, to see them take new turns, and exhibit parts of themselves that the original scenario denied them is a welcome feeling. And this is done in a way that in no manner feels as if it's some kind of "apology for past sins", but rather an affirmation that these parts of Shinji, Rei, & Asuka were always there, the chance just never before revealed themselves.It is here that the films work as moving new twists in the mythos, and supercede the jumbled, and often rushed narrative which is likely what would have happened in a much less satisfying fashion in an american version.

So yes, this is an incredibly commercial, "actionized" take on what was a much more drawn out, pessimistic tale the first time around. But this was the Anno of the 1990s, with all the pain and sadness that came with it. So for better or worse, this could very well be the famed anime director's way of signalling the anime/manga creators of the future to continue creating more personally-driven works within a commercial medium. That it is in fact possible to inspire weighty discussion with an art form that has recently fallen into disarray. Goodness willing that even more new and original creations will come to fruition after the wholly new Eva films come out with an entirely unprecedented new finale. If these films can build upon the legacy of such a classic series, and thereby inspire a healing Japan's need for newness, then maybe these films are a completely necessary means of revealing a new identity.

Instrumentality's Legacy Perpetuated (words of an apologist?)

Spent the last week rejoicing over the Japanese DVD/Blu-Ray release of Rebuild Of Evangelion 2.22: You Can (Not) Advance, and adding a few more thoughts to the ether about a film that has me less divided than it had last summer. Now obviously, up and getting the disc itself is perhaps the most glaring evidence that I didn't dislike it as much as my previous Anime Diet review had implied. To be wholly humble, there is still a part of me that has a modicum of sympathy for the work of Anno & Tsurumaki, despite their more commercial output in recent years. And despite the fact that the updates/quasi-sequels to early favorites such as Evangelion, and Top Wo Nerae! Gunbuster are essentially big buck cash-grabs, tugging at our collective nostalgia for the "glory" days of the once groundbreaking studio, I can't help but also enjoy the visceral rush coming from technical angles.

But thankfully where Rebuild 1.0 merely implies a deviation from the classically broken original narrative, the second film goes out of its way to do the unthinkable by fragging familiarity, offering a singularly ballsy new spin on the story's endgame. Not all is wunderbar of course, but it's certainly exciting to witness. Upon rewatching the film, I gained a little additional perspective, and respect for why the choices were made for this particular version.( I still stand by this being for far better reasons than merely those akin to a certain Mr. Lucas in dealing with an already culturally significant piece of pop mythology. Anno & Co. aren't out to debunk the notions expressed in the previous tv classic, but rather are working to compliment it in fun & strange ways) And as perhaps expected, I had much to share on the matter here (and with a possibly unpopular set of theories tacked onto it).

Only the adventurous need  click.