Monday, January 22, 2024

The Bold and Bizarre World of Cinematic Yokai

 

The Great Monster War - Assorted Yokai

I love yokai! There, I said it. Ever since I was introduced to these fanciful and frightening beings in all their cinematic glory, I can’t get enough of the things that go bump in the night. But what exactly are yokai? These reclusive, elusive creatures belong to a broad category of mythical spirits (or monsters) that inhabit every corner of the Japanese countryside (and in some urban areas). Part cryptid, part urban legend, yokai are an integral component of Japanese folklore and pop culture. Chances are, if you’ve watched many Japanese movies, anime, or manga, you’ve seen yokai (sometimes translated as spirits, monsters, demons, or goblins) already in one form or another. But what are they?

Gashadokuro

There are literally hundreds of yokai, as diverse as the habitats they represent. Their temperament ranges from harmless to deadly. Many are tricksters who only want to frighten people away, but encounters with some can result in a nasty end. While the variety of yokai are far too numerous to cover here, I’ve chosen to focus on a baker’s dozen of the more popular examples that you’re most likely to encounter on your TV screen. What follows is a brief guide to yokai in the movies and where you can view them. Happy hunting! 

Kappa

Kappa (Water Sprite) 

By far one of the most widely known (and frequently depicted) yokai are kappa. While there are several variations, the stereotypical kappa is humanoid in appearance, but with a turtle’s beak and shell, as well as a ceramic plate on top of its head that must remain wet to maintain its vitality. Kappa are characterized by their fondness for sumo wrestling, eating cucumbers (Sushi fans might recognize the “kappa roll,” which includes – you guessed it.), and excessive flatulence. Although they’re generally depicted as benign, they have a mischievous streak, with a tendency to drag people into the waterways where they live. Some are also thought to attack the posterior of swimmers for a mythical organ within the colon. 

Where can you see them?

You don’t have to look very hard to find kappa in Japanese fantasy films. They’re featured prominently in Yokai Monsters: Spook Warfare (aka: The Great Yokai War) (1968) and Takashi Miike’s remake, The Great Yokai War (2005). In Summer Days with Coo (2007), they’re the star attraction. And before The Shape of Water (2017) introduced us to the possibility of (ahem) human-monster relations, the surprisingly charming Underwater Love (2011) featured the yokai in quite possibly the only Kappa-themed pinku musical. And last but definitely least, an “ordinary” kappa grows to extraordinary proportions in the middling Kaijū eiga-spoof, Death Kappa (2010).

Onibaba

Onibaba (Demon Hag) 

This is one yokai you don’t want to mess with. Appearing as an old woman, the Onibaba feasts on the livers of unborn children and the flesh of wayward travelers. Legend has it that she started out as a human being, but unfortunate circumstances forced her into existence as a supernatural entity.    

Where can you see them?

Look no further than Onibaba (1964), which approaches the legendary yokai from a more pragmatic perspective.

Nopperabo

Nopperabo (No-face) 

Perhaps the uncanniest yokai of them all are the Nopperabo, proving that when it comes to frights, less is sometimes more. They look normal enough until they turn around, revealing a face completely devoid of features (“Did they look like this?”). They’re not inherently dangerous like the Onibaba, but delight in creeping out unsuspecting humans who happen to cross their path. 

Where can you see them? 

Examples of these faceless wonders can be found in Along with Ghosts (1969) and Pom Poko (1994). 

Kara-kasa

Kara-kasa (Haunted Umbrella) 

My personal favorite yokai isn’t dangerous or especially fearsome, but relies on the element of surprise. A discarded oiled-paper umbrella takes on life of its own, sporting one large eye, a single shapely leg where the handle should be, and a solitary sandal. A natural-born trickster, the Kara-kasa likes to drop in on people unexpectedly. If their appearance isn’t enough to send someone running, they might provide additional enticement to vacate the premises with a sloppy lick from their serpentine tongue. 

Where can you see them? 

You’ll find examples of the kara-kasa in Yokai Monsters: Spook Warfare (1968) and 100 Monsters (1968). Also, watch for cameos in Pom Poko (1994) and Sakuya: Slayer of Demons (2000).

Rokurokubi

Rokurokubi (Long-necked Woman) 

At first glance, the Rokurokubi appear to be a normal human being (much like the nopperabo), but just when you’re lulled into a false sense of security, their true nature appears. The rokurokubi (who are uniformly female) enjoy scaring men out of their wits (and sometimes their life essence) with their absurdly long, twisty necks. 

Where can you see them? 

Rokurokubi are nearly as prevalent in films as kappa, appearing in Yokai Monsters: Spook Warfare (1968), 100 Monsters, The Great Yokai War (2005), and (briefly) in Pom Poko (1994).

 

Yuki-Onna

Yuki-Onna (Snow Woman) 

One of the more dangerous yokai, the Yuki-Onna resembles an attractive woman with an extremely pale complexion. They roam the snowy countryside looking for victims. Anyone unlucky enough to encounter them runs the risk of having his or her life energy drained and freezing to death.  

Where can you see them? 

The Yuki-Onna enjoyed her time in spotlight in a segment of Kwaidan (1964), and starred in her own film, The Snow Woman (1968). She also makes a guest appearance in The Great Yokai War (2005).

Kuchisake-Onna

Kuchisake-Onna (Slit-Mouthed Woman) 

One of the more recent yokai, Kuchisake Onna is the stuff of urban legend (and nightmares). Pray you never run into her. The lower portion of her face is concealed by a surgical mask or other piece of cloth, which conceals the fact that her mouth is slit from ear to ear in the hideous approximation of a smile. There’s no correct answer to her challenge, “Am I pretty?” If you answer “yes,” she follows you home, where a violent death awaits. If the answer is “no,” she reveals her visage, slashing the victim’s face in a grotesque mimicry of her disfigurement. 

Where can you see them? 

Perhaps not the best representation of the Kuchisake Onna, but Carved: The Slit-Mouthed Woman (2007) has its unsettling moments. 

Tanuki

Tanuki (Raccoon Dog) 

Unlike the other yokai on this list, Tanuki have real-life counterparts, inhabiting the Japanese countryside, albeit in dwindling numbers. Not really raccoons, but a member of the canine family, folklore suggests these critters possess supernatural properties. With their reputation as natural-born tricksters, Tanuki enjoy deceiving humans with their shape-shifting abilities. They’re also known for their enormous testicles (I didn’t make that up), as depicted by the ubiquitous statuettes around their native country. 

Where can you see them? 

Look no further than the bittersweet Pom Poko (1994), an entire movie devoted to the wily, fun-loving creatures, who wage a losing war with humans encroaching on their habitat.

Nuppeppo

Nuppeppo 

While they’re not exactly the rock stars of the yokai world, Nuppeppo (which is also Japanese slang for someone who wears too much makeup), you don’t have to look too hard to find them in the cinematic world (the real world is another story). These bipedal creatures are vaguely human in shape, but resemble a squat, featureless blob with legs, with a tendency to wander around abandoned places and graveyards. 

Where can you see them? 

You can find an example of the Nuppeppo in Yokai Monsters: Spook Warfare (1968) and 100 Monsters (1968).

Tengu

Tengu (Mountain Goblin) 

Tengu are supernatural mountain spirits that resemble men with wings and long noses. As with many yokai, there are many variations. They’re ambiguous in nature, however, as portrayed in film, they’re generally benevolent and monk-like. 

Where can you see them? 

One appears in The Great Monster War (2005), although with a blue complexion (rather than red).

Wanyudo

Wanyudo (Wheel Priest) 

The Wanyudo makes it presence known in spectacular fashion: as a fiery spinning wagon wheel with the face of a priest in the middle. This yokai has a vengeful streak, ready to run over whomever is foolish enough to get in their way. The Wanyudo dines on the souls of its unfortunate victims, subsequently dragging their bodies to hell. Villagers protect themselves against the Wanyudo by adorning their doors with a talisman. 

Where can you see them? 

You can catch a glimpse of the Wanyudo in The Great Yokai War (2005), and briefly in Pom Poko (1994).

 

Abura Sumashi

 Abura Sumashi (Oil Presser) 

This unassuming yokai is short, with a huge, boulder-like head, and dressed in a straw raincoat. Not much is known about the Abura Sumashi, however, their distinctive appearance is attributed to a curse for stealing oil when they were still in human form. 

Where can you see them? 

An Abura Sumashi appears as the nominal leader of the yokai in Yokai Monsters: Spook Warfare (1968) and The Great Yokai War (2005).

Mokumokuren

Mokumokuren (Haunted Shoji Screen) 

While they’re among the least threatening of yokai, Mokumokuren’s harmless nature doesn’t diminish their ability to creep you out. Like some of their yokai brethren, Mokumokuren are a prime example of taking something inanimate and innocuous and turning it into something vaguely sinister. A prevalent aspect of traditional Japanese architecture is the sliding paper (shoji) screen. Now imagine said screen adorned with multiple pairs of eyes, and you’ve got a Mokumoku-ren. If you ever felt you were being watched when you were alone, this could be the culprit. 

Where can you see them? 

You can spot the offending décor in The Great Yokai War (2005) 

 

Sources for this article: Yokai Attack! The Japanese Monster Survival Guide, by Hiroko Yoda and Matt Alt; Strange Japanese Yokai, by Kenji Murakami; The Book of Yokai, by Michael Dylan Foster; The Night Parade of One Hundred Demons, by Matthew Meyer; Japandemonium Illustrated, The Yokai Encyclopedias of Toriyama Sekien

 

Sunday, January 7, 2024

Jigoku

Jigoku Poster

(1960) Directed by Nobuo Nakagawa; Written by Nobuo Nakagawa and Ichirô Miyagawa; Starring: Shigeru Amachi, Utako Mitsuya, Yôichi Numata, Hiroshi Hayashi, Jun Ôtomo, Akiko Yamashita, Kiyoko Tsuji, Fumiko Miyata and Akira Nakamura; Available on DVD 

Rating: ****

The King of Hell

“The Greek philosopher Carneades posed this question: There’s a plank, and two people are drowning. If one of them hangs on to the plank, the other will die. In such a situation, if the one with the plank gets rid of the one without, is that person guilty? That’s more or less the idea of ‘an act of necessity.’ Mr. Nakagawa (the film’s director) said it may not be guilt in a legal sense, but it is guilt.” – Ichirô Miyagawa (screenwriter) 

Cinema transports us to places we’ve never been, and sometimes where we’d never want to be. With Jigoku (the Japanese word for “hell.”), director/co-writer Nobuo Nakagawa takes us on a journey where few other films dare to tread. Nakagawa doesn’t merely suggest hell, or give us a brief glimpse of the horrors awaiting; a substantial portion of the film is devoted to taking the viewer into a Buddhist version of hell and its numerous torments.* While the major studios, such as Toho, probably wouldn’t touch this subject matter with a three-meter pole, Shintoho and producer Mitsugu Ôkura proved to be up to the task. Sort of the equivalent of the “Poverty Row” film companies of the ‘30s and ‘40s in the U.S., Shintoho was known for churning out films with more lurid content (often dealing with sex, crime, horror and pulpy science fiction). Sadly, Jigoku (aka: The Sinners of Hell) proved to be the short-lived studio’s swan song, but what a way to make an impact. 

* Fun Fact #1: Referring to producer Mitsugu Ôkura, screenwriter Ichirô Miyagawa commented: “…Mr. Ôkura called in Mr. Nakagawa, asking if he had any good projects in mind. Nakagawa said he’d like to shoot a film about bad people who should go to hell. Mr. Okura said, ‘All right. Make a film called Heaven and Hell.’ When we completed the script, Okura scolded us, saying heaven was nowhere to be seen. I dodged the issue by saying I would write about heaven in the sequel.” For the record, the sequel was never made. 

** Fun Fact #2: The film’s powerful imagery, depicting some of the many punishments awaiting sinners within the eight greater hells  was based, in part, on the 12th Century painting, Jigoku-zôshi (the “Hell Scroll”) and the 10th Century text, Ōjōyōshū by Buddhist monk Genshin.   

Tamura and Shirô

Shirô Shimizu (Shigeru Amachi) is a young graduate student, engaged to the daughter of one of his professors (Akira Nakamura). In the opening scene, he attends a lecture by said professor, discussing the Buddhist concept of hell, setting the stage for the rest of the film. One night, after riding home from his fiancée Yukiko’s (Utako Mitsuya) house he asks his friend Tamura (Yôichi Numata) to take a detour. Tamura hits a drunken yakuza (Hiroshi Izumida) who wandered into the road, but instead of stopping to help, drives away. The yakuza’s grief-stricken mother and girlfriend (Kiyoko Tsuji and Akiko Ono) vow revenge. Soon afterward, another tragedy befalls Shirô after he insists that his fiancée take a ride home in a taxi, only to witness her death in a traffic accident. But Shirô’s troubles are only beginning when he’s plagued by a cascade of calamities upon his return to his home town – all while being hounded by the enigmatic Tamura.

Tormented by Tamura

Virtually no one’s hands are clean in the punitive world of Jigoku. The movie’s Faustian figure, Tamura, appears again and again, not only to remind Shirô of his sins, but the trespasses of the other people in his life. Tamura, himself, is a contradiction – at once, a malevolent presence, as well as Shirô’s suppressed conscience. Whether Tamura exists as a distinct individual or only as a figment of Shirô’s conflicted mind, is never made clear. His purpose is to draw out everyone’s dark deeds into the light. Rather than a model of virtue, Yukiko’s father is reminded of his failings on the battlefield, when he deprived a fellow soldier of their last sip of water from a canteen. Like an angel of death, Tamura pops up in Shirô’s home town to witness his father’s neglectful treatment of retirement home residents, feeding them tainted fish and sake.   

One of the Damned

Jigoku was groundbreaking in its explicit depiction of Buddhist hell’s myriad torments, based on karmic retribution. The damned are doomed to a perpetual hell of their own making, where punishment is doled out, based on their respective crimes in life. The final third of the film is devoted to a cornucopia of agonies in a nightmare landscape: people wade through a lake of filth, eyes are gouged out, bodies are flayed, and the damned are buried up to their necks (or inverted with only their feet sticking out).* It’s a disconcerting experience, bathed in red and green light, and redolent of symbolism throughout. 

* Fun Fact #3: According to actor Yôichi Numata, the studio was so cash-strapped that the cast had to dig their own holes.

A Fiery Fate

Jigoku was a box office disappointment, partially on account of mixed reviews and never receiving the distribution it deserved (the film company Shintoho ran out of money by that point), but it’s hard to imagine this surreal excursion into the underworld connecting with mainstream audiences. Although it likely baffled or disgusted those who managed to see it, the movie eventually became a cult classic in its native Japan, and has become a fertile ground for other filmmakers, following in Nakagawa’s footsteps (witness José Mojica Marins’ 1967 movie, This Night I’ll Possess Your Corpse, with its color hell-sequence). Its core message is simple: even if you can escape prosecution by the authorities or the scrutiny of your peers, you can’t flee your tormented conscience. Your mind becomes your own portable version of hell. Jigoku isn’t the easiest film to watch, nor the most narratively cohesive, but what it lacks in coherence, it makes up with an abundance of unforgettable imagery which will remain tattooed on your visual cortex. 

 

Sources for this article: “Building the Inferno,” 2006 making-of documentary for the Criterion DVD, Asian Horror, by Andy Richards; Japanese Visual Cultures:The Buddhist Hells; eMuseum – Tokyo National Museum

 


Tuesday, December 26, 2023

December Quick Picks and Pans

 

Next of Kin

Next of Kin (1982) Director/co-writer Tony Williams’ engrossing Australian gothic tale is full of surprises. Linda (Jacki Kerin) inherits her aunt’s retirement home (replete with the residents), an old gothic mansion (filmed at Overnewton Castle in Keilor, Victoria). She rekindles her romance with Barney (John Jarratt), an old flame, but soon discovers that all isn’t what it seems within the dusty recesses of the house. As the residents start mysteriously dying off, she begins to suspect that someone is gaslighting her – but for what purpose? This slow-burn thriller features excellent cinematography, strong performances by the cast, and a literally (and figuratively) explosive finale. 

Rating: ***½. Available on Blu-ray and Tubi 

The Shadow of the Cat

The Shadow of the Cat (1961) This John Gilling-directed film fits in nicely with the black-and-white Hammer thrillers of the late ‘50s and early ‘60s. With the help of his loyal servants, scheming husband Walter Venable (André Morell) perpetrates the death of his wealthy, elderly wife to secure her estate. The only witness to the murder is her beloved cat, who continually evades the tormented co-conspirators. When his niece Beth (Barbara Shelley) comes to stay with them, she quickly suspects something is terribly wrong, starting with their irrational fear of the cat. While The Shadow of the Cat might not be the best-remembered Hammer thriller of its era, it has enough atmosphere and twists to merit a watch (or two). 

Rating: ***½. Available on Blu-ray and DVD 

 

Looker

Looker (1981) Albert Finney stars as Dr. Larry Roberts, a Los Angeles-based plastic surgeon who fixes imperfections (perceived and otherwise) in fashion models, bestowing them with more desirable attributes. After the sudden deaths of some of his clients are chalked off to suicide, he attempts to prevent the same thing from happening to another model, Cindy Fairmont (Susan Dey). He stumbles upon a sinister plot, with signs pointing to unscrupulous Digital Matrix CEO John Reston (James Coburn). Writer/director Michael Chrichton’s tech-thriller is surprisingly prescient, with its concept of using virtual, computer-generated personalities to replace flesh-and-blood actors. The execution is sloppy, with plot holes galore, but the ahead-of-its-time premise makes this well worth a look. 

Rating: ***. Available on Blu-ray and DVD

 

Idaho Transfer

Idaho Transfer (1973) Peter Fonda directed this bleak, low-key science fiction film, which raises more questions than it answers. As part of a top-secret experiment (hidden from the scrutiny of the feds), a small group of young people travel 50+ years into the future. Due to an environmental cataclysm, most of the Earth’s population has been wiped out, so their mission is to repopulate the planet. Unfortunately for the intrepid bunch, things don’t go quite as planned. The movie suffers from lackluster performances by the young (mostly unknown) leads, and pacing borders on tedious. It’s almost redeemed, however, by its unique, lo-fi approach to time travel (travel by anyone over age 28 results in fatal kidney damage), and an ending that will make you wonder what you just watched. 

Rating: ***. Available on DVD and Tubi


The Man with Two Heads (1972) Writer/director/cinematographer Andy Milligan strikes again; this time, with his take on Robert Louis Stevenson’s enduring story, Dr. Jekyll and Mr. Hyde. Denis DeMarne stars as Dr. William Jekyll (inexplicably changed from Henry Jekyll in the original story) devises a serum to isolate the evil that dwells within all men, using himself as guinea pig. An eager assistant mucks up his formula, causing him to undergo a radical transformation, and bringing out suppressed violent urges. While Milligan’s film looks about as professional as your grandparents’ home movies, The Man with Two Heads manages to be more entertaining than Amicus’ more polished, albeit tepid, version, I, Monster, thanks to the main character’s vacillating moods and sadistic tendencies. Considering Milligan’s capricious nature, I suspect there were some autobiographical elements that came into play.   

Rating: **½. Available on Blu-ray, DVD, Tubi and Midnight Pulp


Monday, December 4, 2023

The Hammer-Amicus Blogathon IV – Final Recap

 

The Hammer-Amicus Blogathon Banner

All good things must come to an end, and so concludes the fourth edition of the Hammer-Amicus Blogathon, hosted by Yours Truly and Gill from Realweegiemidget Reviews. I can’t thank Gill enough for being such a wonderful co-host, and look forward to our future collaborations. And thanks to you, dear bloggers (and readers), for helping to make this something truly special. With 28 confirmed bloggers contributing (As of December 4th), this has been one of our biggest blogathons yet!

The Gorgon

As always, we were impressed with the variety of fascinating posts about the movies and people that made these two beloved production companies so exceptional. If we get any additional late submissions this week I’ll add ‘em to the list below.

The Skull

As Gill mentioned on her blog, Hammer-Amicus will take a break next year, but we look forward to its return in 2025. Meanwhile, since 2024 is just around the corner, we’d like to remind you that we have two brand-new blogathons looming on the horizon, and we’re itching to tell you about them. … Except you’ll have to wait just a bit longer. Until then, please enjoy the sensational posts below, and stay tuned for more blogging fun in the New Year!   

Sword of Sherwood Forest

In addition to today’s links, don’t miss the previous days’ submissions:

Day 1  

Day 2  

and Day 3 

  

Hammer Film Production


The Curse of Frankenstein

Sally Silverscreen from 18 Cinema Lane cautions us to beware the Curse of Frankenstein (1957) 

 

Asylum Poster

Join Rebecca from Taking Up Room, if you dare, as she visits the Asylum (1972).

The Hound of the Baskervilles

The game is afoot when Hamlette (Rachel) from Hamlette’s Soliloquy investigates The Hound of the Baskervilles (1959).


Vampire Circus Poster

What does glam rock have to do with vampires? Amber (aka: Tango in Eden) clues us in with her review of Vampire Circus (1972).

 

Night Creatures

Stately Wayne Manor from On Manor’s Mind shares you some of his thoughts about Night Creatures (aka: Captain Clegg) (1962). 


An Amicus Production


At the Earth's Core

How low can you go? The eponymous Craggus from What the Craggus Saw finds out, when he reviews At the Earth’s Core (1976).

 

 

Sunday, December 3, 2023

The Hammer-Amicus Blogathon IV – Day 3 Recap

 

Hammer-Amicus Blogathon IV Banner - From Beyond the Grave

Believe it or not, we’ve already reached Day Three of the Hammer-Amicus Blogathon IV, hosted by Yours Truly and Gill from Realweegiemidget Reviews. While there are fewer posts, compared to the past two days, don’t let that dissuade you from reading these superb posts! It’s been a blast co-hosting with Gill, and look forward to our continued collaboration for next year’s (Secret) and (Also secret) blogathons. Watch for announcements in the months ahead…

The Lost Continent

Gill and I have reserved Day 4 for any last-minute posts, so no worries if you’re still running late. Post a comment below, email me at barry_cinematic@yahoo.com, Twitter (@barry_cinematic), Instagram (barry_cinematic), or by commenting below. You may also contact Gill by commenting on her post, or through her blog’s Contact Me page.

Horror Hotel


In addition to today’s links, be sure to visit the Day 1 and Day 2 Recaps. 

 

A Hammer Film Production

 

The Lost Continent Poster

Brian from Films from Beyond invites us to visit The Lost Continent (1968)


To the Devil a Daughter

Mocata from Synthetic Cinema has some choice words to share about To the Devil a Daughter (1976)


The Mystery of the Mary Celeste

Lê from Critica Retro delves into The Mystery of the Mary Celeste (aka, Phantom Ship) (1935)


The Steel Bayonet Poster

J-Dub of Dubsism gives us his assessment of The Steel Bayonet (1957)

  

Amicus Productions



From Beyond the Grave Poster

Michael from Maniacs and Monsters weighs in on the portmanteau anthology, From Beyond the Grave (1974).


The Land that Time Forgot Poster

The People that Time Forgot Poster

Eric Binford from Diary of a Movie Maniac is here to remind you about The Land That Time Forgot (1974) and The People That Time Forgot (1977).