The Mysterians (1957)

aka CHIKYU BOEIGUN aka DEFENCE FORCE OF THE EARTH aka EARTH DEFENSE FORCE

Directed by Ishiro Honda

Released originally in Japan under the title Chikyû Bôeigun in 1957, Ishirô Honda’s second major foray into science fiction after the success of Gojira (1954) was picked up for distribution in the United States by MGM and released in 1959 under the title The Mysterians. No doubt the abominated bastardisation that Gojira experienced when released under the title Godzilla, King of Monsters! (1956) prompted US distributors to keep a keen eye on the development of Japanese science-fiction/monster movies, even if ham fisted dubbing and subtitle translation reduced the enjoyment and power of the films. The Mysterians was particularly fitting for US distribution because it is an invasion narrative, and it fed nicely into the fears and anxieties of the day. If Gojira borrowed numerous plot elements from King Kong (1933), then the major influence on The Mysterians is War of the Worlds (1953). What is most distinctive now is the wonderfully expansive use of Tohoscope, which gives the film an epic grandeur, some impressive model work, and the rich colour cinematography of Hajime Koizumi. The combination of these stylistic elements gives the film a look that would be repeated for many years in numerous Japanese monster movies. In this respect The Mysterians holds a significant position in the influence of Japanese science-fiction, a position that is somewhat underappreciated in the west.

Scandal (1950)

aka SHÛBUN

Directed by Akira Kurosawa

1950 saw the release of two films by Japanese filmmaker Akira Kurosawa. The first Scandal has largely remained an obscurity in Kurosawa’s filmography, far overshadowed by the second film of the year Rashomon. The latter introduced western audiences to a new world of Japanese cinema when it scooped the Golden Lion award at the Venice Film Festival in 1951. Kurosawa was soon heralded as an artistic genius and feted by art cinema enthusiasts eager for something outside their experiential world. The historical films of Kurosawa often betray their indebtedness to Hollywood, Rashomon however is the most atypical of his historical adventures in its attitude to point of view and subjectivity, which perhaps accounts for its art circuit success. Personally I have always found Kurosawa’s contemporary set social dramas to be more interesting, and as a representation of the complexities, anxieties, and dilemma’s of a Japan occupied by a foreign force Scandal emerges as a more important film than Rashomon from a socio/historical point of view.

Godzilla (1954)

GOJIRA (GODZILLA [1954]) aka GODZILLA, KING OF THE MONSTERS

Directed by Ishiro Honda

Reports of sinking ships swallowed up in a sea of fire near Odo Island attracts the attention of a Japanese research team. Sent to investigate, the group led by Dr. Yamane find high levels of radioactivity and the shocking discovery of a gigantic prehistoric monster the islanders call 'Gojira'. The enormous creature makes its way to Japan and tramples cities under foot while scorching both buildings and escaping civilians with its radioactive flame. Dr. Serizawa, a reclusive scientist, has developed a weapon even more terrifying than the rampaging Gojira--the Oxygen Destroyer. Beseeched by others to use the devastating weapon against the monster, Serizawa must make a decision that will either save, or possibly destroy the planet as we know it.