Genocide - War of the Insects (1968)

aka KONCHU DAISENSO aka GENOCIDE aka WAR OF THE INSECTS

Directed by Kazui Nihonmatsu



One of the more intriguing responses to the monster movie (kaiju-eiga) boom of the 1950’s and 1960’s was the one undertaken by Shochiku. The studio was more commonly associated with the prestigious and formally precise productions of Kenji Mizoguchi and Yasujiro Ozu, and the burgeoning formal experimentation of the politically motivated Japanese new wave. But in the late 1960’s the studio produced four science-fiction/horror/fantasy productions in quick succession in order to reap the fertile and profitable soil sown by the likes of Godzilla, Gamera, Mothra, King Kong and Ghidorah. 

Onibaba (1964)

aka DEVIL WOMAN aka THE HOLE

Directed by Kaneto Shindô

Legendary Japanese filmmaker Kaneto Shindô directed his 45th feature film Ichimai no Hagaki in 2010 at the tender age of 98. Born in Hiroshima in 1912 Shindô has also written some 158 screenplays, making him easily one of the most prolific filmmakers in world cinema. Shindô’s failure to secure the type of distribution enjoyed by Kurosawa, Mizoguchi, and Ozu remains a mystery. His early films are slightly more visible in the West. In recent times we have enjoyed pristine DVD presentations of The Naked Island (1960), Onibaba (1964) and Kuroneko (1968) and they have afforded us a glimpse into a highly stylised and expressive formal style that is both challenging and invigorating. The latter two titles have also illustrated Shindô’s ability to meld this formal eloquence with popular genres and past theatrical traditions. However the unavailability of Children of Hiroshima (1952) still remains a mystifying aberration. It is certainly the case that as the 1960’s wore on Shindô’s work became less distinctive and his interest in social purpose took a back seat to explorations of sexuality. But as we saw in Nagisa Oshima’s In the Realm of the Senses (1976), sex in its purest form can be a potent political and social weapon. The success of his quasi historical horror film Onibaba isn’t particularly surprising as it retains just enough generic signifiers to satisfy western audiences, and possessed the added draw of an unusually frank exploration of frustrated sexuality.

Goke, Bodysnatcher From Hell (1968)

aka KYUKETSUKI GOKEMIDORO aka BODYSNATCHER FROM HELL aka GOKE THE VAMPIRE

Directed by Hajime Sato

Ordered to return to Haneda Airport after a bomb is reported to be somewhere aboard a passenger plane, an assassin makes his presence known and demands they change course for Okinawa. Shortly after the sky turns a blood red color and a number of suicidal birds dive into the windows, the plane encounters a UFO. Crashing in a remote location, the varying personalities bicker over what to do till the assassin comes to and escapes into the night. Happening upon the glowing UFO, the hired killer is beckoned inside where his body is overtaken by a blobular creature. Now possessed by an alien force that thrives on the blood of its victims, this space vampire proceeds to stalk and suck the blood from the remaining survivors who wait desperately for a rescue party to arrive.

Kuroneko (1968)

THE BLACK CAT aka THE BLACK CAT FROM THE GROVE

Directed by Kaneto Shindô

Japanese filmmaker Kaneto Shindo is best known to western audiences for his shattering and moving tribute to the survivors of atomic destruction in the drama Children of Hiroshima (1952) and his sultry and sensual historical horror film Onibaba (1964). The latter is an evocative and oppressive allegory of Japanese class and social divisions and the tragic effects of a corrosive sexual jealousy. For Kuroneko Shindo recycled the basic premise of Onibaba (in which two resourceful women lure samurai to their death for material gain) and retained the same historical setting, war torn landscape and aesthetics of hunger. Kuroneko is a more conventional horror film in the sense that it foregrounds aspects of the supernatural, demon curses, and the quasi-mythical image of the cat. It makes use of the Kaidan or avenging spirit motif which unites much traditional Japanese horror and is brought to atmospheric life by beautiful monochrome cinematography and a formal eloquence that marks it out as one of Shindo’s most visually elegant productions. Despite these familiar signifiers however the film is still strange and otherworldly, and in its attention to traditional theatrical modes of narrative address possesses an inherently alien quality which is eminently fascinating.

Evil Dead Trap (1988)

aka SHIRÔ NO WANA

Directed by Toshiharu Ikeda

Evil Dead Trap is an intriguing curiosity that draws on a myriad of western influences, and unusually for a Japanese horror film makes no reference too indigenous traditions. The fact that the screenplay by Takashi Ishii could have been set anywhere gives the film a strange lack of cultural specificity which only goes to emphasise the artifice of the whole proposition. Ishii went on to much more interesting things as a writer and director, films such as the Takeshi Kitano starring Gonin (1995) and the unusual rape/revenge thriller Freeze Me (2000). The director Toshiharu Ikeda remains something of an obscurity in the west, Evil Dead Trap being the only film of his that had reasonable trans-national distribution. It is incredibly easy to see why it achieved this. The title itself is a reference to Sam Raimi’s irreverent gore soaked debut, and the film abounds with the echoes of other filmmakers and films. Perhaps the most notable influence here is the hyper-stylised baroque fantasies of Dario Argento. This imitation includes maggots falling from the ceiling onto an unsuspecting woman’s head, the use of red, green, and blue filters, and the irritating repetition of a central musical theme courtesy of Tomohiko Kira. Unfortunately shoddy prints have lessened the effect of Ikeda’s colour schemes, but despite the derivative nature of the film, Evil Dead Trap is still highly inventive, and perhaps more importantly for cult enthusiasts, incredibly gory.

Uzumaki (2000)

aka SPIRAL aka VORTEX

Directed by Higuchinsky

The boom in the production of horror films in Japan at the end of the last millennium didn’t take long to degenerate into cliché, convention, and predictability. The Kaidan or avenging spirit motif had long been a staple of theatrical modes of address and had popped up sporadically throughout Japanese film history. But by 2000 I for one was sick of long haired phantoms exacting their revenge through modern technology. With the benefit of hindsight one can now see how few moments of originality there were. Even the South Korean examples were rarely anything other than pallid imitations. This makes Uzumaki all the more exceptional. There is a genuine spark of inventiveness and creativity in director Higuchinsky’s handling of Junjo Ito’s manga source material. This was Higuchinsky’s directorial debut and he brought to his feature films a visual sensibility honed from a career producing music videos.

Audition (1999)

aka ÔDISHON

Directed by Takashi Miike

Prolific filmmaker Takashi Miike made his international breakthrough with this mischievous and beautifully controlled examination of spectatorship, generic expectation, and gender relationships. With its subtle hints that eventually lead to a nightmare world of sadism and torture Miike proves himself to be a filmmaker that audiences cannot trust. The slow burning narrative build up of the first half affords the male characters an opportunity to express their weaknesses and vulnerabilities. For widower Shigeharu Aoyama (Ryo Ishibashi) his emotional frailties centre on the persistence of his son in finding a replacement for the wife who perished several years before. Aoyama still loves his departed wife, but the idea of a sexual partner, and a housewife to keep everything in order is very attractive. Aoyama’s sexism is outmoded and old fashioned, but he is essentially an harmless individual. He doesn’t possess the same level of vitriol and spite his friends do at the rising number of women in the work place. Despite the dubious morality of holding a fake audition in order to find himself a suitable wife, Aoyama scarcely deserves the shocking punishment he suffers at the end of the film.