- Published on
According to a quick search on Google.com, an article on Wikipedia.org indicates that the first work to breach the whole topic of an alien invasion of Earth was author Robert Potter’s 1892 story “The Germ Growers.” In it, Potter creates the whole ‘they’ve taken over our bodies’ premise by having these dastardly invaders take the shape of ordinary human beings and then set about the work of crafting a deadly virus capable of wiping out the rest of us.
How insidious, am I right?
Well, Wikipedia.org further states that Growers was apparently no publishing sensation; and, thus, Potter’s ideas have largely vanished into the trash heap of literary history. And yet … a short six years later, this prolific creator of Science Fiction yarns going under the name of H.G. Wells delivered his groundbreaking The War Of The Worlds to the consumer marketplace. A sensation with audiences eventually around the world, this War earned the spot as being recognized as the first authentic alien invasion story. One needn’t be a rocket scientist to know that Wells’ tale continues to resonate with storytellers and viewers alike as it even today continues to serve as a source document for various remakes, retreads, and spinoffs.
Theatrically, history remains a bit murky: this isn’t to say that aliens haven’t made appearances in films but rather arguments could be made that their earliest visits weren’t exactly the business of global domination. Largely, 1951’s The Thing From Another World gets cited by many as being one of the earliest as exploiting the invasion trope, but I – as SciFiHistory.Net’s resident historiographer – have always pushed back on that statement. The Thing – as played by screen legend James Arness – wasn’t here essentially to invade; in fact, he was discovered by researchers, thawed out of ice, and then went about the business of terrorizing this small band of Arctic explorers. So, at this point, I’m still apt to give 1953’s The War Of The Worlds adaptation of the Wells’ book the lion’s share of the credit for inspiring the countless tales of Earth’s impending jeopardy we’ve been subjected to in the decades that followed.
Thankfully, Hollywood and beyond have realized that there’s big business in such attacks; and who can blame those merry mythmakers for capitalizing on what sells? The latest in a line of intergalactic threats has taken shape under the name Alien Country (2024). Spawned from the fertile imaginations of Renny Grames (who also stars) and Boston McConnaughey (who also directs), the motion picture stars Corbin Allred, Rachele Brooke Smith, K.C. Clyde, Renny Grames, and Jasen Wade in prominent roles. Though the flick may not bring anything new to the trend, it’s made with a lean efficiency, boasting modest special effects work and a crackingly funny script that just might help it build a solid foundation in going where other projects have gone before.
In fact, this one might have ‘the right stuff’ to rise to cult status if the years ahead are kind.
How insidious, am I right?
Well, Wikipedia.org further states that Growers was apparently no publishing sensation; and, thus, Potter’s ideas have largely vanished into the trash heap of literary history. And yet … a short six years later, this prolific creator of Science Fiction yarns going under the name of H.G. Wells delivered his groundbreaking The War Of The Worlds to the consumer marketplace. A sensation with audiences eventually around the world, this War earned the spot as being recognized as the first authentic alien invasion story. One needn’t be a rocket scientist to know that Wells’ tale continues to resonate with storytellers and viewers alike as it even today continues to serve as a source document for various remakes, retreads, and spinoffs.
Theatrically, history remains a bit murky: this isn’t to say that aliens haven’t made appearances in films but rather arguments could be made that their earliest visits weren’t exactly the business of global domination. Largely, 1951’s The Thing From Another World gets cited by many as being one of the earliest as exploiting the invasion trope, but I – as SciFiHistory.Net’s resident historiographer – have always pushed back on that statement. The Thing – as played by screen legend James Arness – wasn’t here essentially to invade; in fact, he was discovered by researchers, thawed out of ice, and then went about the business of terrorizing this small band of Arctic explorers. So, at this point, I’m still apt to give 1953’s The War Of The Worlds adaptation of the Wells’ book the lion’s share of the credit for inspiring the countless tales of Earth’s impending jeopardy we’ve been subjected to in the decades that followed.
Thankfully, Hollywood and beyond have realized that there’s big business in such attacks; and who can blame those merry mythmakers for capitalizing on what sells? The latest in a line of intergalactic threats has taken shape under the name Alien Country (2024). Spawned from the fertile imaginations of Renny Grames (who also stars) and Boston McConnaughey (who also directs), the motion picture stars Corbin Allred, Rachele Brooke Smith, K.C. Clyde, Renny Grames, and Jasen Wade in prominent roles. Though the flick may not bring anything new to the trend, it’s made with a lean efficiency, boasting modest special effects work and a crackingly funny script that just might help it build a solid foundation in going where other projects have gone before.
In fact, this one might have ‘the right stuff’ to rise to cult status if the years ahead are kind.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip on down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“Reeling from the news of an unexpected pregnancy, Jimmy and Everly unknowingly release an alien invasion in their small town and learn to work together in order to save each other, their town and evidently, the entire galaxy.”
Folks, I’ve written before about how the explosion of content – now that every man, woman, and child has a smartphone and APPs at their fingertips to produce their own – has effected society at large; and I think it’s time for an expansion on that idea.
Back in the days when stories were shot exclusively on film, there were reasonable financial hurdles which had to be overcome in order to deliver a completed opus to the marketplace. Clearly, not every screenwriter had direct access to the capital to put his or her dream in motion, and – it should go without saying – not every producer or production company had the funds to turn every completed script into the next big thing. Sacrifices had to be made. Corners had to be cut. There was an incredible amount of give-and-take. The end results varied widely, and this process had the effect of creating A-Pictures and B-pictures within the industry at large. A-Pictures got the red-carpet treatment; and B-Pictures were afforded the scraps. Everyone made do as best as they could – audiences included – and this business format stayed the norm for filmdom’s first generation or two or (maybe) three, depending upon one’s historical perspective.
The introduction of digital filmmaking was the straw that inevitably broke that mold, as this new technology truly widened what was achievable behind-the-scenes. No longer were creators dependent upon those moneymen; and – so long as they were able to outfit themselves with everything needed – independent film production entered a new era. While nearly a century ago a grand wizard like Orson Welles had to negotiate for total creative autonomy over his Citizen Kane (1941), this new breed of filmmakers could simply thumb their noses at the establishment and make their very own catalog of entertainment. Mind you: they were still to a degree beholden to theatre chains and/or distribution outlets to get such fare into the cineplexes, but that would change, too, in the days ahead when platforms like YouTube.com, Rumble.com, Twitch.com, Dailymotion.com, and more broke down all barriers between makers and the general public.
The reason I bring this up today is that in preparing to offer my two cents on Alien Country I realize that we might be on the cusp of reconceptualizing A- and B-Pictures yet again.
From the film’s IMDB.com page citation:
“Reeling from the news of an unexpected pregnancy, Jimmy and Everly unknowingly release an alien invasion in their small town and learn to work together in order to save each other, their town and evidently, the entire galaxy.”
Folks, I’ve written before about how the explosion of content – now that every man, woman, and child has a smartphone and APPs at their fingertips to produce their own – has effected society at large; and I think it’s time for an expansion on that idea.
Back in the days when stories were shot exclusively on film, there were reasonable financial hurdles which had to be overcome in order to deliver a completed opus to the marketplace. Clearly, not every screenwriter had direct access to the capital to put his or her dream in motion, and – it should go without saying – not every producer or production company had the funds to turn every completed script into the next big thing. Sacrifices had to be made. Corners had to be cut. There was an incredible amount of give-and-take. The end results varied widely, and this process had the effect of creating A-Pictures and B-pictures within the industry at large. A-Pictures got the red-carpet treatment; and B-Pictures were afforded the scraps. Everyone made do as best as they could – audiences included – and this business format stayed the norm for filmdom’s first generation or two or (maybe) three, depending upon one’s historical perspective.
The introduction of digital filmmaking was the straw that inevitably broke that mold, as this new technology truly widened what was achievable behind-the-scenes. No longer were creators dependent upon those moneymen; and – so long as they were able to outfit themselves with everything needed – independent film production entered a new era. While nearly a century ago a grand wizard like Orson Welles had to negotiate for total creative autonomy over his Citizen Kane (1941), this new breed of filmmakers could simply thumb their noses at the establishment and make their very own catalog of entertainment. Mind you: they were still to a degree beholden to theatre chains and/or distribution outlets to get such fare into the cineplexes, but that would change, too, in the days ahead when platforms like YouTube.com, Rumble.com, Twitch.com, Dailymotion.com, and more broke down all barriers between makers and the general public.
The reason I bring this up today is that in preparing to offer my two cents on Alien Country I realize that we might be on the cusp of reconceptualizing A- and B-Pictures yet again.
Here’s the straight skinny I’m dancing around: Alien Country is, clearly, an independent production. It has all the markings of something made well outside the studio system – a huge plus, so far as this humble critic is concerned – which allows the cast and crew to produce a magic act that’s entirely all of their own. Still, because the completed film has enough of the substantive pomp and circumstance available to filmmakers in the modern era, Country has just about everything it needs to compete shoulder-to-shoulder with a big budget production. Do you see my quandary? It both is and isn’t an A-Picture. It both is and isn’t a B-Picture. While that may not mean much to the readership at large, I think it speaks volumes about what’s possible for storytellers in the sphere of ideas today … and that fact alone causes me to encourage those of you who want to get into the business to check this out.
Jimmy (played by Clyde) and Everly (Renny Grames) are the Great American (small town) Couple. Their relationship is at an impasse because they’ve not quite passed over that threshold into being an authentic pair because – let’s face facts – no one wants to settle down and become their parents. In fact, Jimmy’s father James (Jasen Wade) quite literally vanished from the face of the Earth in his youth, shackling him psychologically with a load of doubt as to whether or not he’s up to the task of maturing into adulthood. They both still have their dreams, and yet can those dreams be reconciled with this new chapter in the book of love?
Oh, yeah, and they’ve gone and got Everly pregnant.
While the little town of Blue River might not be bigger than a small dot on the map, it has a reputation, one replete with UFO sightings, abductions, and other supernatural shenanigans. Why, even the old uranium mine seems to gone dried up, adding another layer to the local mysteries. Long-time residents have long believed that there’s more to the story, but could all of these elements finally come together, answering that immortal question about whether or not we’re alone in the universe while showing our lovely couple at the same time that they’re destined to be together?
That’s the narrative stuff that propels Alien Country. It’s a strange amalgamation of small-town life and big city dreams where nothing is quite what it seems despite the fact that it’s been right in front of your eyes your whole life. Grames and McConnaughey’s script is smart – perhaps too smart for a B-Picture but assembled not quite good enough to make it an A – and manages to great fantastic mileage out of one of the better genre ensemble casts I’ve seen in a short while. Clyde’s comic cynicism continues to fuel one great scene after another with Allred, Smith, Grames, and Trey Warner (as ‘Officer Kirk’) proving that they’re not only capable of holding ground opposite but also willing to chew their own scenery right alongside. This is likely one of those moments of serendipity – when cast and crew were clearly all ‘in on it’ or ‘on the same page’ and I think the finished product shows. With the same filmic DNA that’s been afforded other genre entries like Bill & Ted’s Excellent Adventure (1989), Tremors (1990), Fargo (1996), and Grabbers (2012), Alien Country succeeds precisely because it knows and embraces that Biblical adage about the meek inheriting the Earth and it isn’t afraid from celebrating knuckleheads who, quite simply, want to save the planet … and that’s all.
Jimmy (played by Clyde) and Everly (Renny Grames) are the Great American (small town) Couple. Their relationship is at an impasse because they’ve not quite passed over that threshold into being an authentic pair because – let’s face facts – no one wants to settle down and become their parents. In fact, Jimmy’s father James (Jasen Wade) quite literally vanished from the face of the Earth in his youth, shackling him psychologically with a load of doubt as to whether or not he’s up to the task of maturing into adulthood. They both still have their dreams, and yet can those dreams be reconciled with this new chapter in the book of love?
Oh, yeah, and they’ve gone and got Everly pregnant.
While the little town of Blue River might not be bigger than a small dot on the map, it has a reputation, one replete with UFO sightings, abductions, and other supernatural shenanigans. Why, even the old uranium mine seems to gone dried up, adding another layer to the local mysteries. Long-time residents have long believed that there’s more to the story, but could all of these elements finally come together, answering that immortal question about whether or not we’re alone in the universe while showing our lovely couple at the same time that they’re destined to be together?
That’s the narrative stuff that propels Alien Country. It’s a strange amalgamation of small-town life and big city dreams where nothing is quite what it seems despite the fact that it’s been right in front of your eyes your whole life. Grames and McConnaughey’s script is smart – perhaps too smart for a B-Picture but assembled not quite good enough to make it an A – and manages to great fantastic mileage out of one of the better genre ensemble casts I’ve seen in a short while. Clyde’s comic cynicism continues to fuel one great scene after another with Allred, Smith, Grames, and Trey Warner (as ‘Officer Kirk’) proving that they’re not only capable of holding ground opposite but also willing to chew their own scenery right alongside. This is likely one of those moments of serendipity – when cast and crew were clearly all ‘in on it’ or ‘on the same page’ and I think the finished product shows. With the same filmic DNA that’s been afforded other genre entries like Bill & Ted’s Excellent Adventure (1989), Tremors (1990), Fargo (1996), and Grabbers (2012), Alien Country succeeds precisely because it knows and embraces that Biblical adage about the meek inheriting the Earth and it isn’t afraid from celebrating knuckleheads who, quite simply, want to save the planet … and that’s all.
My biggest problem with it is that McConnaughey – a first-time director – kinda/sorta robs the picture of some small(ish) moments. As I said, this is an ensemble piece – there are very few moments spent either in isolation or with a single character – and the framing sensibilities sometimes incorporate more tilts, pans, wipes, etc. than were necessary. When you have three or four people in a scene, there isn’t a need to constantly move the camera so that the focus is on the person speaking at the time – a popular YouTube.com phenomenon that drives me crazy. Instead, pull back a little. Show all characters in the frame. Let them breathe and speak and react in the same frame. It looks better – definitely less frenetic – and it changes the visual flow in such a way that audiences listen more instead of watch. Others might disagree, but the constant push for movement, movement, and more movement of the possible angles becomes a distraction instead of organically pulling me in, and that’s a miss.
The other issue?
Well, for some reason, everyone thought piling on was the way to go with the ending. If it wasn’t enough for Blue River to miraculously become the center of the universe for an impending alien invasion, then now – in a brief filmed coda – it’s also the epicenter for a developing zombie invasion. Erm … folks? You weren’t producing a pure parody here. This was a family-friendly comedy that resonated just fine on its own merits not unlike 1985’s Back To The Future. Imagine if when that film ended instead of going forward in time Doc and Marty suddenly found that they could enter another dimension? While some might find that nifty, I’ll just ask, “What’s the point?” Why derail a tonally perfect wrap-up by suggesting none of it was serious?
Know when to end and then leave the stage. There’s seriously no greater wisdom in all of entertainment.
Now … no. Country is no The War Of The Worlds (1953). It doesn’t have the fantastic popcorn spectacle of Independence Day (1996). It doesn’t have the politically subversive core of Invasion Of The Body Snatchers (1956), nor does it have the big budget sizzle of Battle Los Angeles (2011). It’s finale felt a bit rushed – all of a sudden, the townies were no longer concerned about the ill effects of flat-out killing these alien creatures when they spent the bulk of the movie trying to avoid it (for reason the plot explains) – and I’m not sure they stuck the landing as well as they could’ve. It could’ve gone to a bit greater length to explain its wormholes, its creatures, and the stakes at play in a few spots. But it has as much heart to stand alongside those bigger films; and – for that – I’m thankful to have seen it.
Folks, I don't say that about many pictures. That's a rarity.
The other issue?
Well, for some reason, everyone thought piling on was the way to go with the ending. If it wasn’t enough for Blue River to miraculously become the center of the universe for an impending alien invasion, then now – in a brief filmed coda – it’s also the epicenter for a developing zombie invasion. Erm … folks? You weren’t producing a pure parody here. This was a family-friendly comedy that resonated just fine on its own merits not unlike 1985’s Back To The Future. Imagine if when that film ended instead of going forward in time Doc and Marty suddenly found that they could enter another dimension? While some might find that nifty, I’ll just ask, “What’s the point?” Why derail a tonally perfect wrap-up by suggesting none of it was serious?
Know when to end and then leave the stage. There’s seriously no greater wisdom in all of entertainment.
Now … no. Country is no The War Of The Worlds (1953). It doesn’t have the fantastic popcorn spectacle of Independence Day (1996). It doesn’t have the politically subversive core of Invasion Of The Body Snatchers (1956), nor does it have the big budget sizzle of Battle Los Angeles (2011). It’s finale felt a bit rushed – all of a sudden, the townies were no longer concerned about the ill effects of flat-out killing these alien creatures when they spent the bulk of the movie trying to avoid it (for reason the plot explains) – and I’m not sure they stuck the landing as well as they could’ve. It could’ve gone to a bit greater length to explain its wormholes, its creatures, and the stakes at play in a few spots. But it has as much heart to stand alongside those bigger films; and – for that – I’m thankful to have seen it.
Folks, I don't say that about many pictures. That's a rarity.
Alien Country (2024) was produced by Story Mode I. Though this may be inaccurate, Reelgood.com indicates that the film is presently available for streaming only on Amazon Prime Video. As for the technical specifications? While I’m no trained video expert, I found the provided sights-and-sounds pretty exceptional from start-to-finish: there are some lower quality special effects work in a few spots regarding the creatures, but it’s all still accomplished in the proper mise en scéne of the flick so they’re acceptable. Lastly, if you’re looking for special features? Alas, I viewed this one entirely via streaming, so there were no special features under consideration.
Recommended.
Though some might disagree, I thought Alien Country (2024) was about as much fun as was possible in the modern era of independent filmmaking. While its effects work varies between good and acceptable, the story retains a fabulous comic tone all along the way that makes an inferior scene or two entirely palatable, much in the same way 1984’s Ghostbusters kinda/sorta gets mocked for its occasional cartoonish sensibilities. Perhaps the greatest compliment I can extend to all involved is the following: if you were able to accomplish something so winning as this on a modest budget, then I’d personally love to see what you can do if some major investors were willing to throw a few buckets of money your way. Great things come in small packages, and I think everyone is destined for more.
In the interests of fairness, I’m pleased to disclose that the fine folks at Story Mode I provided me with complimentary streaming access to Alien Country (2024) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
Recommended.
Though some might disagree, I thought Alien Country (2024) was about as much fun as was possible in the modern era of independent filmmaking. While its effects work varies between good and acceptable, the story retains a fabulous comic tone all along the way that makes an inferior scene or two entirely palatable, much in the same way 1984’s Ghostbusters kinda/sorta gets mocked for its occasional cartoonish sensibilities. Perhaps the greatest compliment I can extend to all involved is the following: if you were able to accomplish something so winning as this on a modest budget, then I’d personally love to see what you can do if some major investors were willing to throw a few buckets of money your way. Great things come in small packages, and I think everyone is destined for more.
In the interests of fairness, I’m pleased to disclose that the fine folks at Story Mode I provided me with complimentary streaming access to Alien Country (2024) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- Published on
Hey, movie fans: have you ever had one of those films all of your friends told you to ignore?
I know, I know, I know: we've all had an experience with a film like that. The funny thing for me is that usually I just ignore the advice on the same grounds that I don't often give film suggestions to my closest friends and family. As I've often said, I like what I like ... you like what you like ... they like what they like ... and many times the stars just don't align. I'm perfectly happy giving my reasons in this space about what I watch -- that's kinda/sorta my thang, if you missed it -- but at the end of the day I allow plenty of room for each of us to make up our own minds about what's worthwhile and what's not.
Still, I listened to them when they told me to ignore 2007's The Invasion, another loose adaptation of the Jack Finney novel that spawned so many good Invasion Of The Body Snatchers iterations. And, frankly, I don't know why I listened to them. I believe the consensus was that because of the fondness I have for the source material and the earlier flicks they felt I wouldn't have taken nicely to this one. But regardless of whatever I've been told it's still one I've wanted to see, and maybe just maybe I'll give it the old sailor's try this November as Arrow Films -- one of the best distributors in the new releases business -- is sending an all-new product for mass consumption.
Just today, I received the press materials, and -- as per Arrow's reputation -- this one looks world-smashing (snicker snicker). I'm going to provide the copy-and-paste from their announcement below; and everyone is encouraged to check this one out when it streets.
You know what to do.
-- EZ
I know, I know, I know: we've all had an experience with a film like that. The funny thing for me is that usually I just ignore the advice on the same grounds that I don't often give film suggestions to my closest friends and family. As I've often said, I like what I like ... you like what you like ... they like what they like ... and many times the stars just don't align. I'm perfectly happy giving my reasons in this space about what I watch -- that's kinda/sorta my thang, if you missed it -- but at the end of the day I allow plenty of room for each of us to make up our own minds about what's worthwhile and what's not.
Still, I listened to them when they told me to ignore 2007's The Invasion, another loose adaptation of the Jack Finney novel that spawned so many good Invasion Of The Body Snatchers iterations. And, frankly, I don't know why I listened to them. I believe the consensus was that because of the fondness I have for the source material and the earlier flicks they felt I wouldn't have taken nicely to this one. But regardless of whatever I've been told it's still one I've wanted to see, and maybe just maybe I'll give it the old sailor's try this November as Arrow Films -- one of the best distributors in the new releases business -- is sending an all-new product for mass consumption.
Just today, I received the press materials, and -- as per Arrow's reputation -- this one looks world-smashing (snicker snicker). I'm going to provide the copy-and-paste from their announcement below; and everyone is encouraged to check this one out when it streets.
You know what to do.
-- EZ
The Invasion
[Limited Edition]
[4K UHD]
[Blu-ray]
11/12/24
On November 12, The Invasion makes its global debut on 4K UHD, as well as Blu-ray. This 2007 remake of Invasion of the Body Snatchers puts humanity at risk from alien invaders, only this time it happens through an epidemic, instead of the pods used in previous versions. Featuring a 4K transfer, the film is presented in Dolby Vision (HDR10 compatible) and filled with both new and archival special features.
When a space shuttle wrecks upon re-entry, the debris scatters from Washington D.C. to Texas. Eager souvenir hunters grab the chunks of heat shield without having a clue that they’re covered in alien spores. The collectors are becoming infected and transforming into new beings. A psychiatrist, Carol Bennell (Nicole Kidman, Eyes Wide Shut), hears from a patient (Veronica Cartwright, Alien) who swears her husband is a different person. After their meeting, the psychiatrist notices strange things about the people around her: they are either freaking out or displaying no emotions. There are also reports of a fast-moving dangerous flu. After a night of trick-or-treating with her son, Carol makes a grisly discovery that she shares with her boyfriend, Dr. Ben Driscoll (Daniel Craig, Knives Out), and a leading biologist (Jeffrey Wright, Casino Royale). Can they discover the true nature of the infection and what happens when people fall asleep? The Invasion was eerily ahead of its time, with its tale of the effects of a post-pandemic world.
The special features include a brand-new audio commentary, a new visual essay, vintage featurettes with cast and crew interviews, trailer, an illustrated collector’s booklet with essays, and a double-sided fold out poster with new and original artwork.
- Published on
Sometimes, the biggest claim-to-fame any motion picture might be able to make rests on the shoulders of one of its contributors.
The film industry as a whole is absolutely rife with stories of A-List pictures made stronger with the inclusion of a particular director, writer, or actor. Even defying greater odds, how many B-List films actually owe the biggest part of their reputation to having a particular talent in some lead role. I suppose that the various permutations are endless – I can certainly cite a great number of productions I wouldn’t have seen except for the fact that a familiar favorite was listed amongst the credits – and there will likely always be those insider efforts that results in all of the screen’s good, bad, and ugly additions getting a little extra attention by having Person X participating in the process, however big or small that involvement might be.
That said, I knew the name of productive writer Edgar Wallace chiefly because he’s the author and screenwriter credited with the creation of one of the screen’s biggest gems if not the ‘eighth wonder of the world.’ In 1932, he penned the script that would become 1933’s box office sensation King Kong – a remarkable cinematic fable that continues to inspire storytellers to this day – indelibly taking a place in film history that few have matched. (Yes, I realize he co-created the big beast, but my opinion stands nonetheless.) But what I didn’t know was just how expansive his impact on the movie business truly was: a quick search of Google.com this morning confirms that – to date – his various works are responsible for a foundation of over 160 different screen projects.
Woof. Somewhere … somehow … that has to be a record, am I right?
As can happen with any writer’s output, I suspect that the quality understandably varies, as a rundown of his IMDB.com doesn’t necessarily spark a lot of memories on my screenings. Still, there has to be a good reason why a novel published in 1925 under the title “The Blue Hand” might endure with some interested parties for them to pick it up over four decades later and adapt it into a little something-something called Creature With The Blue Hand (1967). Directed by Alfred Vohrer from an adaptation fashioned by Herbert Reinecker, Fred Denger, Harald G. Petersen, and Uschi Haarbrücker, the Horror/Mystery starred Harald Leipnitz, Klaus Kinski, Carl Lange, Ilse Steppat, and Diana Körner in big roles.
While the end result is a bit dubious, I’d argue that the picture still has enough Mystery (far more than Horror which is a bit too conventional) to intrigue some in the viewing audience. My reservations with it tie almost exclusively to its poor pacing, though the fact that it kept breaking into highly unpredictable circumstances did produce a few unintended laughs.
The film industry as a whole is absolutely rife with stories of A-List pictures made stronger with the inclusion of a particular director, writer, or actor. Even defying greater odds, how many B-List films actually owe the biggest part of their reputation to having a particular talent in some lead role. I suppose that the various permutations are endless – I can certainly cite a great number of productions I wouldn’t have seen except for the fact that a familiar favorite was listed amongst the credits – and there will likely always be those insider efforts that results in all of the screen’s good, bad, and ugly additions getting a little extra attention by having Person X participating in the process, however big or small that involvement might be.
That said, I knew the name of productive writer Edgar Wallace chiefly because he’s the author and screenwriter credited with the creation of one of the screen’s biggest gems if not the ‘eighth wonder of the world.’ In 1932, he penned the script that would become 1933’s box office sensation King Kong – a remarkable cinematic fable that continues to inspire storytellers to this day – indelibly taking a place in film history that few have matched. (Yes, I realize he co-created the big beast, but my opinion stands nonetheless.) But what I didn’t know was just how expansive his impact on the movie business truly was: a quick search of Google.com this morning confirms that – to date – his various works are responsible for a foundation of over 160 different screen projects.
Woof. Somewhere … somehow … that has to be a record, am I right?
As can happen with any writer’s output, I suspect that the quality understandably varies, as a rundown of his IMDB.com doesn’t necessarily spark a lot of memories on my screenings. Still, there has to be a good reason why a novel published in 1925 under the title “The Blue Hand” might endure with some interested parties for them to pick it up over four decades later and adapt it into a little something-something called Creature With The Blue Hand (1967). Directed by Alfred Vohrer from an adaptation fashioned by Herbert Reinecker, Fred Denger, Harald G. Petersen, and Uschi Haarbrücker, the Horror/Mystery starred Harald Leipnitz, Klaus Kinski, Carl Lange, Ilse Steppat, and Diana Körner in big roles.
While the end result is a bit dubious, I’d argue that the picture still has enough Mystery (far more than Horror which is a bit too conventional) to intrigue some in the viewing audience. My reservations with it tie almost exclusively to its poor pacing, though the fact that it kept breaking into highly unpredictable circumstances did produce a few unintended laughs.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“Scotland Yard is after a homicidal maniac called The Blue Hand, which is what he uses to kill his victims.”
Here’s the thing: if you’re going to be a serial killer – or a murderer of some ill repute – it pays to have a gimmick.
To be blunt, psychopaths are revered for having a certain signature to delivering their dark deeds, one that gives them the reputation that they so fervently seek; and that’s probably one of the things that makes Creature With The Blue Hand relatable for audiences of any age. Its killer – don’t worry, I won’t spoil it, not that it’d really make that much difference in this mildly convoluted affair – employs a Medieval weapon to inflict his death blows: a mighty gauntlet colored blue and made of steel, the fingers are removed so that four sharp blades slide into place for piercing flesh to the user’s delight. Theatrically, it looks very Freddy Krueger but functions far more like Marvel’s Wolverine: in every case, however, it definitely packs the lethal wallop.
Of course, the other potential draw for Blue Hand would likely be its marquee name: Klaus Kinski (1926-1991) is, perhaps, remembered as much for his bizarre onscreen performances as he is his macabre offscreen lifestyle. Often cited as being one of the cinema’s most intense players, it’s also been said that he had some rather famous behind-the-scenes tantrums, bringing more than a bit of trouble to a good handful of productions. While he’s a bit subdued in this murder mystery, audiences might still reap the benefits of the fact that Kinski appears in not one but two roles here: he plays twin brothers Dave and Richard Emerson, both possibly heirs to the Emerson fortune and both inextricably linked to what we’re originally told are Dave’s trail of misdeeds. (Did he do it? Or did Richard do it, claiming to be Dave? You get the idea.) Sadly, neither performance really amounts to all that much in here; and yet I suppose that Kinski purists still couldn’t get enough of it.
From the film’s IMDB.com page citation:
“Scotland Yard is after a homicidal maniac called The Blue Hand, which is what he uses to kill his victims.”
Here’s the thing: if you’re going to be a serial killer – or a murderer of some ill repute – it pays to have a gimmick.
To be blunt, psychopaths are revered for having a certain signature to delivering their dark deeds, one that gives them the reputation that they so fervently seek; and that’s probably one of the things that makes Creature With The Blue Hand relatable for audiences of any age. Its killer – don’t worry, I won’t spoil it, not that it’d really make that much difference in this mildly convoluted affair – employs a Medieval weapon to inflict his death blows: a mighty gauntlet colored blue and made of steel, the fingers are removed so that four sharp blades slide into place for piercing flesh to the user’s delight. Theatrically, it looks very Freddy Krueger but functions far more like Marvel’s Wolverine: in every case, however, it definitely packs the lethal wallop.
Of course, the other potential draw for Blue Hand would likely be its marquee name: Klaus Kinski (1926-1991) is, perhaps, remembered as much for his bizarre onscreen performances as he is his macabre offscreen lifestyle. Often cited as being one of the cinema’s most intense players, it’s also been said that he had some rather famous behind-the-scenes tantrums, bringing more than a bit of trouble to a good handful of productions. While he’s a bit subdued in this murder mystery, audiences might still reap the benefits of the fact that Kinski appears in not one but two roles here: he plays twin brothers Dave and Richard Emerson, both possibly heirs to the Emerson fortune and both inextricably linked to what we’re originally told are Dave’s trail of misdeeds. (Did he do it? Or did Richard do it, claiming to be Dave? You get the idea.) Sadly, neither performance really amounts to all that much in here; and yet I suppose that Kinski purists still couldn’t get enough of it.
Furthermore, viewers get to explore the clandestine richness of the Emerson estate. (Way to go, production design team!) Without going into too many of the particulars, let’s just say that what appears to be a rather dull and conventional British estate is positively loaded with secret passages, hidden doors, and the kinds of other wild inventions that make some of us salivate over the production details. Not all of it necessarily works into the somewhat cumbersome whodunit plot, mind you, bu but that’s easy to forgive when you’re awash with glee at discovering the next hidden panel or the next disguised mechanism. What I wouldn’t give to have immediately started production on a ghost story after this one ended as the house had everything going for it … well, except a dearly departed spirit coming back from the beyond, that is. (A good script could’ve fixed that in a jiffy.)
Regrettably, Blue Hand mostly plods along, never quite galvanizing around anything other than who might be wielding that deadly metal mitt. As a mystery, it really isn’t all that elaborate, though the script weaves through a fair number of twists and turns. Alas, you probably won’t see them coming, and that’s mostly because it isn’t that kind of puzzle: the finer points are all obscured until their reveal, so I dare say some of it will make little sense or feel entirely incredulous in movie time. The portrayal of the mentally impaired will also ruffle feathers of today’s hyper-sensitive viewership – asylums were a bit brutal in how they handled these unfortunate souls, and (ahem) damn near anything could get one committed back in the day it would seem.
In the end, I find it difficult to ascribe any great reason to spend time with the picture. It isn’t poorly made – as I said above, the production details are quite nice in spots – but it just does so little with the material, perhaps hoping that Kinski’s participation and a few fancy gimmicks were enough to propel any achievable momentum. What starts out as interesting and with some dramatic flourish rather quickly turns mundane: a few sequences – things like what psychiatric facility keeps on hand a huge supply of rats intended for therapeutic use or who thinks keeping a snake locked in a personal vault is a good idea – will leave you scratching your head in dismay … or, worse, delight.
Regrettably, Blue Hand mostly plods along, never quite galvanizing around anything other than who might be wielding that deadly metal mitt. As a mystery, it really isn’t all that elaborate, though the script weaves through a fair number of twists and turns. Alas, you probably won’t see them coming, and that’s mostly because it isn’t that kind of puzzle: the finer points are all obscured until their reveal, so I dare say some of it will make little sense or feel entirely incredulous in movie time. The portrayal of the mentally impaired will also ruffle feathers of today’s hyper-sensitive viewership – asylums were a bit brutal in how they handled these unfortunate souls, and (ahem) damn near anything could get one committed back in the day it would seem.
In the end, I find it difficult to ascribe any great reason to spend time with the picture. It isn’t poorly made – as I said above, the production details are quite nice in spots – but it just does so little with the material, perhaps hoping that Kinski’s participation and a few fancy gimmicks were enough to propel any achievable momentum. What starts out as interesting and with some dramatic flourish rather quickly turns mundane: a few sequences – things like what psychiatric facility keeps on hand a huge supply of rats intended for therapeutic use or who thinks keeping a snake locked in a personal vault is a good idea – will leave you scratching your head in dismay … or, worse, delight.
Creature With The Blue Hand (1967) was produced by Rialto Film and Independent-International Pictures. DVD distribution (for this particular release) has been coordinated by the fine folks at Film Masters. As for the technical specifications? While I’m no trained video expert, I found the provided sights-and-sounds to be very solid from start-to-finish. Lastly, if you’re looking for special features? Wowza. There’s quite a collection here, one that definitely can take some time; as such, I’m doing the dutiful copy-and-paste from the studio’s press release previously published on Blu-ray.com:
For clarity’s sake, let me explain something a bit further: my review is of Creature’s original 1967 theatrical release. There is an alternate version on here – 1987’s The Bloody Hand – which was a somewhat re-styled incarnation along with newly-inserted gore footage directed by Samuel M. Sherman. If I review that production, then I’ll cover it in a separate review installment on the website.
Alas … only Mildly Recommended.
Though I had a bit of fun with Creature With The Blue Hand (1967), that merriment was really only experienced in small doses. What I enjoyed were the production details – those mentioned above – and the unpredictability of its labyrinth plot. While I wouldn’t say the flick had any singular performances in it (Kinski is very sedate compared to what I’ve seen him do elsewhere) worthy of note, I’d also point out everyone pretty much hit their marks and did affable with what the murky script asked from them. Beyond the cleverness of a few scenes and the spectacularly cool Emerson mansion, I just found little in here to celebrate … and that’s disappointing.
In the interest of fairness, I’m pleased to disclose that the fine folks at Film Masters provided me with a complimentary Blu-ray of Creature With The Blue Hand (1967) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- DOUBLE FEATURE RELEASE
- NEW 4K RESTORATION OF THE CREATURE WITH THE BLUE HAND
- NEW 4K RESTORATION OF WEB OF THE SPIDER
- Creature with the Blue Hand full length commentary track
- Web of the Spider full length commentary track
- Included HD film, 'The Bloody Dead (1987),' from Independent International Pictures which added scenes for the home video release
- Essays by Christopher Stewardson and Nick Clarke
- All new documentary on Edgar Wallace
- Archival commentary by Samuel M. Sherman
- Original theatrical trailer from 35mm for Creature with the Blue Hand
- Reimagined trailer for Web of the Spider using restored elements
For clarity’s sake, let me explain something a bit further: my review is of Creature’s original 1967 theatrical release. There is an alternate version on here – 1987’s The Bloody Hand – which was a somewhat re-styled incarnation along with newly-inserted gore footage directed by Samuel M. Sherman. If I review that production, then I’ll cover it in a separate review installment on the website.
Alas … only Mildly Recommended.
Though I had a bit of fun with Creature With The Blue Hand (1967), that merriment was really only experienced in small doses. What I enjoyed were the production details – those mentioned above – and the unpredictability of its labyrinth plot. While I wouldn’t say the flick had any singular performances in it (Kinski is very sedate compared to what I’ve seen him do elsewhere) worthy of note, I’d also point out everyone pretty much hit their marks and did affable with what the murky script asked from them. Beyond the cleverness of a few scenes and the spectacularly cool Emerson mansion, I just found little in here to celebrate … and that’s disappointing.
In the interest of fairness, I’m pleased to disclose that the fine folks at Film Masters provided me with a complimentary Blu-ray of Creature With The Blue Hand (1967) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- Published on
Folks ... at the risk of sounding sexist, let me be the first to say that actress Cassandra Peterson is mostly definitely not in need of a makeover; and yet ... here we are.
I kid, I kid, I kid!
The good people at Arrow Films are doing the unthinkable: they're giving the lady a makeover ... well, in her guise as the Horror queen Elvira, that is ... this November when her theatrical release Elvia: Mistress Of The Dark enjoys an all-new home video release. I've received the press materials just today, so I wanted to pass along word to everyone in the readership. I've only seen snippets of this one back in the day, so I couldn't speak to the full experience. I'm guessing that if you're an Elvira fan then it's probably something worth looking forward to.
Also, I remember back in the late 1980's and early 1990's that the lovely Ms. Peterson was quite the sensation. From what I recall, she played heavy on the sexual innuendo when promoting a line-up of Horror schlock that made the rounds on a cable channel. It was all in good fun; and -- if memory serves -- she had a respectable following back then as well. Though I think her delightful personae has somewhat faded into the landscape of forgotten television, I still think it would be great if she -- or another Elvira with her blessing -- made a comeback for those of us who enjoy such lighthearted fare.
In any event, I'm passing along the details below. You know what to do about that.
-- EZ
I kid, I kid, I kid!
The good people at Arrow Films are doing the unthinkable: they're giving the lady a makeover ... well, in her guise as the Horror queen Elvira, that is ... this November when her theatrical release Elvia: Mistress Of The Dark enjoys an all-new home video release. I've received the press materials just today, so I wanted to pass along word to everyone in the readership. I've only seen snippets of this one back in the day, so I couldn't speak to the full experience. I'm guessing that if you're an Elvira fan then it's probably something worth looking forward to.
Also, I remember back in the late 1980's and early 1990's that the lovely Ms. Peterson was quite the sensation. From what I recall, she played heavy on the sexual innuendo when promoting a line-up of Horror schlock that made the rounds on a cable channel. It was all in good fun; and -- if memory serves -- she had a respectable following back then as well. Though I think her delightful personae has somewhat faded into the landscape of forgotten television, I still think it would be great if she -- or another Elvira with her blessing -- made a comeback for those of us who enjoy such lighthearted fare.
In any event, I'm passing along the details below. You know what to do about that.
-- EZ
Elvira: Mistress of the Dark
[Limited Edition]
[4K UHD]
11/12/24
On November 12th, Arrow Video delivers the beloved horror-comedy classic, Elvira: Mistress of the Dark on 4K UHD, starring the campy "hostess with mostest." In 1988, Elvira departed the red sofa on the Movie Macabre set to star in her first major motion picture, solidifying her status as a major comedy/pop culture icon. The Limited-Edition release features a brand new 4K restoration in Dolby Vision (HDR10 compatible) and hours of special features.
Elvira (Cassandra Peterson, Allan Quatermain and the Lost City of Gold) quits her job and is down on her luck when the phone rings with the news that a distant aunt has died and named her in the will. She embarks on a cross-country trip to accept the inheritance. As it turns out, the relative has left Elvira a poodle, a decrepit manor, and a family cookbook. The prudish locals, led by Edie McClurg (Ferris Bueller's Day Off), aren’t happy that the goth temptress remains in their precious town, and Elvira appears bound for a one-night bonfire instead of the lush life she envisioned.
The special features include three vintage audio commentaries, a feature length making-of documentary with cast and crew, a featurette on the special effects, an introduction by the director, original storyboards, image galleries, and an Illustrated collector’s booklet with essays.
- Published on
Oh, Tomie, Tomie, Tomie ... why do you have to be so elusive?
I believe I've seen 1998's Tomie. I went through a barrage of so many J-Horror films at one time that in all honesty far too many of them blended together because I just didn't see enough uniqueness to them individually. Now, that's not a critical assessment: it's just that when you watch, say, two or three or four of them in a row on some nameless weekend in the early 2000's you start to see how one release paved the way for the next without really bringing much new to the trend. That's part of what makes trends into trends; and the home video explosion of the 1990's -- with a massive influx of Eastern imports -- just didn't pave the way for celebrating the flicks on a one-by-one basis.
Well ... that can be rectified now as Arrow Films is going back to the vault for an all-new November release of Tomie. I've just received the details this morning, so I'm doing the dutiful copy-and-paste below. Hopefully I'll be able to get my hands on one of these as it deserves a rewatch and coverage for all of SciFiHistory.Net's readership. That's just how I roll.
In the meantime ... you know what to do.
-- EZ
I believe I've seen 1998's Tomie. I went through a barrage of so many J-Horror films at one time that in all honesty far too many of them blended together because I just didn't see enough uniqueness to them individually. Now, that's not a critical assessment: it's just that when you watch, say, two or three or four of them in a row on some nameless weekend in the early 2000's you start to see how one release paved the way for the next without really bringing much new to the trend. That's part of what makes trends into trends; and the home video explosion of the 1990's -- with a massive influx of Eastern imports -- just didn't pave the way for celebrating the flicks on a one-by-one basis.
Well ... that can be rectified now as Arrow Films is going back to the vault for an all-new November release of Tomie. I've just received the details this morning, so I'm doing the dutiful copy-and-paste below. Hopefully I'll be able to get my hands on one of these as it deserves a rewatch and coverage for all of SciFiHistory.Net's readership. That's just how I roll.
In the meantime ... you know what to do.
-- EZ
Tomie
[Limited Edition]
[Blu-ray]
11/19/24
On November 19, the ‘90s J-Horror box office hit Tomie makes its U.S. debut in a Limited Edition Blu-ray release.
Based on the smash-hit series by cult manga artist Junji Itō (Uzumaki), Tomie is about a detective Harada (Tomoro Taguchi, Tetsuo: The Iron Man), who investigates the murder of high school girl Tomie Kawakami (Miho Kanno, Dolls). He quickly learns this is a bigger case since several of her classmates and a teacher have committed suicide or have gone insane. The detective’s research shows that there was someone also named Tomie Kawakami who was murdered three years ago in a rural part of Japan. Further startling evidence reveals that numerous women named Tomie Kawakami have been murdered for over a century. The detective locates Tsukiko (Mami Nakamura, Tales of the Unusual), a surviving classmate of the latest Tomie. Instead of losing her mind, she merely suffers from amnesia. She has no memory of the time around Tomie’s murder. Tsukiko also doesn’t notice her neighbor’s fast-growing child who begins calling herself Tomie. What is the secret to this woman who won’t stay dead? Tomie’s box office success spawned seven sequels.
The special features include a brand-new audio commentary, new interviews with cast and crew, image gallery, trailer and an Illustrated collector’s booklet with essays.
- Published on
(Editor’s Note: In case the preamble to this review sounds familiar, that’s because I’ve copied & posted it from a previous review regarding this forthcoming DVD release. As this is the second film in the set, the review below will be original and correspond to my thoughts on that feature.)
As much as I love Horror stories from around the world, I’ll still admit that I’ve always had a bit of a struggle with traditional Japanese ghost stories.
It isn’t that I dislike them because that’s about as far from the truth as one could get. Still, I’ve had issues with a good many of the ones I’ve seen over the years for many reasons. In some cases, ghosts steal too much of the focus, so I get to learn very little about the fleshy folks who encounter them. At other times, the background and/or mythology of just how these ghosts came to be is a bit elusive if not downright vague; and, thus, I struggle to understand the significance of this particular story or that particular spectral ability. In their defense, I’ve always remarked that they’re usually very stylish, and their producers go to great lengths to depict this bridging between two realities in wonderfully visual ways: but if I can’t relate to the characters in any meaningful way then it devolves into a great deal of pomp and circumstance that, frankly, I could do without. They’re good … but they’re not good enough.
This being October – that famed time of year with ghosts and goblins and ghouls take center stage – I do have a good number of releases on tap for my and your enjoyment; and I’m particularly thrilled that the fine folks at Radiance Films have provided me with a complimentary screening copy of their forthcoming Daiei Gothic: Japanese Ghost Stories. This set – which is advertised to release to the consumer marketplace on October 29, 2024 – showcases three films that I’ve heard of but never had the pleasure to watch much less review; and that’s about to change. I’ll be spending some time with it in the days ahead, so I encourage readers to watch this space for what promises to be some wonderfully spooky content to help set the mood for the forthcoming Halloween silly season.
Last up: 1968’s The Bride From Hades – aka The Bride From Hell or Peony Lantern – was directed by Satsuo Yamamoto from a script attributed to Enchô San'yûtei and Yoshikata Yoda. The Horror/Fantasy starred Kôjirô Hongô, Miyoko Akaza, Mayumi Ogawa, Kô Nishimura, and Takashi Shimura in prominent roles. As for the story, it’s another one of those tragic love stories that J-Horror loves to explore, this time going for a bit more narrative scope as the folks of a small town actively try to subvert the powers of doomed love to save a noble man who has left fame and fortune in order to live a better life amongst the little folk. And – for the record – it’s really quite good.
As much as I love Horror stories from around the world, I’ll still admit that I’ve always had a bit of a struggle with traditional Japanese ghost stories.
It isn’t that I dislike them because that’s about as far from the truth as one could get. Still, I’ve had issues with a good many of the ones I’ve seen over the years for many reasons. In some cases, ghosts steal too much of the focus, so I get to learn very little about the fleshy folks who encounter them. At other times, the background and/or mythology of just how these ghosts came to be is a bit elusive if not downright vague; and, thus, I struggle to understand the significance of this particular story or that particular spectral ability. In their defense, I’ve always remarked that they’re usually very stylish, and their producers go to great lengths to depict this bridging between two realities in wonderfully visual ways: but if I can’t relate to the characters in any meaningful way then it devolves into a great deal of pomp and circumstance that, frankly, I could do without. They’re good … but they’re not good enough.
This being October – that famed time of year with ghosts and goblins and ghouls take center stage – I do have a good number of releases on tap for my and your enjoyment; and I’m particularly thrilled that the fine folks at Radiance Films have provided me with a complimentary screening copy of their forthcoming Daiei Gothic: Japanese Ghost Stories. This set – which is advertised to release to the consumer marketplace on October 29, 2024 – showcases three films that I’ve heard of but never had the pleasure to watch much less review; and that’s about to change. I’ll be spending some time with it in the days ahead, so I encourage readers to watch this space for what promises to be some wonderfully spooky content to help set the mood for the forthcoming Halloween silly season.
Last up: 1968’s The Bride From Hades – aka The Bride From Hell or Peony Lantern – was directed by Satsuo Yamamoto from a script attributed to Enchô San'yûtei and Yoshikata Yoda. The Horror/Fantasy starred Kôjirô Hongô, Miyoko Akaza, Mayumi Ogawa, Kô Nishimura, and Takashi Shimura in prominent roles. As for the story, it’s another one of those tragic love stories that J-Horror loves to explore, this time going for a bit more narrative scope as the folks of a small town actively try to subvert the powers of doomed love to save a noble man who has left fame and fortune in order to live a better life amongst the little folk. And – for the record – it’s really quite good.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“On the night of the summer Obon festival, Hagiwara Shinzaburo meets a beautiful courtesan named Otsuyu. Not knowing she's a ghost, he becomes infatuated by her.”
As can often happen with IMDB.com plot synopses, there’s a bit more to this one and yet that services just fine. What gets left out – more often than not – is some important character context; and I’m more than able to provide.
Hagiwara Shinzaburo (played by Hongô) is a man from a noble family. As such, he’s been expected to kinda/sorta ‘follow in the footsteps’ of his great ancestors and current relations by pursuing a life amongst society’s elite. In fact, we’re shown that this requirement even means he might have to wed a woman he doesn’t love just so that the household can save face when confronted with a bit of unexpected tragedy. The problem, however, is that Hagiwara has seen what those cultural betters are like, and he’s having none of it. In fact, he’s largely abandoned the old homestead and left all of that familial balderdash behind, instead choosing to pursue a career teaching children in a small and poor village nearby. As a consequence, he’s been embraced by the locals, and they’re all perfectly willing to do anything this good man asks.
At the Obon festival lantern launch, Hagiwara comes to the aid of a small boy whose lantern has gotten caught in the weeds; and, shortly thereafter, he does the same for another small boat captured nearby. From the darkness, two ladies – Otsuyu (Akaza) and Oyone (Michiko Ôtsuka) – step forward to thank him for his efforts and eventually follow him home that evening. In private, Oyone confesses to the man that her mistress, Otsuya, is smitten with him; and she encourages him to agree to spend the remainder of the festival in her charms, clearly hoping that the two will inevitably find love. It’s a curious matchmaking, indeed, but it works just fine for the purposes of the narrative.
What slowly emerges in part through Hagiwara’s investigation as well as that of his somewhat scheming assistant Banzô is that Otsuyu and Oyone are actually recent victims of tragic circumstances who’ve yet to pass into the beyond (mostly owed to the start of the festival). Never having experienced authentic love, Otsuyu seeks a union with the teacher even though all become aware that – in the process – the consummation will drain his life force in our world so that he can join her in the next. Naturally, the townsfolk have something to say about this union, and they’re willing to stop at nothing to save him from such a disastrous fate.
Like the best fairy tales, The Bride From Hades stays true to talking about true love – its truths, its gambles, and its consequences – and never strays from that path once it’s clear where all is heading. There’s an almost Shakespearean slant to much of it, even including a bit of skullduggery by those who don’t exactly have everyone’s best interests at heart. The script even pairs up Hagiwara and Otsuyu’s matching with Banzô and his wife Omine (Ogawa) to present a loose parallel for how manipulation might spell certain doom for both parties. Sadly, the Banzô/Omine union gets a bit dark in the final reel – I suppose it had to in order to be an authentic comparison – leaving the actors’ work a bit schlocky and overwrought in places early on. Still, the picture maintains a wonderful tone throughout, and it achieves tugging on the heartstrings of the audience with its depiction of love that might cost more than its benefits.
From the film’s IMDB.com page citation:
“On the night of the summer Obon festival, Hagiwara Shinzaburo meets a beautiful courtesan named Otsuyu. Not knowing she's a ghost, he becomes infatuated by her.”
As can often happen with IMDB.com plot synopses, there’s a bit more to this one and yet that services just fine. What gets left out – more often than not – is some important character context; and I’m more than able to provide.
Hagiwara Shinzaburo (played by Hongô) is a man from a noble family. As such, he’s been expected to kinda/sorta ‘follow in the footsteps’ of his great ancestors and current relations by pursuing a life amongst society’s elite. In fact, we’re shown that this requirement even means he might have to wed a woman he doesn’t love just so that the household can save face when confronted with a bit of unexpected tragedy. The problem, however, is that Hagiwara has seen what those cultural betters are like, and he’s having none of it. In fact, he’s largely abandoned the old homestead and left all of that familial balderdash behind, instead choosing to pursue a career teaching children in a small and poor village nearby. As a consequence, he’s been embraced by the locals, and they’re all perfectly willing to do anything this good man asks.
At the Obon festival lantern launch, Hagiwara comes to the aid of a small boy whose lantern has gotten caught in the weeds; and, shortly thereafter, he does the same for another small boat captured nearby. From the darkness, two ladies – Otsuyu (Akaza) and Oyone (Michiko Ôtsuka) – step forward to thank him for his efforts and eventually follow him home that evening. In private, Oyone confesses to the man that her mistress, Otsuya, is smitten with him; and she encourages him to agree to spend the remainder of the festival in her charms, clearly hoping that the two will inevitably find love. It’s a curious matchmaking, indeed, but it works just fine for the purposes of the narrative.
What slowly emerges in part through Hagiwara’s investigation as well as that of his somewhat scheming assistant Banzô is that Otsuyu and Oyone are actually recent victims of tragic circumstances who’ve yet to pass into the beyond (mostly owed to the start of the festival). Never having experienced authentic love, Otsuyu seeks a union with the teacher even though all become aware that – in the process – the consummation will drain his life force in our world so that he can join her in the next. Naturally, the townsfolk have something to say about this union, and they’re willing to stop at nothing to save him from such a disastrous fate.
Like the best fairy tales, The Bride From Hades stays true to talking about true love – its truths, its gambles, and its consequences – and never strays from that path once it’s clear where all is heading. There’s an almost Shakespearean slant to much of it, even including a bit of skullduggery by those who don’t exactly have everyone’s best interests at heart. The script even pairs up Hagiwara and Otsuyu’s matching with Banzô and his wife Omine (Ogawa) to present a loose parallel for how manipulation might spell certain doom for both parties. Sadly, the Banzô/Omine union gets a bit dark in the final reel – I suppose it had to in order to be an authentic comparison – leaving the actors’ work a bit schlocky and overwrought in places early on. Still, the picture maintains a wonderful tone throughout, and it achieves tugging on the heartstrings of the audience with its depiction of love that might cost more than its benefits.
The Bride From Hades (1968) was produced by Daiei Kyoto. DVD distribution (for this particular release) has been coordinated by the fine folks at Radiance Films. As for the technical specifications? While I’m no trained video expert, I found the provided sights-and-sounds to be exceptional from start-to-finish. Lastly, if you’re looking for special features? Because I try to be as specific as possible, I’m doing the dutiful copy-and-paste from Radiance’s press release previously published on Blu-ray.com for both the set and the individual film:
As I was provided with an industry copy, I always remind readers that I’m not typically provided the physical inserts, booklets, and artwork. As such, I can’t speak about the efficacy of those items.
Strongly Recommended.
While I could’ve used a bit more character development on the two ill-fated leads, The Bride From Hades remains one of the finer J-Horror entries I’ve had the good fortune to watch and review. The fairy tale structure holds true – even with a bit of darkness in the middle segments wherein the audience gets treated to what Otsuyu and Oyone look like in their spectral forms – and it was refreshing to see a story wherein the little folk saw goodness in one man so exceptional that they were willing to fight for it. In the end, the heart wants what the heart wants … but that’s part and parcel of why true love retains that bittersweet component few of us can live without.
In the interest of fairness, I’m pleased to disclose that the fine folks at Radiance Films provided me with a complimentary Blu-ray copy of The Bride From Hades (aka Peony Lantern) (1968) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- Audio commentary by author Jasper Sharp
- New interview with filmmaker Hiroshi Takahashi
- Trailers
- Reversible sleeve featuring original and newly commissioned artwork by Filippo Di Battista
- New 4K restoration
- High-Definition digital transfer of The Ghost of Yotsuya
- Uncompressed mono PCM audio for each film
- Optional English subtitles for all films
- Newly designed box and booklet artwork by Time Tomorrow
- Six postcards featuring original archive imagery from the films
- Limited edition 80-page perfect bound book featuring new writing by authors Tom Mes and Zack Davisson, newly translated archival reviews and ghost stories by Lafcadio Hearn
As I was provided with an industry copy, I always remind readers that I’m not typically provided the physical inserts, booklets, and artwork. As such, I can’t speak about the efficacy of those items.
Strongly Recommended.
While I could’ve used a bit more character development on the two ill-fated leads, The Bride From Hades remains one of the finer J-Horror entries I’ve had the good fortune to watch and review. The fairy tale structure holds true – even with a bit of darkness in the middle segments wherein the audience gets treated to what Otsuyu and Oyone look like in their spectral forms – and it was refreshing to see a story wherein the little folk saw goodness in one man so exceptional that they were willing to fight for it. In the end, the heart wants what the heart wants … but that’s part and parcel of why true love retains that bittersweet component few of us can live without.
In the interest of fairness, I’m pleased to disclose that the fine folks at Radiance Films provided me with a complimentary Blu-ray copy of The Bride From Hades (aka Peony Lantern) (1968) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- Published on
Good grief! Has it been 25 years already?
Where oh where does the time go?
I realize that you young'uns reading this probably don't exactly share those sentiments; but that's only because you haven't enjoyed as many trips around the sun as the rest of us have. Don't worry: it'll catch up to us all eventually, and -- in the meantime -- can I bring you up-to-speed on a little something-something I had the pleasure of seeing theatrically back in 1999? Written (in part) and directed by David Koepp, Stir Of Echoes was a Horror/Thriller that dabbled with the impossible in ways that defied conventional screen magic. Starring the ageless Kevin Bacon, the film garnered some positive reviews and went on to be a small(ish) box office success, earning a respectable $24M (domestic) on a reported $12M budget.
Lo and behold, it's getting a splendid makeover to celebrate its twenty-fifth birthday as the people at Lionsgate are rolling out all the stops. I'm doing the dutiful copy-and-paste below of their supplied press release. Interested parties are encouraged to put in an order early as this might be the kind of thing that disappears from shelves fairly quickly.
You know what to do.
-- EZ
Where oh where does the time go?
I realize that you young'uns reading this probably don't exactly share those sentiments; but that's only because you haven't enjoyed as many trips around the sun as the rest of us have. Don't worry: it'll catch up to us all eventually, and -- in the meantime -- can I bring you up-to-speed on a little something-something I had the pleasure of seeing theatrically back in 1999? Written (in part) and directed by David Koepp, Stir Of Echoes was a Horror/Thriller that dabbled with the impossible in ways that defied conventional screen magic. Starring the ageless Kevin Bacon, the film garnered some positive reviews and went on to be a small(ish) box office success, earning a respectable $24M (domestic) on a reported $12M budget.
Lo and behold, it's getting a splendid makeover to celebrate its twenty-fifth birthday as the people at Lionsgate are rolling out all the stops. I'm doing the dutiful copy-and-paste below of their supplied press release. Interested parties are encouraged to put in an order early as this might be the kind of thing that disappears from shelves fairly quickly.
You know what to do.
-- EZ
Stir Of Echoes
4K UHD + Blu-ray™ + Digital Street Date: 12/10/24
UHD + Blu-ray + Digital SRP: $34.99
PROGRAM DESCRIPTION
Academy Award® nominee Kevin Bacon stars in Stir of Echoes, a psychological thriller that will keep you on the edge of your seat. Tom Witzky (Bacon) is a blue-collar family man whose world is turned upside down after being hypnotized at a party. Opening a gateway to the supernatural, Tom begins experiencing terrifying visions and becomes obsessed with uncovering a long-buried secret in his Chicago neighborhood. As reality blurs with the paranormal, Tom's descent into madness becomes inevitable. Stir of Echoes arrives on Steelbook® on Amazon from Lionsgate, available in 4K for the first time for its 25th anniversary, featuring exclusive artwork and new bonus content. Available only at Amazon for the suggested retail price of $34.99.
OFFICIAL SYNOPSIS
Tom Witzky (Kevin Bacon) is a blue-collar worker, a family man, the most ordinary guy in the world...who is about to be plunged into a shattering encounter with another world. And it doesn't matter that Tom doesn't believe in the supernatural. Because something supernatural has started to believe in Tom. After he is hypnotized at a neighborhood party, Tom changes. He sees things he can't explain and hears voices he can't ignore. As the horrific visions intensify, Tom realizes they are pieces of a puzzle, echoes of a crime calling out to be solved. But when his other-worldly nightmares begin coming true, Tom wants out. He desperately tries to rid himself of his eerie, unwanted powers - only to be seized by an irresistible compulsion to dig deeper and deeper into the mystery that is consuming his life. When at last he unearths the truth, it will draw him into the long-buried secret of a ghastly crime, a vengeful spirit...and the lethal price of laying that spirit to rest.
CAST
Kevin Bacon (Footloose, Hollow Man, The Woodsman, Mystic River)
Kathryn Erbe (“Law & Order: Criminal Intent,” What About Bob? D2: The Mighty Ducks)
Illeana Douglas (To Die For, The New Guy, Ghost World)
Kevin Dunn (Transformers, Warrior, Chain Reaction, Dave)
SPECIAL FEATURES
Audio Commentary with Director David Koepp
Visions of the Past: Re-visiting Stir of Echoes (2024 NEW featurette)
Establishing Shot with Fred Murphy (2024 NEW featurette)
Flipping the Switch: Directing Stir of Echoes
Maggie's Memories: Inside Stir of Echoes
Opening the Door: Designing Stir of Echoes
Making of Stir of Echoes
Sight of Spirits: Channeling the Paranormal
Behind the Echoes
The Mind's Eye: Beneath the Trance
Special Effects
Production Design
Interviews with Cast and Crew
Behind the Scenes
Scene Comparisons
Screen Tests
Deleted Scenes
Promotional Materials
Breathe Original Music Video
Theatrical Trailer
PROGRAM INFORMATION
Year of Production: 1999
Title Copyright: Stir of Echoes © 1999 Artisan Pictures Inc. All Rights Reserved Package Design and Summary ®, ™ & © 2024 Lions Gate Entertainment Inc. All Rights Reserved
Type: Catalog Re-Release
Rating: R
Genre: Mystery, Horror, Thriller
Closed-Captioned: N/A
Subtitles: Spanish, English SDH
Run Time: 94 minutes
4K Format: TBC
4K Audio: TBC
BD Format: 2160P High Definition • 16x9 (1.85:1) Presentation
BD Audio: English Dolby Atmos
- Published on
Good morning, ladies, gentlemen, and ghouls!
Well, well, well ... the silly season is upon us once more ... and, no, I'm not talking about the December holidays. No, I'm actually talking about the time of year when frights and fools come centerstage: it's Halloween, and I couldn't be happier about it! How about you?
I know, I know, I know: but we had a Halloween last year? Must we do it again this year? Yes, we must. It's a moral imperative to work as hard as possible in scaring one another silly. That's what we do culturally, and you should consider it SciFiHistory.Net approved!
I haven't had many new trailers to post as of late. I've been offline dealing with some other whatnot, folks, and when that happens the first thing to go from my schedule are these fun little posts. Still, as time permits, I'll be popping by throwing out a few reminders, announcements, and the like. Why? Well, because you deserve it. As you know, I do my very best to keep you informed on things in the realms of the Fantastic ... and as someone in the entertainment industry has contacted me with a request to serve up an announcement for Hulu's Carved -- which, incidentally, looks to premiere on this day, I thought it only appropriate to pass along the information to you, my faithful readers.
Written (in part) and directed by Justin Harding, here's the plot summary as provided by our friends at IMDB.com:
"A group of survivors finds themselves trapped in a historical reenactment village on Halloween, where they must unite to battle a sentient, vengeful pumpkin."
For those of you who might be interested, here's the trailer below. You know what to do.
Well, well, well ... the silly season is upon us once more ... and, no, I'm not talking about the December holidays. No, I'm actually talking about the time of year when frights and fools come centerstage: it's Halloween, and I couldn't be happier about it! How about you?
I know, I know, I know: but we had a Halloween last year? Must we do it again this year? Yes, we must. It's a moral imperative to work as hard as possible in scaring one another silly. That's what we do culturally, and you should consider it SciFiHistory.Net approved!
I haven't had many new trailers to post as of late. I've been offline dealing with some other whatnot, folks, and when that happens the first thing to go from my schedule are these fun little posts. Still, as time permits, I'll be popping by throwing out a few reminders, announcements, and the like. Why? Well, because you deserve it. As you know, I do my very best to keep you informed on things in the realms of the Fantastic ... and as someone in the entertainment industry has contacted me with a request to serve up an announcement for Hulu's Carved -- which, incidentally, looks to premiere on this day, I thought it only appropriate to pass along the information to you, my faithful readers.
Written (in part) and directed by Justin Harding, here's the plot summary as provided by our friends at IMDB.com:
"A group of survivors finds themselves trapped in a historical reenactment village on Halloween, where they must unite to battle a sentient, vengeful pumpkin."
For those of you who might be interested, here's the trailer below. You know what to do.
As always, thanks for reading ... thanks for sharing ... thanks for being a fan ... and live long and prosper!
-- EZ
-- EZ
- Published on
Can I ask you: who among us doesn't love a good Apocalypse?
Frankly, as long as films have been in production, audiences have flocked to those pictures detailing the end of all things; and such productions continue to have legs well into the modern age. Why, it seems like every time one turns around they're hit with another one; and I, for one, am glad that special effects wizardry continues to push the envelope in ways that make our collective demise look better and better with each successive outing.
In any event ...
I received the press materials for the forthcoming Beyond The Wasteland (2023) -- which was formerly released under the name M -- and I wanted to pass them along to the readership. This one looks like a more personal story -- one with solid Horror overtones -- and I'll be posting the trailer below after the press blurbs. You folks know what to do about that.
-- EZ
Frankly, as long as films have been in production, audiences have flocked to those pictures detailing the end of all things; and such productions continue to have legs well into the modern age. Why, it seems like every time one turns around they're hit with another one; and I, for one, am glad that special effects wizardry continues to push the envelope in ways that make our collective demise look better and better with each successive outing.
In any event ...
I received the press materials for the forthcoming Beyond The Wasteland (2023) -- which was formerly released under the name M -- and I wanted to pass them along to the readership. This one looks like a more personal story -- one with solid Horror overtones -- and I'll be posting the trailer below after the press blurbs. You folks know what to do about that.
-- EZ
When The World Ends, Their Journey Begins
BEYOND THE WASTELAND
The Award-Winning Sci-Fi Horror-Thriller
Debuts on Digital November 5
PLANO, TEXAS (October 17, 2024) – In a world ravaged by a deadly virus, a young boy is faced with losing everything as he journeys through a shattered world, shrouded in silence and overtaken by the infected and the conflict-torn remnants of humanity in the award-winning sci-fi horror-thriller BEYOND THE WASTELAND (formerly titled M), debuting on Digital November 5 from Well Go USA Entertainment. The sophomore feature by Vardan Tozija, the film stars Matej Sivakov (Marko), Sashko Kocev (Marko's father), Aleksandar Nicovski (Miko), Kamka Tocinovski (Miko's mother), Bojana Gregoric Vejzovic, and Verica Nedeska (Marko's mother). BEYOND THE WASTELAND received the coveted and rarely awarded Programmers’ Choice Award at the 26th Annual Dances With Films: NY., the city’s leading indie film festival. In addition, the film was awarded a Special Mention/Balkan Competition and nominated for the Grand Prix at the Sofia International Film Festival. The film lands on Blu-ray™ January 7.
Synopsis:
Deep in a secluded forest, Marko lives in isolation under the watchful eye of his overprotective father, who is determined to keep his young son safe from the Evil Ones. Deeply lonely, and increasingly curious about the outside world, Marko yearns to uncover the secrets of life beyond the forest and begins venturing further from home. But after a cruel turn of events grants his wish sooner than he ever imagined, Marko is forced to flee and embark on a grim journey filled with unknown dangers and a glimpse into a world forever changed.
ABOUT WELL GO USA ENTERTAINMENT
Well Go USA Entertainment (www.wellgousa.com) is an Oscar®-nominated theatrical and home entertainment distribution label that specializes in bringing the best in action, genre and independent films from the U.S. and around the world to North America. Well Go titles can be seen across a variety of platforms, including in theaters, on-demand, via DVD and Blu-ray and on television, as well as on mobile and connected devices through martial arts action channel Hi-YAH! (www.hiyahtv.com). Well Go USA Entertainment’s corporate headquarters is in Plano, Texas, with an additional office in Taiwan.
Well Go USA Entertainment (www.wellgousa.com) is an Oscar®-nominated theatrical and home entertainment distribution label that specializes in bringing the best in action, genre and independent films from the U.S. and around the world to North America. Well Go titles can be seen across a variety of platforms, including in theaters, on-demand, via DVD and Blu-ray and on television, as well as on mobile and connected devices through martial arts action channel Hi-YAH! (www.hiyahtv.com). Well Go USA Entertainment’s corporate headquarters is in Plano, Texas, with an additional office in Taiwan.
- Published on
(Editor’s Note: In case the preamble to this review sounds familiar, that’s because I’ve copied & posted it from a previous review regarding this forthcoming DVD release. As this is the second film in the set, the review below will be original and correspond to my thoughts on that feature.)
As much as I love Horror stories from around the world, I’ll still admit that I’ve always had a bit of a struggle with traditional Japanese ghost stories.
It isn’t that I dislike them because that’s about as far from the truth as one could get. Still, I’ve had issues with a good many of the ones I’ve seen over the years for many reasons. In some cases, ghosts steal too much of the focus, so I get to learn very little about the fleshy folks who encounter them. At other times, the background and/or mythology of just how these ghosts came to be is a bit elusive if not downright vague; and, thus, I struggle to understand the significance of this particular story or that particular spectral ability. In their defense, I’ve always remarked that they’re usually very stylish, and their producers go to great lengths to depict this bridging between two realities in wonderfully visual ways: but if I can’t relate to the characters in any meaningful way then it devolves into a great deal of pomp and circumstance that, frankly, I could do without. They’re good … but they’re not good enough.
This being October – that famed time of year with ghosts and goblins and ghouls take center stage – I do have a good number of releases on tap for my and your enjoyment; and I’m particularly thrilled that the fine folks at Radiance Films have provided me with a complimentary screening copy of their forthcoming Daiei Gothic: Japanese Ghost Stories. This set – which is advertised to release to the consumer marketplace on October 29, 2024 – showcases three films that I’ve heard of but never had the pleasure to watch much less review; and that’s about to change. I’ll be spending some time with it in the days ahead, so I encourage readers to watch this space for what promises to be some wonderfully spooky content to help set the mood for the forthcoming Halloween silly season.
Next up: 1959’s The Ghost Of Yotsuya is a cinematic adaptation of the kabuki play, Yotsuya Kaidan, apparently a very popular Japanese ghost story that has enjoyed multiple screen editions from multiple directors. From what I’ve read online, this version appears to be one of the most popular incarnations – if, indeed, not the most popular – and it was directed by the prolific storyteller Nobuo Nakagawa. The film starred Shigeru Amachi as the doomed ronin eventually complicit in the murder of his wife Oiwa (Kazuko Wakasugi) who eventually rises from the beyond to extract her form of revenge on the man.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
As much as I love Horror stories from around the world, I’ll still admit that I’ve always had a bit of a struggle with traditional Japanese ghost stories.
It isn’t that I dislike them because that’s about as far from the truth as one could get. Still, I’ve had issues with a good many of the ones I’ve seen over the years for many reasons. In some cases, ghosts steal too much of the focus, so I get to learn very little about the fleshy folks who encounter them. At other times, the background and/or mythology of just how these ghosts came to be is a bit elusive if not downright vague; and, thus, I struggle to understand the significance of this particular story or that particular spectral ability. In their defense, I’ve always remarked that they’re usually very stylish, and their producers go to great lengths to depict this bridging between two realities in wonderfully visual ways: but if I can’t relate to the characters in any meaningful way then it devolves into a great deal of pomp and circumstance that, frankly, I could do without. They’re good … but they’re not good enough.
This being October – that famed time of year with ghosts and goblins and ghouls take center stage – I do have a good number of releases on tap for my and your enjoyment; and I’m particularly thrilled that the fine folks at Radiance Films have provided me with a complimentary screening copy of their forthcoming Daiei Gothic: Japanese Ghost Stories. This set – which is advertised to release to the consumer marketplace on October 29, 2024 – showcases three films that I’ve heard of but never had the pleasure to watch much less review; and that’s about to change. I’ll be spending some time with it in the days ahead, so I encourage readers to watch this space for what promises to be some wonderfully spooky content to help set the mood for the forthcoming Halloween silly season.
Next up: 1959’s The Ghost Of Yotsuya is a cinematic adaptation of the kabuki play, Yotsuya Kaidan, apparently a very popular Japanese ghost story that has enjoyed multiple screen editions from multiple directors. From what I’ve read online, this version appears to be one of the most popular incarnations – if, indeed, not the most popular – and it was directed by the prolific storyteller Nobuo Nakagawa. The film starred Shigeru Amachi as the doomed ronin eventually complicit in the murder of his wife Oiwa (Kazuko Wakasugi) who eventually rises from the beyond to extract her form of revenge on the man.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“The ghost of a samurai's wife takes revenge on her husband.”
Please trust me when I say that there’s a bit more complexity to the plot as IMDB.com would have you believe.
Indeed, what emerges from The Ghost Of Yotsuya is something that is theatrically remarkable in that it fairly accurately mirrors the structure of a three-act play – Act One introduces the players, Act Two heightens the conflicts, and Act Three functions mostly just to bring it all to a close – along with some respectable character development. The audience learns more about Tamiya Iemon (played by Amachi) and Oiwa (Wakasugi) as the drama unfolds; and yet I thought there still remained a strange emptiness to understanding Tamiya’s real motivation given all that he experiences. Granted, the film closes with a kinda/sorta display that – so far as his deceased wife is concerned – he’s achieved redemption; but I still would’ve liked to have known a bit more about his make-up as the first and second acts were a bit uneven.
(Editor’s note: I find it interesting – only as an aside – to point out that the original play upon which the film is based is, in fact, cited as having five acts on Wikipedia.org. I can’t speak to how that might mirror the film’s narrative structure as, for me, the three-act association works ideally.)
When we first meet Tamiya, he’s a bit full of himself, showing up at her father’s palace asking for her hand in marriage. After he is refused and insulted, he ends up murdering the older man and he collaborates with another to cover up his misdeeds in such a way that Oiwa falls in love with him, paving the way for their nuptials. Sadly, it isn’t long into their marital relationship that the samurai decides he covets a different woman – Oume (Junko Ikeuchi) – to be his bride, and this leads him to conspire once more with the scheming Naosuke (Shuntarô Emi) with a new plot, this one casting Oiwa in an adulterous relationship with the lowly servant/friend Takuetsu (Jun Ôtomo). Such a betrayal can only result in their shared deaths, leaving Tamiya now free to act on his feelings for Oume.
Well, this is a ghost story, after all, and it’s at this point – fairly late in the picture, I might add – that the supernatural skullduggery begins. The spectrally reanimated Oiwa infects the mind of her murderous husband, producing hallucinations which force him to draw his sword in perceived defense against her ghostly form again and again, actions which results in a growing number of victims. While the wait for some samurai action and the narrative payoff was quite long, the closing twenty minutes are a legitimate ‘fever dream’ experience. Unable to escape not even his guilty conscience, Tamiya Iemon eventually lies dead on the floor wherein the ghostly form of his late wife virtually embraces him – via her haunted kimono – in the closing scenes.
“The ghost of a samurai's wife takes revenge on her husband.”
Please trust me when I say that there’s a bit more complexity to the plot as IMDB.com would have you believe.
Indeed, what emerges from The Ghost Of Yotsuya is something that is theatrically remarkable in that it fairly accurately mirrors the structure of a three-act play – Act One introduces the players, Act Two heightens the conflicts, and Act Three functions mostly just to bring it all to a close – along with some respectable character development. The audience learns more about Tamiya Iemon (played by Amachi) and Oiwa (Wakasugi) as the drama unfolds; and yet I thought there still remained a strange emptiness to understanding Tamiya’s real motivation given all that he experiences. Granted, the film closes with a kinda/sorta display that – so far as his deceased wife is concerned – he’s achieved redemption; but I still would’ve liked to have known a bit more about his make-up as the first and second acts were a bit uneven.
(Editor’s note: I find it interesting – only as an aside – to point out that the original play upon which the film is based is, in fact, cited as having five acts on Wikipedia.org. I can’t speak to how that might mirror the film’s narrative structure as, for me, the three-act association works ideally.)
When we first meet Tamiya, he’s a bit full of himself, showing up at her father’s palace asking for her hand in marriage. After he is refused and insulted, he ends up murdering the older man and he collaborates with another to cover up his misdeeds in such a way that Oiwa falls in love with him, paving the way for their nuptials. Sadly, it isn’t long into their marital relationship that the samurai decides he covets a different woman – Oume (Junko Ikeuchi) – to be his bride, and this leads him to conspire once more with the scheming Naosuke (Shuntarô Emi) with a new plot, this one casting Oiwa in an adulterous relationship with the lowly servant/friend Takuetsu (Jun Ôtomo). Such a betrayal can only result in their shared deaths, leaving Tamiya now free to act on his feelings for Oume.
Well, this is a ghost story, after all, and it’s at this point – fairly late in the picture, I might add – that the supernatural skullduggery begins. The spectrally reanimated Oiwa infects the mind of her murderous husband, producing hallucinations which force him to draw his sword in perceived defense against her ghostly form again and again, actions which results in a growing number of victims. While the wait for some samurai action and the narrative payoff was quite long, the closing twenty minutes are a legitimate ‘fever dream’ experience. Unable to escape not even his guilty conscience, Tamiya Iemon eventually lies dead on the floor wherein the ghostly form of his late wife virtually embraces him – via her haunted kimono – in the closing scenes.
While I have read some online commentary suggesting that this adaptation from stage-to-screen is a bit risky (stage plays don’t work in the same striking fashion that films can employ enhanced visual trickery), I thought the structure worked quite well. It all has the feel of that classic theatrical structure I mentioned above, and the measure of conniving maneuvers was definitely reminiscent of even, say, Shakespeare’s Iago, Claudius, or Lady Macbeth. Granted, it could’ve used a bit of polish here and there – Naosuke seems to be a bit of a conspirator for no pronounced reason other than the fact that the story needed one – but the puzzle pieces go together quite nicely to assemble the completed whole.
Still, my greatest problem – besides the fact that two-thirds of the picture is far more melodrama than anything else – is with the central character of Tamiya Iemon.
As he is arguably the picture’s lead, I would’ve expected there to be a bit more explanation behind what makes the samurai tick. Because I’ve watched a good number of samurai pictures, I have preconceived notions about what they stand for; and things like justice, integrity, and honor immediately spring to mind. Because Tamiya is a ronin – meaning a ‘masterless’ samurai – it stands to reason that he’s sadly inherited a bit of failure along the way. But did he kill his former master? What were the circumstances of that man’s disappearance? (If it was explained, then I’ll admit to having fully missed it, a reality that can sometimes happen with translations.) Certainly, something must account for Tamiya’s restlessness – both as a warrior and a husband – but the script really provides no explanation. For me, that was a void that should’ve been filled.
Of course, I’m not trying to suggest that The Ghost Of Yotsuya is a flawed picture. It’s understandable to see why Nakagawa’s adaptation is highly regarded: while I found it personally a bit slow in the set-up, there were a great number of details established surrounding its characters, setting, and circumstances, and that takes time. My complaint is that I kept looking for a greater explanation as to why Tamiya was a bit of a jerk more often than not, and that question was never satisfactorily answered in any way. Having painted him as an antihero may’ve worked fine for some, but I expected a bit more clarity given the fact that I spent so much time with him. In the end, he remains as nebulous as his is villainous, and I find that incomplete.
Still, my greatest problem – besides the fact that two-thirds of the picture is far more melodrama than anything else – is with the central character of Tamiya Iemon.
As he is arguably the picture’s lead, I would’ve expected there to be a bit more explanation behind what makes the samurai tick. Because I’ve watched a good number of samurai pictures, I have preconceived notions about what they stand for; and things like justice, integrity, and honor immediately spring to mind. Because Tamiya is a ronin – meaning a ‘masterless’ samurai – it stands to reason that he’s sadly inherited a bit of failure along the way. But did he kill his former master? What were the circumstances of that man’s disappearance? (If it was explained, then I’ll admit to having fully missed it, a reality that can sometimes happen with translations.) Certainly, something must account for Tamiya’s restlessness – both as a warrior and a husband – but the script really provides no explanation. For me, that was a void that should’ve been filled.
Of course, I’m not trying to suggest that The Ghost Of Yotsuya is a flawed picture. It’s understandable to see why Nakagawa’s adaptation is highly regarded: while I found it personally a bit slow in the set-up, there were a great number of details established surrounding its characters, setting, and circumstances, and that takes time. My complaint is that I kept looking for a greater explanation as to why Tamiya was a bit of a jerk more often than not, and that question was never satisfactorily answered in any way. Having painted him as an antihero may’ve worked fine for some, but I expected a bit more clarity given the fact that I spent so much time with him. In the end, he remains as nebulous as his is villainous, and I find that incomplete.
The Ghost Of Yotsuya (1959) was produced by Shintoho Film Distribution Committee. DVD release (for this particular release) has been coordinated by the fine folks at Radiance Films. As for the technical specifications? While I’m no trained video expert, I found the provided sights-and-sounds to be very good from start-to-finish: there’s some really good visual trickery showcased once Tamiya’s mind goes black, and Nakagawa really managed to capture good lightning in a bottle when necessary. Lastly, if you’re looking for special features? In order to be specific, I’m doing the dutiful copy-and-paste from the company previously press release published on Blu-ray.com below:
As I was provided with an industry copy, I always remind readers that I’m not typically provided the physical inserts, booklets, and artwork. As such, I can’t speak about the efficacy of those items.
Alas … only Mildly Recommended.
With respect to The Ghost Of Yotsuya (1959), I have to admit to being a bit underwhelmed. While it’s an exceedingly well-made film, the story simply never moved me in the same way other pictures have; and I kept questioning what in the name of Sam Hill was going on in the mind of Tamiya Iemon. While I think it’s perfectly fine to engage the audience with the degree of set-up required for the last act’s pay-off, I still can’t help but wonder about why this man did what he did. Filling that one simply hole might’ve made for a better viewing, but in lieu of any sufficient explanation all I’m left with is wonder. Great ghost bits … but I needed a touch more with the living and breathing souls who made this one what it was.
In the interests of fairness, I’m pleased to disclose that the fine folks at Radiance Films provided me with a complimentary Blu-ray copy of The Ghost Of Yotsuya (1959) – as part of their Daiei Gothic: Japanese Ghost Stories – by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- New interview with filmmaker Kiyoshi Kurosawa
- A visual essay on the history and adaptations of the classic Ghost of Yotsuya story by author Kyoko Hirano
- Trailer
- Reversible sleeve featuring original and newly commissioned artwork by Filippo Di Battista
As I was provided with an industry copy, I always remind readers that I’m not typically provided the physical inserts, booklets, and artwork. As such, I can’t speak about the efficacy of those items.
Alas … only Mildly Recommended.
With respect to The Ghost Of Yotsuya (1959), I have to admit to being a bit underwhelmed. While it’s an exceedingly well-made film, the story simply never moved me in the same way other pictures have; and I kept questioning what in the name of Sam Hill was going on in the mind of Tamiya Iemon. While I think it’s perfectly fine to engage the audience with the degree of set-up required for the last act’s pay-off, I still can’t help but wonder about why this man did what he did. Filling that one simply hole might’ve made for a better viewing, but in lieu of any sufficient explanation all I’m left with is wonder. Great ghost bits … but I needed a touch more with the living and breathing souls who made this one what it was.
In the interests of fairness, I’m pleased to disclose that the fine folks at Radiance Films provided me with a complimentary Blu-ray copy of The Ghost Of Yotsuya (1959) – as part of their Daiei Gothic: Japanese Ghost Stories – by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ