For all its singular qualities, Under The Skin is also part of a trend of films that could be ushering in a science-fiction renaissance.
"I don’t like the movies where everybody dies, and it’s horrible, and it’s a downer. Most of these, the people die in a heroic way, or they save somebody by dying. Killing guys off is always a neat way to end these things, and I only think it’s tragic if a guy dies without doing what he wanted to do. If he dies and he’s accomplished something, or by dying he accomplishes something, that’s different. "
Nessie: The International Blockbuster Film We Never Saw In the mid-1970s, there was an aborted co-production between Hammer Films and Toho entitled “Nessie”, in which the Loch Ness Monster e…
Bryan Forbes’ NESSIE
Director: Bryan Forbes (Michael Anderson was also on board at some point)
Script: Bryan Forbes & Chris Wicking
Plot: A rampaging sea monster from the bowels of Loch Ness attacks London.
What I Know: Hammer film’s producer Michael Carreras came up with the idea for this big-budget monster movie in 1976 and presented his plan to an enthusiastic crowd at Cannes. With backing from Columbia, Hammer started working on monster designs with GODZILLA creators at Japan’s Toho studio but after millions were spent on pre-production, Columbia suddenly pulled the plug. Afterward the film’s financial backers began dropping like flies and NESSIE never saw the light of day leaving monster fans around the world to wonder what this intriguing Hammer/Toho co-production might have looked like if it was completed.
This year marks the 50th anniversary of the original Gojira, the be-all-end-all giant monster movie and blahblahblah, you don’t need to read all this again. I’m watching giant monster movies this year when I find them. Click the tags to find whatever other ones I end up doing.
Gamera: Guardian of the Universe (1995)
This is some good old time rock ‘n roll, here. My exposure to the Gamera series is pretty limited – I’ve only ever seen the Mystery Science Theatre 3000 version of Gamera vs. Guiron (and, actually, even without the commentary, Gamera vs. Guiron is kind of great – exhibit A, exhibit B) – but I know the trio of 90s Gamera films are supposed to be genre classics, so I thought I’d check them out, starting with the first, which sticks in my mind because of Roger Ebert’s review, the main thrust of which is that it’s a more enjoyable movie than Air Force One (as a child, I suffered through Air Force One at a drive-in so I could see Men in Black, and that’s my Air Force One story.)
First and foremost, I have apparently become a total film snob, because I had to get back into the groove of watching a dubbed foreign film, even though almost all my exposure to giant monster movies is with dubbed versions. I was able to overlook it pretty quickly, and I can see that they at least tried to be respectful to the original, but man, some of those voice choices. I mean, there’s always going to be a bit of dissonance, but it some of the actors seemed to be “doing voices” and that’s absolutely fucking distracting, even in a goofy movie like this.
It’s pretty clear that their goal was to take the stuff people liked about Heisei Godzilla (the suits, the violence, better human characters, the attempts to connect it with modern concerns) while also keeping it simple, avoiding some of the pitfalls of the later G-films. So, we got an origin story that establishes a reason for Gamera to be a good guy and to fight his by-popular-vote archenemy, then tie it in (a little?) to 90s eco concerns (speaking of which, have we had someone really try to tackle 2000s eco concerns in a monster movie? Maybe the new Godzilla will do that) – it’s all very neat and flows nicely. Weirdly, its plot is also very similar to the abandoned Godzilla film that Stan Winston was working on – the good monster created by Atlanteans to battle an evil monster in the present day, with the main difference being the bad guy monster was supposed an alien in the Godzilla movie, and is an artificial life form in Gamera. This movie would have been made at around the same time the Godzilla project was falling apart, so maybe there was some cross-pollination there, or maybe it’s just a coincidence.
Back to the borrowed aesthetics, this movie is pretty violent – blood and goo all over the place. This extends into the tone of the action as well – Gamera always seemed like the friendlier of the giant monsters, and while there are scenes of him going out of his way to protect people, he’s also shown almost mindlessly pursuing his fight, just knocking over whatever buildings are in his way. You can kind of understand why the military thinks he might be a bigger threat (though that still doesn’t explain how they can nonchalantly disregard the threat posed by Gyaos, but whatever), and I guess he’s supposed to be positioned as an anti-hero in these films, although aside from the property damage he’s still more straight heroic. The background stuff also gives this movie more an apocalyptic feeling, which is strangely not as prevalent in the genre as one would think. The human characters are pretty aware that this is a straight-up end of the world scenario, and it’s about accepting that Gamera is going to have to break some stuff in order to prevent other monsters from breaking everything. Monster movies usually come from a place of “we fucked up”, and this is a pretty pure example of that – even going so far as portraying a history of humans fucking up. That actually feels a very savvy through-line from the 50s monster movies, and the darkness feels at least a tiny bit more considered than just “let’s make the childrens’ movie more violent and shit.”
Gamera 3: The Revenge of Iris (1999)
I decided to skip the second entry in the series, Attack of Legion, because the third movie sounded more interesting. This one was dubbed too, but you know what? I kind of enjoyed hearing the same actors in these voice roles again. I am quick to change my tune, I guess.
This movie is exploring the themes from the first one in a lot of interesting ways – it’s a lot more character-focused, and even more apocalyptic. There’s an air of desperation throughout the film - it’s established as a permanently monster-ridden world, with humanity accepting that it has to get involved in steering the future of the planet - whether or not that involves working with the good guy monster. I mean, it’s pretty obvious that they’re going to need Gamera around, but there’s a lot more thinking about the roles and consequences of it all, so even though it’s cliche that the government would still be gung ho to blow up Gamera even though he saves their asses on a regular basis, there’s a debate present, at least.
The whole movie feels darker, especially visually – Gamera looks a lot fiercer than in the previous movie (which helps reinforce the way some of the characters look at him, actually.) It seems like the years between the first and this last movie made a major impact on the look – not only are the designs more complicated and “modern” (especially Iris, which is a weird, very designed creature, more in line with something animated rather than the usual kaiju standard), and there’s way more CGI as well, though it usually blends pretty well with the suits and miniatures. The tone and special effects seem to be of a piece, though – this very much feels like a turn-of-the-millenium movie, in the way it looks and the way it tells its story.
This movie also gets a lot more mystical, I guess in part to play up the interconnectedness of things on earth – the first movie focused on the more Science Fiction-y aspects of the monsters, but now Gamera is recognized as the fighting spirit of the Earth itself with a firm connection with humanity (though he no longer has the direct connection he had in the first film, interestingly, which might explain why he seems to destroy even more indiscriminately here), with the other monsters as his shadows. There are references to prophecies and traditional spiritual beliefs and other mystical concepts all over the movie, and while most of those specific examples don’t necessarily go anywhere, it’s sort of there to give the film a certain atmosphere. Iris isn’t just a hyper-mutating beast like Gyaos, it’s a far stranger and more threatening abstraction of the individual emotional impact the events of these movies have had on people – once again placing us at the root of our own destruction. We even get two pseudo-villainous human characters, who seem to be totally in favour of the whole monsters-killing-everyone thing, based on obscure prophetic interpretations or plain old nihilism. All the new characters in the movie are here to present a variety of ways people, touched or untouched by the monster fights themselves, interpret the state of affairs, and we get more time to actually understand all that stuff, as the monster fights are paced in a way that feels more intrusive, probably in the same way the citizenry view them (putting it mildly.)
All this is leading up to an ambiguous ending for the series – it’s really more of a “…and the fight goes on!” sort of ending, but Gamera’s in pretty bad shape, and that’s a LOT of Gyaos coming his way. I kind of like that it arises from what was mainly in the background - when stories provide a wider context that the main plot may or may not be directly related to, it makes it seem more like a real world of big and small stories – but it still feels tonally connected. The final scenes are all about pulling through adversity, and I think a lot of the movie is trying to drive us away from the nihilism that these armageddon situations sometimes breeds within us. I think that seems to be way this series utilizes its own grittiness, to present suffering as something we must confront, but to demonstrate the alternative to letting that darkness infect us.
Concept art of Moguera from “Godzilla vs SpaceGodzilla”1994
Concept art of Biollante from “Godzilla vs Biollante” 1989
This year marks the 50th anniversary of the original Gojira, the be-all-end-all giant monster movie (King Kong is certainly part of the line, mind, but for entirely subjective and arbitrary reasons, I put it off into its own little category to make broad statements like these much easier), so I thought it’s time to watch as many of the movies it helped create as I can track down. So, while the reboot coming in a few months may or may not be any good, you can always fall back on the classics (and non-classics) for your fix. Unfortunately, this particular subgenre is a little more tricky to get into, with a lot of the obvious must-sees (many of which I haven’t gotten around to in my many years) requiring a little digging. In order to get some sort of a start on this, then, I took some suggestions from random link-diving, and got some more modern fare…lesser modern fare to be honest, but it’s something at least. Read my observations below, because reading this introductory paragraph indicates that you’ve already made some bad choices.
Digital Monster X-Evolution (2005)
Okay, this is only a giant monster in the broadest possible sense. The Digimon series is heavily inspired by the genre, obviously, but otherwise there’s very little in this movie that’s reminiscent of its forebears. Even so, it was there, so I watched it. Sue me.
In order to make the audience forget that this film exists solely as a brand extension/restructuring, the old trick of making it dour and violent as all fuck is employed- at times, it just seems to be a bunch of scenes of mass death(?). It takes a wild stab at some sort of theme by bringing up an organism’s will to live or something, but that’s really only real surface level stuff, and is basically there to justify the tons of bloodless violence (but not glossed over – lots of “what-have-we-done” wide shots of fields of bodies and shouts to the sky) to keep the little SOBs entertained. I do kind of like that the ostensible antagonist is never really given a character, or even a voice, and its modus operandi is only really kind of explained in the last five minutes, which kind of lends weight to what they were trying to say thematically? It was probably just accidental.
There’s a lot of stuff in here that is not explained clearly (probably because they expected the audience to be familiar with the tie-in multimedia extravaganza?), or not explained at all. There are characters who very clearly die and then come back in the second half of the movie with no reasons given. I guess if you looked around a little for things, you could probably find explanations for a lot of the seemingly important plot points, but I don’t know, it just confused me.
I imagine this will be one of, if not the only, example of a monster-y movie that just features the creature with no humans involved. Does that sort of thing work? I mean, these are still characters in the same sense that human characters would be, but without a real world connection, does it make the whole thing weightless? The whole genre, as goofy as it gets, still kind of hinges on humanity’s relationship with various aspects of ourselves and the natural world. You could probably try to draw some parallels here to the real world, but chances are we kind of need a person to ground the whole thing, even though we tend to like the monsters more. It’s just easier to identify with a human than with a fluffy purple dinosaur with a child’s voice.
Mega Monster Battle: Ultra Galaxy Legends The Movie (2009)
Here we go, this is an actual factual giant monster movie, with dudes in rubber suits and the whole bit, though in an appeal to modern times, everything is shot in front of green screens and has that patented Vaseline glow. It’s also another multimedia tie-in, just as egregious as X-Evolution with its lack of set-up, and a continuity clusterfuck that pulls from dozens of television series over forty years – this is all in the name of top level fan service. On top of that, it’s setting up a new “main character” for the franchise going forward, who gets maybe 10-15 minutes of screen time and is the super-best at everything even though he’s young and HAS GOT TO LEARN TO USE HIS POWER RESPONSIBLY and all that jazz and is even the son of the most popular character. It’s got a lot in it, is what I’m saying.
Yet, as shameless at it seems, there’s something so completely pure about it – its a string of twenty-minute dudes-in-rubber-suits-karate-chopping-each-other fight scenes held together by exposition by older actors who have been part of the Ultraman series since the 1960s(!). The new franchise extension aside, there is very little character stuff, as obviously any development would have happened in their respective series - and so there’s little bloat because it’s just the candy filling. And, I mean, as someone who likes kaiju, it’s hard not to salute a no-bullshit kid’s action movie where the bad guy has a “Hundred-Monster Army”, and it’s still all just guys in suits, and even with the green screen (which means most of these actors were probably never in the same studio) it’s like the previous two decades of film technology “advances” just never happened. One of the human characters is basically yelling every time a new well-known Ultraman kaiju appears, and out loud I’m saying “Right there with you, buddy” while sitting very alone in my room.
So, it’s really not all that different from X-Evolution in a lot of respects, and in some cases offers even less in terms of meaning (I guess the lesson learned is that if you’re a fifty-foot-tall superhero it might be a good idea to not be a dick?), but it’s still kind of marvellous all the same.