The recent number of Daiei films that Arrow Video has unleashed onto Blu Ray and digitally in the last couple of years, it should not be a shock that the Daimajin Trilogy was one of the next collectors sets. Although the three films were widely available on Blu Ray through a cheap release via Mill Creek already, after the previously released Gamera series was released, an upgrade was most welcome. Featuring the only three films of this fascinating tokusatsu series, The Daimajin Trilogy not only contains the HD versions of the films, but tons of new commentaries, discussions, and writings about the films in a deluxe collectors set. This review will cover all three films of the series, but if you are interested enough in Daimajin to be reading this article - you might as well order the set right now. It’s a worthy endeavor to see the unusual and all too enticing films included.
DAIMAJIN (1966)
Director: Kimiyoshi Yasuda
For those coming into these films fresh, perhaps riding on
the wave of kaiju resurgence that has been occurring as of late, Daimajin
might be a surprising film. While the giant stone mountain god of the title is
prominently featured in the artwork and marketing, the ‘monster’ aspect of the
film is relegated to the third act mostly. The approach to this film is more
akin to a feudal Japanese samurai film than the classic kaiju one. The first
two acts feature a story about a coup that occurs against the local government
that puts a vicious new ‘warlord’ in place who crushes the innocent people
under his oppressive regime. The children of the previous ruler are sent to
live in hiding on the mountain of the daimajin (or mountain god) and when shit
hits the fan 10 years later, prayers and an attempt to crush the statue on the
mountain awaken the sleeping giant to wreak havoc on the corrupt and vicious
usurper.
What works so splendidly with Daimajin is the choice
to not have the giant statue awaken until the third act. There is a sense that
it will happen, even if you have not seen the marketing, through a religious
figure and a foreboding sense of fate crafted in its script and direction. The
focus on the characters own struggles to survive and thrive under the new
regime embed the film with a humanity and hope that drives the narrative well,
laying the groundwork to root for the vengeful daimajin when he does arrive to
crush buildings, step on baddies, and general bring destruction. The dual
strengths of incredibly well shot visuals that bound between the lush forests
of the mountain and the barren rock laden area where slave labor was used to
build a new gate and the special effects make Daimajin a visual feast to
consume. It’s tonality is realistically grounded which makes the fantastical
elements feel bolder and more awe-inspiring, made palpable by how the
characters respond to those events.
Although the film is substantially different from other
giant monster movies of the time, perhaps more akin to a period episode of Ultra
Q than Godzilla and it’s subsequent knock offs, the strength of its
writing and execution visually make it a must-see classic of the era worthy of
this latest release.
RETURN OF DAIMAJIN (1966)
Director: Kenji Misumi
Reviewing the Daimajin films, particularly all three
in a row as is the case for this piece, is certainly a unique experience. For
those readers out there that have seen the films, you’ll already know why. At
the basics, the three films are essentially the same formula and - almost the
same narrative story. As is the case for 1960s Japanese cinema, if a film hit
its audiences, it was replicated to varying degrees of success. However, it
becomes very apparent with this first sequel, Return of Daimajin, that
the screenwriters were just picking a new locale, a handful of stock
characters, and then swapping out moments.
Return of Daimajin is still the best of the trilogy.
For all the replication of elements from the first film in a slightly new
manner, where the coup d’état and evil usurper of the first is replaced by an
outside invader, for example, it’s through the direction of iconic director
Misumi where this film finds its stride.
The new setting, which features a lakeside village under
attack from a mountain warlord who wants to reap the benefits of living by the
water, is maximized by the director visually speaking. In particular, the
island in the middle of the lake that houses the stone god kaiju, is built
through both visual and practical effects in a way that makes it both daunting,
intimate, and still fantastical. When the titular titan makes his appearance in
the third act (to a very impressive reveal, might I add) it’s Misumi just
feeding the audience some wild imagery that tops its predecessor.
The human element is slightly more fine-tuned and even
smaller side characters, an old man who takes care of the island stands out as
a prime example, just pop from the formulaic script. Misumi was always able to
snag layered performances from his cast and Return of Daimajin is no
different. The characters might be rather stock, but the performances and how
the film paces and balances the human strife with the building tension to the
kaiju third act make it easily a surprisingly dense watch for something so
engrained to replicating the first.
THE WRATH OF DAIMAJIN (1966)
Director: Kazuo Mori
Also known as: Daimajin Strikes Again
...and with this last film, the trilogy of Daimajin
ends - that is until someone gets the bright idea to release a Shin-Daimajin
film (please, someone do that). Unfortunately, after hitting a high point with
the second film, this third entry, The Wrath of Daimajin, starts a
relatively quick slide back down. As with the previous films, Wrath
follows a fairly strict structural pattern by introducing its human characters,
focusing on a struggle between the oppressed and the oppressor, and then having
an instance of violence or tragedy that results in our big stone god coming to
life and throwing down with plenty of sets and miniatures. At its core, it’s
more of the same and fans of the series will immediately feel comfortable in
strapping for the predetermined narrative ride.
That being said, whereas the first two films very much
replicate the same script basics in the human element, this film attempts a
slightly different approach to its material. By different I mean it follows
suit with the rest of the kaiju genre of the period. Wrath shifts the main
focus from adult characters to child ones. Instead of the plight of a village
or family, it’s a band of four young boys traversing Daimajin’s mountain and
this change of pace is a welcome one. The inherent problem is that the
secondary plot, focusing on some slave labor and oppressors is not nearly as
enticing as the intimacy of the boys’ plot - which has them crossing paths with
a few villains and one of the greatest mustache’s to ever grace a face. There
is a sense of adventure in the main plot (and a surprisingly darker tone) that
makes this one stand out from the rest, even if the acting and child wigs feel
a bit imperfect.
Action wise, it’s more of the same in the third act where the
stone god trashes some buildings and steps on a few people to retain the
balance of peace and it lacks some of the visual pizzazz of either of the first
two films. Although the snowy mountain element of the third act is visually
interesting, director Kazuo Mori doesn’t quite hit it out of the park with as
much finesse as the rest of the series. Compared to some of his other classics,
it’s not quite as effective in the layering. Side note: everyone should watch
his film A Certain Killer. It’s an instant classic, horrifically
overlooked.
With these three films though, it’s hard not to recommend
the interesting angle that the Daimajin trilogy brings to the genre. For
those more familiar with the classic Godzilla and friends tropes, these
flicks will add an interesting layer - a more dramatic human element with its
time period struggles that adheres more to classic chanbara cinema. The
restorations are crisp and beautiful, showcasing the fantastical practical
effects, sets, and costumes in all their 1960s glory and the special features
are what any tokusatsu film fan will want to dig into - new appreciations for
the films, visual essays, interviews, and enough commentaries to shake a stick
at. Just the odd discrepancies that exist through the three very similar films,
all directed by fantastic directors in their own right, make watching all three
in a row a wild ride. Even though there is a cheaper Blu Ray set that already
exists, with the new packaging, features, and booklet, Arrow Video’s Daimajin
Trilogy set is worthy of any collection.
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