Mystics in Bali

 

(1981) Directed by H. Tjut Djalil; Written by Jimmy Atmaja; Based on the novel Leak Ngakak by Putra Mada; Starring: Ilona Agathe Bastian, Yos Santo, Sofia W.D., W.D. Mochtar, and Debbie Cinthya Dewi; Available on DVD 

Rating: ***½ 

“Cathy, voodoo or any other black magic is nothing compared to this Leak magic. According to what I’ve heard, the Leak is the most powerful of all magic.” – Mahendra (Yos Santo) 

“There are some things people weren’t meant to know” is a popular theme of many horror films, often involving a naïve westerner poking their nose where it doesn’t belong.  Of course, anyone who’s watched more than a few movies of this type knows exactly where it’s going. While its central theme and plot are familiar, director H. Tjut Djalil’s Mystics in Bali takes a decidedly Southeast Asian spin on familiar material, incorporating Indonesian folklore into the mix.* As a pure horror film, it represented a departure for Indonesian cinema, which previously adopted Bollywood’s “kitchen sink” approach (with a mélange of slapstick comedy, drama, and musical numbers). Intended as a breakout film for the export market, Mystics in Bali featured an approach that would appeal to the tastes of Western audiences. 

* Fun Fact #1: Due to the subject matter, which incorporated authentic Balinese beliefs and practices, filming was moved from Bali to nearby Java, to avoid upsetting the locals.

Cathy Kean (Ilona Agathe Bastian)* is an inquisitive young American woman visiting Bali, Indonesia, as research for her book on different forms of black magic. Through her friend Mahendra (Yos Santo), she learns about a powerful form of Indonesian black magic known as Leak (Pronounced “Le-ack”).* Mahendra arranges a meeting with a Leak master (Sofia W.D.) who appears as a hideous crone, but subsequently agrees to take on Cathy as her disciple. Naturally, there is a steep price to acquire this forbidden knowledge, as Cathy unwittingly pays with her body and soul. Employing her mastery of the dark arts, the ever-cackling sorceress (who sounds something like the Cryptkeeper in Tales from the Crypt) borrows Cathy’s head (yep, you read that right) to do her bidding. Cathy’s head detaches (with entrails dangling underneath) and flies around, searching the countryside for the blood of potential victims.** She’s bound by the Leak master to take the lives of three people, so the witch can become all-powerful and immortal. Now it’s up to Mahendra and his uncle Machesse (W.D. Mochtar), a mystic, to set things right, setting the stage for an ultimate battle between good and evil. 

* Fun Fact #2: Ilona Agathe Bastian wasn’t an actress but a German tourist who happened to be at the right place at the right time. A wife of one of the producers convinced Bastian to extend her stay by several weeks so she could appear in the movie. To date, this remains her one and only film role. 

** Fun Fact #3: The Leak (or Kuyang) isn’t strictly confined to Indonesian folklore, but has several counterparts throughout Southeast Asia, including: Thailand (Krasue), Cambodia (Ahp), Vietnam (Ma lai), and others.

Cathy and Mahendra are clearly more than just friends, but within the confines of the movie they enjoy a chaste relationship. Considering the gory, anything-goes nature of the film, the conspicuous restraint the filmmakers demonstrated with regard to the two leads suggests it was due more to censorship concerns than anything else. (Mild Spoiler Alert) We only learn toward the end of the film that the young woman stalking Mahendra and Cathy is Mahendra’s jealous ex-girlfriend. When we learn of her connection with Mahendra, it almost seems out of left field. I can only speculate that the original, longer cut of the film fleshed out this character a bit more.

Compared to American cinematic standards, the special effects are crude, but once we’re in the thick of things, it ceases to matter. The transformation sequences (when Cathy and the Leak master turn into pigs, and later into snakes) have a creepy, otherworldly quality that transcend any technical or budgetary limitations. But the animal transformations are only appetizers for the main course. Arguably, the movie’s raison d'être is revealed when Cathy’s head separates from her body, becoming its own entity. It’s not an especially convincing visual (the video-based effects don’t quite synch up with the film stock, and the flying head just looks like a mannequin head on a wire), but it still creates an uncanny experience, leaving our collective imaginations to fill in the blanks.

Initial plans to market Mystics in Bali as a “breakout” Indonesian film geared to Western audiences backfired, when it failed to find adequate international distribution. Outside of its native Indonesia, the film only made it to Japan as a theatrical release. Home video and word of mouth eventually gave the movie a new set of legs, especially with its DVD release in 2007. It’s been unfairly maligned as “cheesy” or goofy by some reviewers, but that overlooks the cultural significance of the film, which reflected the Balinese culture and superstitions. Those spoiled by the technical wizardry of Western cinema, with its emphasis on photorealistic effects and slick production values, might find Mystics in Bali too rough around the edges, but that’s missing the point. Instead, Mystics in Bali asks you to suspend your disbelief and consider there are forces much greater than ourselves in the world – forces that deserve reverence and above all, caution.   

Sources for this article: “Mystics in Bali & the Indonesian Exploitation Movie,” by Pete Tombs (essay from Mondo Macabro DVD); “Krasue,” Wikipedia entry: Krasue 

The Bold and Bizarre World of Cinematic Yokai

 

I love yokai! There, I said it. Ever since I was introduced to these fanciful and frightening beings in all their cinematic glory, I can’t get enough of the things that go bump in the night. But what exactly are yokai? These reclusive, elusive creatures belong to a broad category of mythical spirits (or monsters) that inhabit every corner of the Japanese countryside (and in some urban areas). Part cryptid, part urban legend, yokai are an integral component of Japanese folklore and pop culture. Chances are, if you’ve watched many Japanese movies, anime, or manga, you’ve seen yokai (sometimes translated as spirits, monsters, demons, or goblins) already in one form or another. But what are they?

There are literally hundreds of yokai, as diverse as the habitats they represent. Their temperament ranges from harmless to deadly. Many are tricksters who only want to frighten people away, but encounters with some can result in a nasty end. While the variety of yokai are far too numerous to cover here, I’ve chosen to focus on a baker’s dozen of the more popular examples that you’re most likely to encounter on your TV screen. What follows is a brief guide to yokai in the movies and where you can view them. Happy hunting! 

Kappa (Water Sprite) 

By far one of the most widely known (and frequently depicted) yokai are kappa. While there are several variations, the stereotypical kappa is humanoid in appearance, but with a turtle’s beak and shell, as well as a ceramic plate on top of its head that must remain wet to maintain its vitality. Kappa are characterized by their fondness for sumo wrestling, eating cucumbers (Sushi fans might recognize the “kappa roll,” which includes – you guessed it.), and excessive flatulence. Although they’re generally depicted as benign, they have a mischievous streak, with a tendency to drag people into the waterways where they live. Some are also thought to attack the posterior of swimmers for a mythical organ within the colon. 

Where can you see them?

You don’t have to look very hard to find kappa in Japanese fantasy films. They’re featured prominently in Yokai Monsters: Spook Warfare (aka: The Great Yokai War) (1968) and Takashi Miike’s remake, The Great Yokai War (2005). In Summer Days with Coo (2007), they’re the star attraction. And before The Shape of Water (2017) introduced us to the possibility of (ahem) human-monster relations, the surprisingly charming Underwater Love (2011) featured the yokai in quite possibly the only Kappa-themed pinku musical. And last but definitely least, an “ordinary” kappa grows to extraordinary proportions in the middling Kaijū eiga-spoof, Death Kappa (2010).

Onibaba (Demon Hag) 

This is one yokai you don’t want to mess with. Appearing as an old woman, the Onibaba feasts on the livers of unborn children and the flesh of wayward travelers. Legend has it that she started out as a human being, but unfortunate circumstances forced her into existence as a supernatural entity.    

Where can you see them?

Look no further than Onibaba (1964), which approaches the legendary yokai from a more pragmatic perspective.

Nopperabo (No-face) 

Perhaps the uncanniest yokai of them all are the Nopperabo, proving that when it comes to frights, less is sometimes more. They look normal enough until they turn around, revealing a face completely devoid of features (“Did they look like this?”). They’re not inherently dangerous like the Onibaba, but delight in creeping out unsuspecting humans who happen to cross their path. 

Where can you see them? 

Examples of these faceless wonders can be found in Along with Ghosts (1969) and Pom Poko (1994). 

Kara-kasa (Haunted Umbrella) 

My personal favorite yokai isn’t dangerous or especially fearsome, but relies on the element of surprise. A discarded oiled-paper umbrella takes on life of its own, sporting one large eye, a single shapely leg where the handle should be, and a solitary sandal. A natural-born trickster, the Kara-kasa likes to drop in on people unexpectedly. If their appearance isn’t enough to send someone running, they might provide additional enticement to vacate the premises with a sloppy lick from their serpentine tongue. 

Where can you see them? 

You’ll find examples of the kara-kasa in Yokai Monsters: Spook Warfare (1968) and 100 Monsters (1968). Also, watch for cameos in Pom Poko (1994) and Sakuya: Slayer of Demons (2000).

Rokurokubi (Long-necked Woman) 

At first glance, the Rokurokubi appear to be a normal human being (much like the nopperabo), but just when you’re lulled into a false sense of security, their true nature appears. The rokurokubi (who are uniformly female) enjoy scaring men out of their wits (and sometimes their life essence) with their absurdly long, twisty necks. 

Where can you see them? 

Rokurokubi are nearly as prevalent in films as kappa, appearing in Yokai Monsters: Spook Warfare (1968), 100 Monsters, The Great Yokai War (2005), and (briefly) in Pom Poko (1994).

 

Yuki-Onna (Snow Woman) 

One of the more dangerous yokai, the Yuki-Onna resembles an attractive woman with an extremely pale complexion. They roam the snowy countryside looking for victims. Anyone unlucky enough to encounter them runs the risk of having his or her life energy drained and freezing to death.  

Where can you see them? 

The Yuki-Onna enjoyed her time in spotlight in a segment of Kwaidan (1964), and starred in her own film, The Snow Woman (1968). She also makes a guest appearance in The Great Yokai War (2005).

Kuchisake-Onna (Slit-Mouthed Woman) 

One of the more recent yokai, Kuchisake Onna is the stuff of urban legend (and nightmares). Pray you never run into her. The lower portion of her face is concealed by a surgical mask or other piece of cloth, which conceals the fact that her mouth is slit from ear to ear in the hideous approximation of a smile. There’s no correct answer to her challenge, “Am I pretty?” If you answer “yes,” she follows you home, where a violent death awaits. If the answer is “no,” she reveals her visage, slashing the victim’s face in a grotesque mimicry of her disfigurement. 

Where can you see them? 

Perhaps not the best representation of the Kuchisake Onna, but Carved: The Slit-Mouthed Woman (2007) has its unsettling moments. 

Tanuki (Raccoon Dog) 

Unlike the other yokai on this list, Tanuki have real-life counterparts, inhabiting the Japanese countryside, albeit in dwindling numbers. Not really raccoons, but a member of the canine family, folklore suggests these critters possess supernatural properties. With their reputation as natural-born tricksters, Tanuki enjoy deceiving humans with their shape-shifting abilities. They’re also known for their enormous testicles (I didn’t make that up), as depicted by the ubiquitous statuettes around their native country. 

Where can you see them? 

Look no further than the bittersweet Pom Poko (1994), an entire movie devoted to the wily, fun-loving creatures, who wage a losing war with humans encroaching on their habitat.

Nuppeppo 

While they’re not exactly the rock stars of the yokai world, Nuppeppo (which is also Japanese slang for someone who wears too much makeup), you don’t have to look too hard to find them in the cinematic world (the real world is another story). These bipedal creatures are vaguely human in shape, but resemble a squat, featureless blob with legs, with a tendency to wander around abandoned places and graveyards. 

Where can you see them? 

You can find an example of the Nuppeppo in Yokai Monsters: Spook Warfare (1968) and 100 Monsters (1968).

Tengu (Mountain Goblin) 

Tengu are supernatural mountain spirits that resemble men with wings and long noses. As with many yokai, there are many variations. They’re ambiguous in nature, however, as portrayed in film, they’re generally benevolent and monk-like. 

Where can you see them? 

One appears in The Great Monster War (2005), although with a blue complexion (rather than red).

Wanyudo (Wheel Priest) 

The Wanyudo makes it presence known in spectacular fashion: as a fiery spinning wagon wheel with the face of a priest in the middle. This yokai has a vengeful streak, ready to run over whomever is foolish enough to get in their way. The Wanyudo dines on the souls of its unfortunate victims, subsequently dragging their bodies to hell. Villagers protect themselves against the Wanyudo by adorning their doors with a talisman. 

Where can you see them? 

You can catch a glimpse of the Wanyudo in The Great Yokai War (2005), and briefly in Pom Poko (1994).

 

 Abura Sumashi (Oil Presser) 

This unassuming yokai is short, with a huge, boulder-like head, and dressed in a straw raincoat. Not much is known about the Abura Sumashi, however, their distinctive appearance is attributed to a curse for stealing oil when they were still in human form. 

Where can you see them? 

An Abura Sumashi appears as the nominal leader of the yokai in Yokai Monsters: Spook Warfare (1968) and The Great Yokai War (2005).

Mokumokuren (Haunted Shoji Screen) 

While they’re among the least threatening of yokai, Mokumokuren’s harmless nature doesn’t diminish their ability to creep you out. Like some of their yokai brethren, Mokumokuren are a prime example of taking something inanimate and innocuous and turning it into something vaguely sinister. A prevalent aspect of traditional Japanese architecture is the sliding paper (shoji) screen. Now imagine said screen adorned with multiple pairs of eyes, and you’ve got a Mokumoku-ren. If you ever felt you were being watched when you were alone, this could be the culprit. 

Where can you see them? 

You can spot the offending décor in The Great Yokai War (2005) 

 

Sources for this article: Yokai Attack! The Japanese Monster Survival Guide, by Hiroko Yoda and Matt Alt; Strange Japanese Yokai, by Kenji Murakami; The Book of Yokai, by Michael Dylan Foster; The Night Parade of One Hundred Demons, by Matthew Meyer; Japandemonium Illustrated, The Yokai Encyclopedias of Toriyama Sekien

 

Short Take: Along with Ghosts

 

(1969) Directed by Yoshiyuki Kuroda and Kimiyoshi Yasuda; Written by Tetsurô Yoshida; Starring: Kôjirô Hongô, Pepe Hozumi, Masami Burukido, Mutsuhiro and Yoshindo Yamaji; Available on Blu-ray and DVD 

Rating: ***½ 

“I’m the guardian of this place, the Onizuka. Those who do not heed the warnings will be cursed by the Onizuka spirits and meet a swift end. In addition, tonight is the night when once a year, not only will there be the usual apparitions, but also the ones from deep in the mountains, and the ones from the swamps will gather. There’s an old saying which states Onizuka is a spiritual land, where apparitions from all over Japan gather, because it is connected to the world where the apparitions live.” – Jinbei (Bokuzen Hidari)

It’s tough being third. If the second movie in a trilogy is bad, the next film might redeem the series. Conversely, the third movie in a trilogy could be (and frequently is) the weakest link. In this case, the bar was set impossibly high. The previous two films of the Daiei Film’s* Yōkai Monsters trilogy, 100 Monsters and Spook Warfare (aka: Big Monster War), were solid pieces of entertainment, featuring an almost encyclopedic listing of the quirky Japanese spirits. Compared to its predecessors, Along with Ghosts is decidedly lighter on the yōkai, but more character and plot-driven. 

* Fun Fact: In Japan, Along with Ghosts appeared on a double bill with Gamera vs. Guiron.

A group of Yakuza, led by their boss Higuruma (Yoshindo Yamaji) are waiting to ambush two samurai carrying an incriminating document (what’s precisely on the document is never made clear). Jinbei (Bokuzen Hidari), an old man, warns them that they’re on sacred ground, and any violence on their part will unleash a curse. In the tradition of cinema, where no one believes old men and ancient curses, the Yakuza thugs go about their dastardly plot, fatally wounding Jinbei when he steps in the way. His seven-year-old granddaughter, Miyo (Masami Burukido) happens to witness the event, and now she’s marked for death as a witness. Before he perishes, he instructs her to seek out her father, in the town of Lui, four leagues away.* Miyo sets off alone, while, meeting a helpful boy and a ronin (masterless samurai) named Hyakasuro (Kôjirô Hongô). Higuruma takes on the role of bodyguard, after he offers to accompany her on the way to Lui. The odds are against Miyo and Hyakasuro, with Higuruma’s thugs on their tail, but help comes in the form of vengeful yōkai with an axe to grind. 

* Approximately 14 miles away.

Miyo and Hyakasuro’s endearing relationship provides a good argument for finding your own extended family. Hyakasuro is a kind and virtuous man, who will stop at nothing to protect her from harm. (SPOILER WARNING) We soon discover he provides a stark contrast to her real father, Sakiichi (Mutsuhiro), the capricious lapdog of the same Yakuza clan they’re evading. He’s ready to beat a confession out of Miyo until he discovers a pair of dice in her possession, proving that she’s his daughter. To make matters worse, in the previous scene, he suggested to the Yakuza that they could use her as a human shield against Hyakasuro. All seems well when Sakiichi eventually turns on his employers, reuniting him with his daughter, but letting the aforementioned slide requires more than a little cognitive dissonance on the viewer’s part.

While Along with Ghosts may not have the abundance of yōkai of the previous two films, they’re there, albeit in more ancillary roles. You’ll find Nopperabo (faceless spirits impersonating humans), the cyclopean Dorotabo, a Wanyudo (“Wheel Priest”), a Tsuchikorobi (another cyclops, resembling a huge hairy mound), and a Konaki-Jiji (masquerading as Miyo for a piggyback ride). If this had been the first, rather than the last, in the trilogy, it would be regarded as a nice preview of the movies that were to follow, whetting our appetites for all things yokai. But don’t sell this one short. Boasting an engaging storyline and distinct characters (who are arguably more three-dimensional than the ones in the other installments), it’s the humans who take the driver’s seat. Think of it as an Edo-period samurai drama with yōkai cameos.

 

Sources for this article: Yokai Attack! The Japanese Monster Survival Guide, by Hiroko Yoda and Matt Alt; Yokai.com 

Cryptid Month Quick Picks and Pans

The Secret of Roan Inish (1994) Writer/director John Sayles brings us this gentle tall tale, steeped in Irish folklore (based on the children’s book, Secret of the Ron Mor Skerry, by Rosalie K. Fry). After losing her mother, Fiona (Jeni Courtney), is sent to live with her grandparents in a quiet fishing village. She soon hears stories from the villagers about the selkie (a creature half seal and half human), and grows determined to find out why they abandoned the nearby isle of Roan Inish. A little boy on the beach may provide the answer she seeks. Sayles’ film takes its time letting the story unfold, depicting a different time and place, not too long ago, where the mythical and concrete worlds meet. Haskell Wexler’s lush cinematography provides scope and immediacy, treating the spectacular scenery and family drama with equal weight.   

Rating: ****. Available on DVD and Amazon Prime

Frog Dreaming (aka: The Quest) (1986) Henry Thomas stars as Cody, a headstrong, adventurous 14-year-old. Following the untimely death of his parents, he’s under the care of Gaza (Tony Barry) a family friend in Australia. Cody discovers a lake that’s not listed on the map, in a region known for “frog dreaming,” a sacred place for Aboriginal people. Captivated by rumors about a creature known as a Bunyip that lives in its depths, he devises a plan to learn the secret. Brian Trenchard-Smith’s family adventure film is a hit and miss affair, featuring some nice action sequences and art direction (by Paddy Reardon), but the it’s not hard to see the big twist coming a mile away. Also, it’s difficult to sympathize with Gaza’s laissez-faire foster parenting (bordering on gross negligence), in light of Cody’s daredevil antics. On the other hand, it works fairly well as a family adventure flick, reminding us that things aren’t always what they seem. 

Rating: ***. Available on Blu-ray and DVD 

The Secret of the Loch (1934) This slight comedy/adventure finds Jimmy (Frederick Peisley), a spunky reporter from London, determined to get a scoop about the fabled creature that allegedly lives in Loch Ness. He travels to Scotland, where he hounds the gruff Professor Heggie (Seymour Hicks), who’s busy mounting his own expedition. If that wasn’t enough reason to fall on Heggie’s bad side he’s smitten by his granddaughter Angela (Nancy O'Neil), who’s indifferent at best to his advances. There are some amusing little moments throughout, but even for a 78-minute movie, the material seems to be stretched fairly thin. (Mild Spoiler Alert) To its credit, you do catch a glimpse of the monster, but you’ll wish you didn’t (I’ll just say that it doesn’t resemble the creature we’ve come to expect). The Secret of the Loch deserves some kudos, however, for likely being the first movie devoted to the aquatic cryptid, and for featuring a young David Lean as editor. 

Rating: ***. Available on DVD

Aswang (1994) The title of this independent feature, filmed in Wisconsin by Wrye Martin and Barry Poltermann, refers to a creature from Filipino folklore that feeds on the blood of unborn fetuses. After an unexpected pregnancy, 19-year-old Katrina (Tina Ona Paukstelis) signs her baby over to a wealthy couple, Peter and Claire Null (Norman Moses and Jamie Jacobs Anderson). Things get weird in a hurry, when Peter asks Katrina to pose as his wife in order to earn his inheritance. When family secrets are gradually revealed, she finds herself in a fight for her life. Despite Moses’ cartoonishly over-the-top performance, Aswang boasts some creepy scenes, enhanced by surprisingly good makeup effects. If nothing else, it’s far from the same old thing.

Rating: ***. Available on DVD (Out of Print)

The Mothman Prophecies (2002) After the death of his wife, John Klein (Richard Gere), a Washington, D.C. reporter, travels to the small town of Point Pleasant in West Virginia, the epicenter for strange occurrences. What ensues is a quest for meaning, as Klein interviews several residents about their encounters with a strange being, and befriends the local sheriff (Laura Linney). Whether the Mothman (shown briefly in muddy, indistinct CGI) is real or a figment of the townspeople’s imaginations is never resolved. Most of the movie is terribly dull, with poor chemistry between the leads, and a story that refuses to commit one way or the other about the myth. Instead of delving into the folklore aspects, the filmmakers unwisely decided to subject the audience to a tepid story and tedious drama.

Rating: **½. Available on Blu-ray and DVD

The Barrens (2012) Richard Vineyard (Stephen Moyer of True Blood fame), a mentally unstable man, takes his reluctant family on a camping vacation to a national park in New Jersey. As they venture deep into the forest, he grapples with his inner demons while contending with the possibility that he’s being stalked by the Jersey Devil. Writer/director Darren Lynn Bousman’s film, filled with plot holes aplenty, borrows from better sources (including The Shining and Mosquito Coast) to depict one man’s eroding cognitive/emotional state. As he becomes increasingly delusional, it seems less believable that the rest of Richard’s family would follow him down his self-destructive path. In the end, The Barrens fails to deliver as a psychological thriller or a compelling exploration of the Jersey Devil myth. 

Rating: **. Available on Blu-ray and DVD

Summer Days with Coo (aka: Kappa no Kû to Natsuyasumi)

 

(2007) Written and directed by Keiichi Hara; Story by Yuichi Watanabe and Masao Kogure; Based on the stories "Kappa Daisawagi" and "Kappa’s Surprise Journey," by Masao Kogure; Starring: Kazato Tomizawa, Takahiro Yokokawa, Naoki Tanaka, Naomi Nishida, Tamaki Matsumoto and Natsuki Uematsu

Available on Blu-ray and DVD

Rating: ****

“For anime, the topic of family… That topic is not very appropriate for anime, that’s what many people think. But I’m more interested in that than in fantasy or science fiction. I want to depict the family, human beings, human drama (ningen drama).”

– Keiichi Hara (from 2011 interview with Nippon Connection TV)

Many thanks to Gill of Realweegiemidget Reviews and Rebecca of Taking Up Room for hosting the Home Sweet Home Blogathon, focusing on all things related to home and family. Be sure to check out all the excellent contributions. Today’s selection focuses on a rather unique addition to one family…

Anyone who follows this blog probably already knows about my fondness for everything yokai (mythical creatures that reside throughout Japan). There have been many depictions of yokai in Japanese popular culture over the centuries, but perhaps none have appeared as extensively as the elusive water sprite known as kappa.*/** Descriptions vary somewhat, but some constant features include a bipedal, vaguely human shape, with a beaklike mouth, a dish on top of their head (which must continually remain wet for the creature to keep its strength up), and a turtle shell on their back. Some notable depictions in film include 1968’s Big Monster War (aka: Yôkai Daisensô) and its 2005 remake, The Great Yokai War (aka: Yôkai Daisensô), along with the more adult-oriented, Underwater Love (2011). Writer/director Keiichi Hara’s fantasy family drama Summer Days with Coo, was based on two stories by children’s author Masao Kogure.

 * Fun Fact: The town of Tono, located in Iwate Prefecture, is generally regarded as the capital for Japan’s famous water sprite, with statues and tourist attractions dedicated to kappa.

 ** Another Fun Fact: For more about kappa and their numerous yokai brethren, I highly recommend the book Yokai Attack! The Japanese Monster Survival Guide, by Hiroko Yoda and Matt Alt.

 

Kôichi Uehara is an ordinary grade-school boy whose life take an extraordinary turn when he finds an unusual stone by a river that runs through his neighborhood. Trapped inside the large rock is a shriveled, almost reptilian creature. After taking his prize home, he runs the stone underwater to clean it off, inadvertently reviving the creature. Kôichi names him “Coo,” after the first sound he makes. Kôichi’s parents soon conclude that the creature is a young kappa,* and the family members conspire to keep the kappa secret from the outside world. But a secret this big can only be kept so long. Much to their dismay, Coo becomes a reluctant star, creating a media circus around the Uehara household.

Fun Fact #3: Summer Days with Coo is like a class in Kappa 101, delving into many aspects of these fascinating yokai, including a fondness for sumo-style wrestling, eating cucumbers, and their flatulent nature (yes, it’s a kappa thing).

At its core, the film illustrates how everyone fits into the family unit, no matter how disparate the separate elements might seem. One of the more surprising things (at least for anyone accustomed to more formulaic fare) is how readily the parents accept the surprise addition. In most lesser stories there would be contrived friction between the family members, but they are truly a team when they meet adversity. Among the most believable aspect is the initial resistance from Kôichi’s little sister Hitomi. Unlike the rest of her family, she takes an instant dislike to Coo, viewing him as an interloper who’s only there to steal her thunder. Her animosity comes to a head when Coo is given her old baby chair to sit at the dinner table, which looks an awful lot (at least to a preschooler) like replacement. When Coo finally does win her over, it’s a hard-fought battle, with a small but meaningful gesture of kindness. The family dog Ossan (meaning “Old Man”),* completes the family, fitting into the greater scheme of things, guiding Coo with wisdom from his world-weary canine perspective.

* One caveat: The brief flashback scene concerning Ossan’s former abusive owner was difficult for me to watch, and I suspect many may find this disturbing. Although the scene provides context for Ossan’s worldview, it seems to downplay the behavior of the abuser, which might warrant further discussion if watching with more impressionable family members.

 Our emotions are earned rather than manipulated, because we gradually get to know the characters on their own terms. As he’s introduced to us, Kôichi isn’t especially likable, but as we spend more time with him, we get to understand his perspective, and come to like him as his character experiences growth. For more than half the film’s duration, Kôichi is aloof with fellow classmate Sayoko, keeping her at arm’s length, but they have more in common than he initially realizes. Both are loners, introspective and sensitive. Sayoko seems to understand Coo more than he does. It takes him a while to catch on that they’re two of a kind, and that Coo, himself, is a loner. His fellow kappa have vanished, and he’s lost in a world where his kind are regarded as myth.

Summer Days with Coo is all about contrasts, including cruelty versus kindness, life versus death, and selfishness versus selflessness. The kindness of Kôichi’s parents is contrasted with the cruelty of the boys that mercilessly taunt Kôichi and Sayoko. Eventually, Kôichi finds a way to confront the bullies’ ringleader, recalling Coo’s admonition (during one of their wrestling matches) that “Strength alone isn’t good.” The film proves repeatedly how Coo’s inherent distrust in humanity instilled by his father is well-founded. In the opening scene, set hundreds of years ago in the Edo period, he witnesses his father’s murder at the hands of a paranoid samurai. When he appears on a television program, an historian (a direct descendent of the samurai) displays his father’s severed arm as a treasured heirloom, which only serves to reinforce Coo’s trauma of witnessing his father’s unwarranted death. The historian’s denial that the arm has any connection with Coo’s past is a grim reminder that history is told by the victors, rather than the vanquished. Another recurring theme is life out of balance. Recalling words his father once told him, Coo observes how humans have taken the natural world from the kappa, “…But in return they lose their souls.” Coo fears losing his way in the world and his identity.

Director Keiichi Hara has created something truly special with Summer Days with Coo, tugging at our heartstrings without resorting to saccharine levels of sentimentality. His film reminds us the world may be cruel at times, but there are wondrous things as well. Unlike some popular (particularly American) animated films aimed at families, it doesn’t sugarcoat the more unsavory aspects of life, presenting serious topics in a frank manner. At a length of 138 minutes, it takes its time allowing us to know the characters, but doesn’t waste a moment. It’s time well spent, as we become invested in the Uehara family and Coo. Summer Days with Coo stresses the importance of unconditional love, preserving our traditions, and gratitude to those who have shown us kindness, but above all, being true to yourself.

 

Sources for this article: Yokai Attack! The Japanese Monster Survival Guide, by Hiroko Yoda and Matt Alt; 2011 Keiichi Hara interview with Nippon Connection TV; “On the Hunt for Tono's Mythical Water Trolls,” by Louise George Kittaka, The Japan Times, July 26, 2014 

Lifeforce

 

(1985) Directed by Tobe Hooper; Written by Dan O’Bannon and Don Jakoby; Based on the novel Space Vampires by Colin Wilson; Starring: Steve Railsback, Mathilda May, Peter Firth, Frank Finlay and Patrick Stewart; Available on Blu-ray and DVD

Rating: ***½ 

 “…It’s about relationships. About the relationship between men and women, and how that can turn. It can be about how there can be a dominance in a relationship, how it can flip-flop back and forth, and it had all of those incredible things that I grew up wanting to see…” – Tobe Hooper (from 2013 DVD commentary)

“…as I was a dancer, I was used to have (sic) a special relationship with the body – it was a work instrument, I was not into anything provocative. I was just a dancer. So that maybe is the reason they chose me, because I was not using the body in terms of seduction.” – Mathilda May (from 2013 interview, “Dangerous Beauty”)

Note: This review refers to the longer “International Cut,” which includes additional footage, expands on the story, and restores Henry Mancini’s original score.

Mention Lifeforce, and the first thing that likely springs to mind for most folks are the scenes depicting a certain young French actress walking around au naturel. While those sequences certainly leave an (Ahem!) lasting impression, there’s much more to the film than that. Look beneath the surface trappings of gratuitous nudity, gory makeup and glowy special effects, and you’ll find a movie that isn’t afraid to ask the big questions. Director Tobe Hooper was approached by Cannon Films’ Menahem Golan to adapt Collin Wilson’s 1976 novel Space Vampires* into a big budget (for Cannon, at least) film. The British-based, 120-day shoot required the use of EMI-Elstree studios Stage 6 (referred to as the Star Wars stage), and utilized some of the top effects people of the day, notably, John Dykstra of Star Wars and Star Trek: The Motion Picture fame.

* Fun Fact #1: The film originally shared the same title as the novel, but Hooper recalled “there was an allergic reaction to what was considered a B-title.”

 During a joint NASA/ESA mission to intercept Halley’s comet, Col Tom Carlsen (Steve Railsback) of the spaceship Churchill and his crew pick up something extraordinary: a massive alien ship in the tail of the comet. The commander decides to divert the mission to the mysterious spacecraft, which upon closer inspection has an organic appearance. As Carlsen and his fellow astronauts make their brief foray* into the ship’s cavernous hulk, they encounter the desiccated floating bodies of large bat-like creatures. Another chamber yields a more surprising discovery, with what appear to be three humans (one woman and two men)** entombed in crystalline sarcophagi. The ship returns to Earth, with the three bodies and alien remains in tow, but meets with calamity along the way. A rescue crew reaches the Churchill in Earth orbit, only to find the interior and astronauts charred beyond recognition. Somehow, the residents of the clear coffins appear to be unscathed from the fiery accident, and are brought to terra firma for further scrutiny. Before you can say “bringing them back to Earth was a terrible idea,” the humanoids escape their containers, and proceed to feast on the life energy of every hapless person they encounter. We soon learn, however, that Carlsen also avoided destruction on the Churchill, utilizing the ship’s escape capsule*** in the nick of time. British authorities take Carlsen into custody, as he harbors the secret about what occurred on the doomed mission, and may possess the key to stopping the rampage of the space vampires.

* Fun Fact #2: To simulate the astronauts floating in space, Hooper and company utilized the same team responsible for the flying rig used in Superman: The Movie (1978).

 ** Fun Fact #3: Billy Idol was originally approached to play one of the male space vampires, but when casting plans fell through, the filmmakers brought in Chris Jagger (Mick’s younger brother) for the part. 

 *** Side Note: Considering the crew’s size, the escape pod (which conjured images of the tiny space capsule from the 1965 schlock-fest Monster a Go-Go), seems ridiculously small. Apparently designed for one lucky astronaut, it begs the question: How would they decide who lived and who died?

 If there’s a solitary raison d'être for Lifeforce, it’s French actress Mathilda May, who commands attention whenever she’s on screen. May was cast after an exhaustive worldwide search (Hooper claimed approximately 50 actresses auditioned for the part)* for someone who would play a role that demanded excessive nudity.** May’s background as a professional dancer proved especially invaluable in her depiction of an alien presence, with her precisely controlled movement. She mesmerizes whenever she’s on the screen, conveying the right balance of otherworldly beauty and subtle menace. To the men who encounter her, she’s a siren – they’re powerless to resist her charms, even though meeting her won’t end well. She establishes an inextricable bond with Carlsen, which horrifies and tantalizes him in equal parts. She’s an ideal construct culled from his vision of an ideal woman, illusory and unobtainable (“I am the feminine in your mind.”).

 * Fun Fact #4: According to Hooper, Olivia Hussey was among the actresses considered for the role. Some male actors that were considered for various other characters included Klaus Kinski, Terrence Stamp, and John Gielgud.

** In his DVD commentary, Hooper glibly stated, “It was like her costume.” 

Instead of focusing on Col. Carlsen’s obsession, I wish it had spent more time with Dr. Hans Fallada (Frank Finlay), a clear nod to Professor Quatermass in the Hammer films and BBC adaptations. Fallada is fascinated by the alien visitors and their implications. He opines that the creatures visited Earth long ago, giving rise to the vampire folklore and legends. It’s an intriguing story element that could have been developed further, rather than concentrating on tracking down the rogue vampires. The clunky middle act gets bogged down with Carlsen assisting British agents led by SAS agent Colin Caine (Peter Firth). No one questions his histrionics in his zeal to find the female space vampire, who’s jumped to a new body. Inexplicably, he’s given free rein to slap around a woman (Nancy Paul) suspected of harboring the malevolent vampire’s spirit and abuse sanitarium director Dr. Armstrong (Patrick Stewart), who has also been afflicted.

Unlike some traditional vampire films, the vampire rules are inconsistent. It’s unclear whether direct contact or mere proximity are necessary for a spirit to jump from body to body. The original three vampires, while insatiable, don’t appear to weaken rapidly, whereas the infected humans wither away at an accelerated rate, becoming the “walking shriveled” (Hooper’s term). Also, why does the female vampire possess a sexual magnetism toward men, but the male vampires don’t seem to have a similar effect on women? Taking this a step further, why couldn’t the vampires have had a similar mesmeric effect towards people of the same sex? With the exception of a brief kiss between two men (which is a bit of cheat, since one is inhabited by the female vampire’s spirit), the film restricts itself to heterosexual attraction, and overwhelmingly appeals to the male gaze. This limits the myriad possibilities of sex as lure, restricting the implicit theme to a superficial “women are scary”

The $25 million Cannon production was met with mostly mixed to negative reviews when it was first released, no thanks in part to the butchered U.S. version (at distributor Tri-Star’s insistence). Lifeforce has since gained a loyal following, not simply because of Mathilda May’s inimitable presence, but its wildly ambitious story. It boldly suggests something extraterrestrial in origin influenced human history and folklore, inhabiting our myths and fears. The climactic scene of mass pandemonium on the streets of London is reminiscent of the dénouement to Quatermass and the Pit (1967), which shares similar themes. At the same time, the story isn’t nearly as focused as Quatermass, but it’s a noble effort nevertheless. Lifeforce manages to balance some heady ideas with some good old-fashioned exploitation, creating an entertaining mix. It didn’t play it safe. If only more genre films would follow its lead.