Goke, Body Snatcher from Hell

Turner Classic Movies broadcast Goke at 2AM, October 03, 2006 in a gorgeous, widescreen, sub-titled print. It's great that they were able to secure a print of this quality. There are many questions, few answers, in the allegorical script. The last of the J-horrors produced late in the decade, the pulp sci-fi magazine elements are presented in searing colors and psychedelic effects, giving this film an unforgettable visual impact. Great looking women are a major plus. Injecting an anti-war, anti-Viet Nam stance throughout the entire film took a lot of nerve and must have damaged its theatrical distribution with US exhibitors. The movie producers at the Sci-Fi channel should carefully study this film.

I saw a cheap pan & scan VHS of an English dub of this film years ago but I found a Japanese DVD of it recently and even though it is not dubbed or subtitled, and I don't speak Japanese, it is still quite unsettling. The Japanese don't play when it comes to stories like this and they don't pull punches either. At least the disc is widescreen, preserving the Shockiku Grandscope compositions. If you have seen KILL BILL Vol. 1, you will find out that even Quentin Tarantino was inspired by this film once you see the opening scenes. The special effects are usually not realistic but are quite imaginative. The whole film could be seen as something of a morality fable.

There is definitely a message to the film, although most people write this one off because of it's exploitative sounding title. There are several very creepy and effective scenes in the film and this film left a lasting impression on me. I think someday this film will be recognized for the horror classic that it is. Even if you have to watch a pan & scan dubbed copy, it is well worth catching.

By the way, the English-language version is called GOKE, BODY SNATCHER FROM HELL. It certainly got my attention. Pacemaker was the American distributor. I first saw it on a lousy VHS rental copy. Rumors about a letterboxed American NTSC release to DVD have yet to be fulfilled but I remain optimistic.

Goke has this great, rare exploitation look of the 60's. With extreme bright colours like orange, red and yellow. Great sounds of cheap ass spaceships sending out information to those who has a twisted mind, and venerable for their wicked master plan. Namely to take over the world again. The real cool thing of this cheap thrill flick is the message underneath. In fact the aliens want to make clear to us that taking over the world isn't that difficult. Cause we people are bound to destroy each other. We are building for the kill and the only thing the invaders have to do is to sit and wait till each and one of those humans are dead. Of course in Goke are some people who don't give up and try to fight the aliens. Only for them to find out that this guy and girl are all alone on planet earth. Goke take you all the way. Spaceships, weird landscapes psychocolors weird sound effects, enough action packed scenes and classic shots of spaceship invaders attacking the world. I love this Movie deeply!!!!!!!!!!!

Goke is one of those films that I had only heard about in the 1980's but was never able to see. It had a reputation among the hard core film fans as something out of left field but not very good. Many years later I had forgotten about the film but had chanced across director Sato's deliriously silly kid's film "Golden Bat". I was rather surprised that this film was by the same man.

The film is very artificial from the first shot of a model jet in front of a red sky to the rock quarry most of film takes place in. Most Japanese film fans will recognize this quarry. It's in samurai films, gangster films and every other episode of Power Rangers. The cheapness is off-set by the care of the direction and photography. The special effects are super color saturated and very bizarre at times. While definitely not a children's film, Sato utilizes a number of techniques from Golden Bat including the generic action music and the kabuki inspired movements for the possessed.

The energy that's put into this film makes up for the logic gaps, bad acting and cheapness. The ending is very unexpected, nightmarish and disturbing. Finishing this film is like waking from a very bad night of sleep. As Sato has no further films in his listing here yet lived for quite a while after, I wonder what was his state of mind while making this film.

Recommended.

This was another film I had long been intrigued by via a solitary still from it in a horror-film tome of my father's; it's also proof that the Japanese could make adult-oriented horror just as well back in the day (and not merely kiddie stuff like the "Godzilla" films – one of which, incidentally, followed this viewing). Intriguingly, the Janus logo which preceded the opening titles suggests this may be forthcoming on DVD from Criterion (I haven't yet purchased the other cult Japanese horror they've released, JIGOKU [1960], due to the defective first pressing of that film's disc; having watched GOKE, I wonder whether I should take the plunge now…hoping that I end up with a corrected copy).

Admittedly, the plot of the film isn't all that original: the English title, obviously, implies a certain kinship with Don Siegel's 1956 classic – while the gelatinous alien which possesses the human body through the face(!) is also redolent of THE BLOB (1958); but maybe its influences actually came from European genre efforts – as a matter of fact, two Italian films I've just watched have a good deal in common with it, namely CALTIKI, THE IMMORTAL MONSTER (1959; the oozing creature, again) and PLANET OF THE VAMPIRES (1965; the remote setting, the 'body snatcher' element, the vivid color scheme and even the final apocalyptic revelation)! Besides, the fact that the narrative revolves around a handful of passengers from a crashed plane also brings to mind the oft-used 'hazardous situation' plot line of classic Hollywood films such as FIVE CAME BACK (1939), STAGECOACH (1939) and the like; under pressure of hunger, thirst, isolation and the imminent threat of alien takeover, all the basic natures of the various characters come to the boil – leading most of them inexorably towards their doom!

This mish-mash of elements ensures a stylish and entertaining ride – but it's all filtered through the innately weird sensibilities of Japanese cinema (not to mention the country's first-hand experience of nuclear fall-out, which unmistakably pre-occupied most of their sci-fi entries), giving it a distinctive creepiness; the final reel – peppered with red-tinted newsreel footage of devastation and violence – has the two lone survivors finally reaching civilization, only to be met with a less than comforting sight.