YOKAI MONSTERS: SPOOK WARFARE (1968)
For those who were underwhelmed (or misled) by the previous entry in this series, Yokai: 100 Monsters, this will probably be more to your expectations. I feel each delivers a similar quality folk tale based movie but both are different experiences. So while this one is often bloody, and perhaps even has a higher body count, the overall tone is lighter and focuses more on creatures instead of feudal disputes. There still aren't one hundred monsters mind you; but they get more do to as an odd ensemble of mostly non-violent spirits. Some of the same ghoulish designs are re-used but they don't curse anyone or drive them to madness this time around. Which isn't to say that the story lacks bite.
The darkest moments come along courtesy of the villain, Daimon, an ancient evil slumbering in a tomb which was once feared but has been forgotten over time. As a result two men digging for treasure in a Babylonian ruin soon awaken him, leading to their deaths under a lot of falling rubble. After escaping and causing a ship wreck he arrives in Japan where he kills Lord Isobe (Takashi Kanda) and assumes his identity. Then he proceeds to kill the Lord's assistant to use as a second puppet, a dog that knows something is wrong, and a maid. His human victims are also killed for their blood; making this an interesting allusion to Dracula. Daimon might be a weird green monster but he's still an mysterious stranger from another land who is able to take different forms.
The benevolent leader's odd behaviour soon arouses the suspicion of Lady Chie (Akane Kawasaki) and the warrior Shinpachiro (Yoshihiko Aoyama). Maybe the dead dog and the Buddhist shrines he smashed in front of everyone are a sign something isn't quite right. Maybe it's the way he ordered his men to go out and kidnap local women and children for fresh blood. This lack of subterfuge also catches the eye of a local Kappa (a turtle-like water spirit) who confronts Daimon before being promptly forced out of his pond. Although there is plenty of drama between members of the Lord's household this is the real focus of the story, and it wastes no time getting to supernatural shenanigans. The original title 'The Great Yokai War' perhaps lends this too much grandeur but there are plenty of fun moments.
It briefly threatens to turn into a child focused story as two local kids escape form Isobe's men, but oddly enough this pair soon vanish are never mentioned after they report his evil deeds. It's just a way of getting the Yokai gang to fight back since they didn't believe Kappa's story. It's a likeable ensemble of oddities and monsters whose darker qualities have been softened this time around. Nobody is drowned or eaten; they're just scared away when necessary. There's a living umbrella, the long-necked woman, a girl with two faces, and a little guy with a giant potato-like head. It's worth reading into all of this stuff to see their exact names and myths, but for the purposes of a fantasy film they're visually creative. Some of them aren't exactly suited to fighting but it's fun to see them try.
Meanwhile the human element isn't too dry in this spooky storyline, with sequences involving a priest providing some atmospheric moments. Lady Chie could have been a non-believer for much longer, and Shinpachiro could have been too stoic to be any help. Instead everything moves at a refreshingly brisk pace as things like holy arrows and candles are used to try and drive Daimon out. They have limited success of course, which means the Yokai team has to try and save everyone themselves. They have a weirdly nationalistic attitude towards the battle, but it's fun to see how their ideas about infiltrating the Isobe home play out. It's the kind of thing that could be too cute or comedic but they manage to keep a consistent tone.
The big showdown itself is occasionally confusing as Daimon creates a series of duplicates of himself and everyone just kind of runs into the fray. But it's entertaining to see what is essentially an underdog group, albeit one made of rubber creatures and ghosts, take on a big threat. One that gets much bigger in the conclusion like many Japanese superhero shows. The effects are often fairly cheap looking but there's a lot of creativity involved. Strangely this whole supernatural band of misfits weren't brought back to fight a new interloper in the next movie. Perhaps the makers had the sense to see this as a lightning in a bottle kind of story, or maybe they just had too much financial trouble in the subsequent years.
The results are an odd mixture of silly moments and colourful characters, against the backdrop of an evil monster that kills people to gain strength. Apparently the blood of younger victims is more potent, lending a particularly sinister edge to the proceedings. It's not exactly your average demonic possession plot, but it's not just for kids either. They could have veered into later stage Gamera territory but this kind of tonal shift was avoided. It's violent enough to feel like a story with an actual threat but it's eccentric enough to satisfy anyone looking for a creature feature. If you're looking for a trilogy beyond the Daimajin series then this offers a few haunted escapades that are all worth seeing. But if you're in a hurry it's probably easiest to see this one first.
4/5
BONUS REVIEW
THE GREAT YOKAI WAR (2005)
Meanwhile the underdogs meet a powerful threat again in this Takashi Miike led reinterpretation. It's more of a kids adventure story than a horror film, but it's not really a remake despite the shared title. It's also a script with a lot of heavy handed messages about human wastefulness and love versus hate. But as a result it's another story that uses similar characters but does something different with the material. At times it feels like what a fourth instalment in the 1960s might have been like; a bullied child is given a magic sword and goes on a quest. But it has enough ethereal charm and creepy atmosphere to avoid the potential pitfalls in that premise. Although the fixation on people being rescued from drowning and holding a river spirit's thighs is slightly odd in another way, bringing this distinctly into the 2000s.
Tadashi (Ryunosuke Kamiki) is a kid living with his grandfather because his parents divorced. At a festival he's crowned 'Kirin Rider' by someone in a costume, which sends him on a voyage into the spirit world. There's some actual horror in scenes as he travels on a bus, or when he goes looking for a fabled 'Goblin Cave' to find the sword of destiny. Along the way he meets some familiar faces including another Kappa, another guy with a big face, and another long-necked woman. But it's also more of an overt comedy when adults can't see the Yokai creatures; until they drink some beer. One of the spirits refuses to help because he's a talking wall, while others mistake the looming threat for a big party.
It does at least have that giant cast which was impossible in the earlier films. Spider-web (or mummy?) spirit Agi (Chiaki Kuriyama) gives the bad guys a charismatic face, which makes up for her stony-faced master Kato (Etsushi Toyokawa) who lacks personality. On the other hand some of the CGI is pretty bad, notably the villains made of metal saws and gears. There are still plenty of puppets and make-up effects so it's not too jarring, but the reliance on high speed action and green screens means it's often more dated than the 1960s releases. But it's hard not to like a story that has a monster save the day by accidentally putting magic beans into a doomsday weapon. The whole thing is too long and overstuffed but it also has a lot of heart which always helps.
3/5
