SECRET OF THE TELEGIAN (1960)
Time for another part of Toho's so called 'mutants' series which also contains The H-Man and The Human Vapor. Both were directed by Ishiro Honda but when he was unavailable the task fell to Jun Fukuda, prior to his work on the later Showa period Godzillas. At first this seems to be the reason for the drop in quality, which was noticeable in that period of the franchise, but in reality the script here just isn't that interesting. It also doesn't have the effects spectacle or the melodrama of those others films respectively. Still, as another excuse for a crime thriller in which science fiction plays a part in the mystery it's worth examining. Just don't expect anything too compelling this time around.
In some admittedly good foreshadowing there's a bloody murder in a cave, although in this opening scene it's a fairground attraction called 'Cave of Horror'. Somehow journalist Kirioka (Koji Tsuruta) knows that this isn't just an average killing, since he's working at the science section of the newspaper, and gets on the scene. He soon teams up with Detective Kobayashi (Akihiko Hirata) who just happens to be an old friend and allows him to tag along on the investigation. Meanwhile the third part of the ensemble Akiko (Yumi Shirakawa) is working at a refrigerator company where she meets a man with an evil laugh. What could be his connection to the murder?
Of course it doesn't take long for Kirioka to find a piece of some kind of transistor wire at the scene, from a peculiar type of device that needs to be kept cold. Without giving too much away this is part of a scheme by the so-called 'Bayonet Killer' to get revenge on those who wronged him. But his methods involve a kind of telepod right out of The Fly. He's not a supernatural being (despite being left for dead fourteen years ago) and so the whole thing is pretty ridiculous. The machine, a kind of matter to energy transmitter, needs a pod on both ends to work. And yet nobody ever figures out that a huge box is delivered to each murder scene before it's too late.
The killer's powers seem to be electrical in nature, at least visibly, giving him a blue scan-line appearance, which also distorts his face. Later there's a Phantom of the Opera type reveal showing he's been scarred but it's weirdly inconsequential. Beyond his apparent partial form, which may or may not be bullet proof, his main ability seems to be the way he can jump through windows to escape. Which seems less superhuman more more a lack of awareness. He has to run back to the telepod more than once to get away (and destroy the evidence) which all seems highly inefficient. It would be more compelling if he was actually dead and the machine was keeping his physical body alive.
This earlier tragedy involved his comrades (later to become his victims) at the end of War War Two. Lance Corporal Tsudo (Tadao Nakamaru) was betrayed by them after being ordered to secure a scientist and his weapons research. But instead of following orders they took a more selfish route, which he saw as a betrayal of the nation. Is this all a fable about blindly following orders, or nationalism versus self preservation? Not really, these are small details in the grand scheme of things. The film hasn't got much to say beyond greed being bad. A war themed night club in which a dancer is painted gold hints at the same subtext but it's mostly window dressing.
There's an barely-existent romantic element between Akiko and both our hero and villain, but it also goes nowhere. Most of the film is just people in beige suits smoking as they ponder the mystery. When it comes down to it the murder victims aren't sympathetic or interesting enough, and the killer isn't well drawn either. There are some fun effects showing the transmitter lab, and it's occasionally atmospheric, but it's generally a step down from the other films in this loose trilogy. The killer desperately needs more interesting abilities and more personality. The standard 'sudden volcano ending' is a Toho staple but it adds nothing in this case, and ultimately the result is a missed opportunity.
2/5
BONUS REVIEW
IRONFINGER (1965)
On to something more fun, if perhaps less coherent, from Jun Fukuda's work. The real title is 100 Shots, 100 Killed, which refers to the story about an arms smuggling racket. But someone thought the (very loose) connections to James Bond should be played up. To be clear nobody in the film is called 'Ironfinger' and no iron is ever bought. Perhaps it's meant allude to sharp-shooting or gun running. Whatever they call it the results are very silly as hapless tourist Andrew Hoshino (Akira Takarada) poses as an INTERPOL agent and gets into various scrapes. He's probably captured about five times in the story, escaping each time with abilities that betray his bumbling exterior.
He speaks multiple languages and uses various skills (and sometimes gadgets) to outwit his captors, occasionally being joined by bomb maker Miss Sawada (future Bond girl Mie Hama) and Detective Tezuka (former Kong advocate Ichiro Arishima). The actual story makes little sense as 'Andy' blunders into a turf war between the Aonuma and Akatsuki crime syndicates. But this isn't so important in a yarn which throws in drugged cigarettes, acid whisky, and gas filled briefcases, in between various fight scenes and double-crosses. Characters dangle from planes, others fight with toilet plungers, it's just that sort of movie.
It helps that the lead characters are all pretty charming, particularly Miss Sawada, so that C4 hidden inside bowling balls (and underwear) can be taken as part of the fun. Still, there are some other ingenious moments that show Andy using his wits which stop it descending into total madness. There are even some gruesome deaths along the way to lend the story some stakes, however brief those moments may be. The final twist as the cast reach an island lair explains some things, but it's simpler to go with the ride as Fukuda throws in more locations, more action, and more cabaret dancers. It's never essential but it's an entertaining caper.
3/5
