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Virus

Andrew Heskins — Thu, 11 Mar 2010 10:00:02 +0000

We keep the disaster movie theme going with a look at a near lost pandemic thriller from director Kinji Fukasaku, best known for Battle Royale…

With the release of The SInking Of Japan earlier this week, we take a look at another Japanese disaster movie, this time with a surprisingly Western cast.

The world as we know it is coming to an end, as a virus known only as Italian Flu (now, now, no racist jokes about it’s effects!) spreads amongst the populace. In fact the virus is manmade, designed for germ warfare, no vaccine exists. The only survivors are international groups of scientists based in Antarctica, who must now find a way to work together to build a new world.

Only when scientist Doctor Shûzô Yoshizumi (Masao Kusakari, Black Kiss) discovers that Washington will get rocked by an earthquake, a desperate mission begins to switch off an nuclear automatic retaliation system before it destroys the planet and even their own sanctuary.

My first run in with Virus was as a podcast from Cult of UHF, those exponents of films that have for one reason or another fallen into the public domain, cheekily released amid the highpoint of fears about the H1N1 virus spiralling out of control. Full of several hammy performances from several B-list American actors of the time, it was easy to dismiss as a terrible low-budget B movie.

Only thing was many of these actors could still get reasonable leading roles: Olivia Hussey (Black Christmas, Romeo & Juliet); Glenn Ford; Robert Vaughn; Geroge Kennedy; Chuck Connors; Henry Silva; Bo Svenson. It’s fun to see the revamped Battlestar Galactica’s Commander Adama Edward James Olmos and wonder if he ever looked young?

Then there was the slight unevenness in the story. The Japanese protagonists seemed quite important, but we hardly got to see them. It turns out that this was a Japanese production, directed by Kinji Fukasaku, whose long filmmaking career included Battle Royale, Triple Cross, Legend of Eight Samurai and Tora! Tora! Tora!.

This was, of course, the heavily abridged US cut of the film, which not only loses some 50-odd minutes from the film, mainly from the Japanese subplots, but also rearranges the footage to it’s own (and often confusing) end. This wasn’t helped by the fact the Cult of UHF version rather helpfully left what remained of the parts in Japanese without subtitles!

Yet despite all this, there was definitely some merit to the film. Hell, it might be corny, but not as terrible as you might have thought.

In it’s longer format it recounts far more of Doctor Shûzô’s past, colouring far more effectively his relationship and growing affection for Olivia Hussey’s character Marit. There are title cards detailing the time and spread of the virus. Then there’s Shûzô’s epic journey south to reunite with the rest of the surviviors – completely cut from the US edit which is by default far gloomier.

There are some interesting ideas tackled during the film, not least the topic of a new morality when 830-odd men have survived with just eight women. There’s a certain amount of intelligence applied to the film that survives some of the hokeyness and occasionally melodramatic performances. Masao Kusakari himself, as the lead, is actually pretty good.

Elsewhere even in it’s longer form so of the edits seem a little rough and clumsy around the edges – particularly when Fukasaku tries to show us Japanese society crumbling in the face of this inevitable peril (which seems to involve clubbers stripping off in a disco!). Then there’s the end footage, mainly shots of penguins jumping off into the Antarctic Ocean. Probably the biggest crime of the film, though, is some dire English accents on show by American actors. I mean, Chuck Connors as a British Naval officer? Really?

Those familiar with Terry Nation’s Survivors series, either in it’s original 70s incarnation or the newly revamped version, will be familiar with the prospect of the world wiped out by a disease. (Mind you, Terry borrowed from John Wyndam, so what the hell?) Virus, or Day Of Resurrection as it’s also known, has it’s roots as much in Robert Wise’s adaption of the Michael Crichton novel The Andromeda Strain (and those that followed, like George A. Romeo’s original The Crazies) as it does with the more mainstream disaster movies. Sure, George Kennedy even recites some of the same dialogue he used in Earthquake.

But there’s something else starting to happen in Virus. It mirrors the growing preoccupation with nuclear holocaust, the fear of a third world war that would annihilate us all, and the very real threat of the cold war that dominated the 80s and 80s cinema (having lost the charade of hiding these themes behind alien invasions and gigantic monsters). In that sense it can be seen ahead of the curve. Shûzô’s journey then becomes something of a post-apocalyptic vision, again only really beginning to become widely popular in films like Mad Max.

It’s said film producer Haruki Kadokawa had hoped this would be his breakthrough into the international market. Instead it flopped, and edited up sold to Pay TV states in it’s heavily edited version.

Despite all the DVDs available, the only place you can officially get the full version is as part of the Sonny Chiba Action Set, alongside Golgo 13 and an edited version of The Bullet Train. Which is ironic as Chiba’s screen time is less than 10 minutes, and not even particularly energetic. Ripe for a solo release and wider reappraisal.

Black Belt Jones, the great kung fu soundtrack that never was?

Andrew Heskins — Wed, 25 Feb 2009 10:00:40 +0000

Get your (rare) groove on with Dennis Coffey’s legendary soundtrack to the equally notorious (for all the wrong reasons!) Jim Kelly vehicle…

In 1974 director Robert Close and producer Fred Weintraub had something of a problem. Their Enter The Dragon had been a huge success, exporting the Bruce lee phenomenon to an international audience – only their star tragically died before it was even released! What could they do next? How about giving his co-star Jim Kelly a chance – you know, the one who gets killed off pretty early? Then you’d not only cover kung fu, but blaxplotation too – get that Mr. Weintraub two exploitation genres for the price of one!

Only there was a reason Jim Kelly didn’t make it anywhere near the end credits. Wooden doesn’t go far enough, the man makes the cast of Stingray look like a National Theatre production! And Close’s direction does little better – combined with such a pitiful script – you quickly realise just how much of Dragon was directed by Lee himself. Subsequent efforts on Lee cash-in Game Of Death and early Jackie Chan crossover vehicle Battle Creak Brawl only went to prove that.

Only the inclusion former Bond girl and general Blaxpolitation queen Gloria Hendry goes any way towards regressing the misdemeanour. But Black Belt Jones’ reputation is well deserved, it’s even featured in the 2004 documentary, The 50 Worst Movies Ever Made. (Surely not – I mean however bad, there are a LOT of other bad movies in the world!) But enough of the film itself, we can leave that to a future ‘Guilty Pleasure’ (maybe!) – no, we’re here to talk about the soundtrack!

And what about it? It’s really the classic Blaxplotation soundtrack that never was, with only the Theme From Black Belt ever making it to vinyl. Dennis Coffey was best for his 1971 instrumental (and popular hip hop breakbeat) Scorpio. A member of the legendary Motown Funk Brothers, Coffey had played guitar on dozens of hits for the label long before going solo.

The Main Theme is a rare groove classic the song owes less to Coffey’s guitar playing than the distinctive overlaid scatting that make up the majority of the tune. The effect is not unlike 80s German producer George Kranz’s massive electro classic Trommeltanz aka Din Daa Daa, and it would be nice to think Kranz was influenced by Coffey.

So there’s no doubting how ‘unofficial’ this release is. For one thing, much of the soundtrack seems to be taken straight from the film, complete with dialogue – which at least gives you a chance to enjoy how bad that is! That may go much of the way to explain why this is only available on vinyl, most likely to cover up just how bad some of the recording is.

There are two versions of the main theme, with a second complete with kung fu cries, fantastic or what? There’s also some great additional music, particular the variations on the Love Theme. Elsewhere there are jazzier or just plain dramatic scores.

It would have been nice, however, if this release had a least gone someway to show which parts were Dennis Coffey and which parts were responsible by Luchi De Jesus. It would be easy enough to guess Coffey was just the Main and Love themes, but even that might not be true?

Is it a match for Lalo Schifrin’s Enter The Dragon score? Well, not quite… But one thing is for sure – this is fantastically Kitsch fun!

Magic Monkey, the original Monkey TV series soundtrack

Andrew Heskins — Fri, 02 Jan 2009 10:00:24 +0000

As Damon Albarn’s latest collaboration with Gorillaz co-creator Jamie Hewlett, the opera of Monkey: Journey To The West, draws to a close at London’s O2 dome, and we await the release of the new Monkey Magic film on DVD, is there a better time to remember the soundtrack to show that started it all. Come on now, you all know the words: ‘Born from a rock on a mountain top…’

Long before Brit Pop supremo Damon Albarn decided to take his Gorillaz creation back to the source, the cult Nippon TV series inspired by Wu Cheng’en’s classic Chinese novel Journey To The West, the show itself Monkey, ruled UK Friday nights back in the late seventies.

From it’s opening disco theme to the hilarious characterisations of Monkey, Pigsy and Sandy (mistakenly attributed to the British redubbing by actors like Miriam Margoyles and Andrew Sachs, better known then for being the waiter in Faulty Towers than for the messages left on his phone by Russell Brand and Jonathan Ross) the show captured the hearts of a generation now in their mid-30s: running around the playground, pretending to call clouds to fly on and beating each other up with a magical staff, all the while humming Monkey Magic under our breath.

(Not now, I mean. Back then. Though some of us never really left those days behind, creating websites devoted to all things Asian, ahem…)

Much of the appeal to that series was the soundtrack, provided by Japanese pop band Godiego, formed of Japanese and American musicians Mickie Yoshino, Takami Asano, Steve Fox, Yukihide Takekawa, and Tommy Snyder. They’d already enjoyed some success performing the English language version the the theme of the other great Nippon TV import of the decade, The Water Margin, which even squeaked into the UK top 40. Though singles from Monkey itself, issued by the BBC, surprisingly didn’t fair as well.

Magic Monkey was released in Japan in 1979 (and subsequently as the Monkey soundtrack by the BBC). Fans of the series will recognise most of tracks used as music cues on the soundtrack throughout, though you may be unsettled by the vocals (or to be more exact, the lyrics)…

Aside from Monkey Magic and the closing theme Gandhara, there’s Havoc In Heaven (used for the fight scenes), Thank You, Baby (used for the romantic or contemplative sequences), A Fool (used for for, um, the more idiotic moments) and so on. The pop vocal style is typical of the period, sounding at best like a cut-price Steely Dan, but it’s the lyrics that often leave you squirming, as the guys try desperately to include the themes of the series – in English – often making you wish they’d left the tracks as instrumentals. There’s even a track called Asiatic Fever, for feck’s sake!

Despite this, it’s worth hearing just for the full length version of the theme (even with that dodgy second verse), a fantastically funky little disco tune with great riffs and instrumental breaks.

Strangely, getting hold of a copy outside of Japan – where Godiego are still massively popular having reunited in 1999 – is near impossible. (And if you’re thinking of picking up the BBC release, you are gonna have to search hard!) Those looking to get hold of a copy best head towards Asian online retailers like YesAsia. Considering the enduring popularity of the series, it seems odd no one has licensed the album to reissue it in the UK and Australia.

At the very least it might put an end to the countless cover versions that do little than sully our fond memories.

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Virus

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