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 energetic. Ripe for a solo release and wider reappraisal.

Could this be the final sunset for the Rising Sun? It’s bye bye Japan in this big budget disaster movie…

Just what is it with disaster movies? Seems like a few years ago you couldn’t go a summer without someone like Roland Emmerich or Michael Bay turning the world upside down with aliens, asteroids, volcanoes, giant Japanese monsters or adverse climate change. Nowadays the West seems more interested in ‘low key’ horrors, like waking up and finding the place overrun with living dead (be they Zombie or Vampire), than thinking there might be something bigger to worry about than the next Olympic Games, like, I don’t know, prophecies, end of the world, that sort of thing.

Arguably in the wake of manmade horrors like the Twin Towers, or at least human, bureaucratic negligence in the face of natural disasters like Katrina, such films seem to carry less weight with American and British audiences.

The same can’t be said of the East, where the 2004 Tsunami and even more recently the earthquake in the Sichuan province of China (which this film predates) are timely reminders of just how little control we have over the forces of nature. Hence there’s been something of a resurgence of the old school disaster movie. Only last year Korea was in peril from a Tidal Wave (Haeundae) in what is reported to be their 4th biggest film, and now it seems Japan is in similar danger.

Director Shinji Higuchi’s The Sinking Of Japan follows the tried and tested formula, as used by filmmakers since long before the Airport films first took off, and cemented in the movies of the 70s. In fact Sakyo Komatsu’s novel Nippon Chinbotsu was originally adapted into a movie in 1973, at the height of disaster movies popularity.

The main participants meet at the first of what turns out to only the beginning of Japan’s troubles, when an underwater earthquake strikes deep beneath Suruga Bay and causes no end of destruction. Rescue worker Reiko Abe (Kou Shibasaki, Dororo, Memories Of Matsuko, One Missed Call, Battle Royale) save submarine pilot Toshio Onode (Tsuyoshi Kusanagi, Monkey Magic) and young girl Misaki (Mayuko Fukudo, Death Note: L Change The World, Kamikaze Girls), and their fates become entwined as Japan’s rising sun sinks.

There’s the Prime Minister’s aide, Saori Takamori (Mao Daichi, Saiyûki TV series) confronted with giving her boss the bad news from American scientist that the shifting tectonic plates under Japan will pull her into the sea in the next five years. Then there’s lead scientist Yusuke Tadokoro (Etsushi Toyokawa, 20th Century Boys), for whom Toshio works, who finds out the
American’s have got it wrong by over four years. So the race is on to save Japan, and one of our protagonists will be called upon to make the ultimate sacrifice.

Only thing is, will there be anything left of Japan to save?

After such an explosive start director Higuchi spends much of the first half of the film, like so many of the original disaster movie of the 70s (and no doubt the original book) explaining the science to get us to buy into this situation. Like we really care? In fact, at points Higuchi is even repetitive, doubling up on screen captions to information he’s already had lead characters give us.

It’s when the proverbial finally starts to hit the fan that Higuchi. There’s a definite amount of glee in how he shows us different provinces and major cities obliterated, reminiscent of Emmerich’s trademark felling of major cites and landmarks since be blew up the Whitehouse in Independence Day. Oh, it’s fun alright, and probably even more so for Japanese audiences who may be living there now or have relatives and friends in those areas. Higuchi’s long career working behind the scenes in Anime comes to the fore as he realises this destruction with real panache.

His direction of the cast is less impressive, and this is where his film really sinks. The supposed chemistry between cute but unconvincing rescuer Reiko and lame love interest Toshio is non-existent. Considering the scale, centring on such a small collection of protagonists seems to insular, especially when they’re so uninteresting.

Elsewhere Etsushi Toyokawa makes far more of an impact as lead scientist, dominating scenes with his scowl. His past romance with Saori seems far more convincing, and something we’d love to see more of.

The film has the dubious notoriety of containing the last appearance by the great Tetsurô Tanba, whose career spanned five decades including appearances in Bullet Train, Story of Ricky, The Twilight Samurai and Kwaidan.

The story does in fact pick up on recent events in the states like Katrina and 9/11, with officials dragging their heals to save their populace, more interested in gilding their own exit by shipping out national treasures before the populace. There’s also the heroification of the rescue squad, definitely influenced by the firefighters involved in the rescue attempt at the Twin Towers.

Sure it’s a bit long, but there are great effects. I’m just looking forward to a low-budget New Zealand remake. Ahem.

The Sinking Of Japan is released today by MVM.

High school student Mizushima receives Valentines Day chocolates from the new student, Monami. Little did she know that the chocolates contained traces of Monami’s vampire blood. He gets infected from eating them and Monami confesses that she wants to live with him forever as vampires. Meanwhile, Mizushima decides that he wants to fully become a vampire with Monami’s help. Keiko, Mizushima’s girl friend, sees the two on the school rooftop kissing and in a state of hysteria, attempts to throw Monami off the roof but falls off herself instead.

Keiko dies but her father, Kenji Furano, the mad scientist, resurrects her as Franken girl. Thus begins a deadly combat between Franken Keiko and Vampire Monami in the name of love. As we all know, this kind of Vampire vs. Frankenstein conflict can only be solved by fighting, beating, stabbing, chewing, clawing and a showdown high atop Tokyo Tower!

Vampire Girl vs. Frankenstein Girl (cert. 18) will be released on DVD (15.99) by 4Digital Media on 15TH March 2010.

From the pen of Tetsuya Nakashima (Kamikaze Girls, Memories Of Matsuko) comes a comic look at the Japanese porn industry…

Expanding on a mispronunciation of an American tourist’s observation that Tokyo sure has a ‘lot of people’, Lala Pipo is essentially a series of overlapping vignettes, with Tetsuya Nakashima’s story weaving through a seedier side to Tokyo life. There’s Hiroshi, a disheveled loner desperate for a girlfriend, but too revolted in himself to get close to anyone other than his penis (played by a muppet, it’s the only persons he has conversations with!); shop assistant Tomoko who unintentionally finds her way into the porn industry, thanks to charming talent scout; Koichi, who imagines himself as porno Power Ranger Captain Bonita; and Sayuri, an overweight young woman whose aspiration is to be an Anime voiceover artist, and whose ambition has already seen her cater to a niche market in the porn industry.

Debut director Masayuki Miyano does a fair job of bringing Nakashima script to life in a way that would do him proud. It’s full of the same sort of japanese cultural and pop imagery, though somewhat less dense in it’s bombardment of those references than Nakashima would be, it quickly runs out of steam from the end of the opening sequence on.

With similar themes explored elsewhere in Tetsuya Nakashima’s work (not to mention plenty of other Japanese films) – of isolation and loneliness, and desire to end that leading to sexual exploitation or dominance of one kind or another – the brevity by which we explore each character leads to a real lack of depth in the film. Not that it doesn’t in turn keep the film light and upbeat, but it also means it lacks the emotion connection Nakashima makes in his own films.

Indeed, it brings up comparison with Tsai Ming-liang’s The Wayward Cloud, which managed to keep the more cringe worthy moments yet still make it’s characters a little more real.

It’s notable that the most seemingly pathetic character when we meet her first, Sayuri, who is looked down on by even Hiroshi, is actually the happiest and most successful on her own terms. Again Nakashima’s comment here seems clear – a solitary existence isn’t the end of the world, it’s more how you feel about yourself.

Though Lala Pipo is arguably a little light on its subject, it’s neither as explicit as perhaps it ought to be nor as honest about the consequences, it’s a likable comedy that should help build on Nakashima’s reputation for great modern storytelling, and it’s no bad debut for Miyano either.

Also out today – and sharing a common theme in Catholism – is the four-hour epic Love Exposure, from writer-director Sion Sono (Exte: Hair Extensions). Highly inventive and less of an endurance test than you might expect at that length, to my mind the end result is flawed – not helped by the lack of chemistry between leads Takahiro Nishijima and the delightful Hikari Mitsushima.

Nakashima’s script is based on a collection of short stories by celebrated author Okuda Hideo, the title originating from one character’s mispronunciation of an American tourist’s observation that Tokyo sure has ‘a lot of people’.

Among those people is Hiroshi, a slovenly loner, desperate for a girlfriend and who has conversations with his penis (hilariously played by a furry green Muppet). Tomoko is a young and pretty shop assistant who inadvertently finds her way into the sex business by way of hooking before trying her hand (so to speak) as being a porn star thanks to the intervention of ‘talent scout’ Kenji. Then there’s Yoshie, a mature wife and mother with a secret that will soon be revealed, Koichi, whose fantasy alter-ego is a porno Power Ranger called Captain Bonita, and Sayuri, an overweight young woman whose ambition is to be an anime voiceover artist but who has already carved herself a unique career in the adult entertainment world.

As these characters’ fates are interwoven, each finds their own vision of hope and humanity in the darkest, unlikeliest – and stickiest – of places.

Shot in the same vibrant, candy-coloured, hyper-surreal style that will be familiar to fans of Tetsuya Nakashima’s directorial works, Masayuki Miyano’s debut feature is a fun, off-beat and totally unpredictable romp through Tokyo’s very own planet porno.

LALA PIPO (cert. 18) will be released on DVD (£14.99) by Third Window Films on 8th February 2010. Special Features include: anamorphic widescreen presentation; optional English subtitles; “Making of” featurette; interviews with cast and crew; trailer; trailers of other Third Window releases.

Based on the bestselling novel-turned-manga by cult author Novala Takemoto, KAMIKAZE GIRLS concerns 17-year-old Momoko (Kyoko Fukada), a self-absorbed dreamer and ‘Lolita’ fashion obsessive whose love of all things Rococo sees her fantasizing about fleeing her backcountry home and living life in 18th Century Versailles.

While selling off her father’s supplies of bootleg designer fashion goods in order to fund her expensive obsession, Momoko unexpectedly meets the rebellious Ichigo (Anna Tsuchiya), a rough-and-tumble ‘Yanki’ biker chick. The girls begin a tentative and unlikely relationship that soon sees the two seemingly incompatible misfits forming a unique friendship. Together, they embark on a vividly coloured, sugar sweet, hyper-stylized odyssey of female bonding all set to a pounding J-Pop beat.

Described as ‘a wild, surreal speed-freak’s walk on the kitsch side of pop culture obsessions’ by The Sunday Times and by Metro as ‘everything you’d want in a slice of Japanese pop culture and more,’ Nakashima’s adaptation of Takemoto’s novel is a full-on bubblegum-laced extravaganza – the cinematic equivalent of a sweet-toothed teenager being given the keys to the candy store.

Starring J-Pop idol Kyoko Fukada (The Ring 2; Dolls) and pop star turned actress Anna Tsuchiya (Dororo; Sakuran), KAMIKAZE GIRLS is delightfully exuberant trip through teenage alienation terrain in the company of two of the most fun and endearing girls ever to grace the screen.

KAMIKAZE GIRLS (cert. 12) will be released as a two-disc DVD (£14.99) and single-disc Blu-ray (£14.99) by Third Window Films on 8th February 2010. Special Features include: anamorphic widescreen presentation; 5.1 audio; optional English subtitles; “Making Of” featurette; interviews with director Tetsuya Nakashima and actresses Anna Tsuchiya and Kyoko Fukada; “Birth Of Unicorn Ryuji” – short film; workprint footage; Anna Tsuchiya music video; trailer; trailers of other Third Window releases.

Best known for tales of family tensions and troubles, such as Tokyo Story itself and other films like An Autumn Afternoon, Story of Floating Weeds, Late Autumn and Brothers and Sisters of the Toda Family, the season also offers the chance to see lesser known comedies (like Days Of Youth) and gangster films (Dragnet Girl). The BFI are also running a special offer, buy tickets for four films, get a fifth free!

The retrospective will be accompanied by a season highlighting Ozu’s influence on filmmakers throughout the world, including Ang Lee’s Eat Drink Man Woman, Jim Jarmusch’s Mystery Train and Nuri Bilge Ceylan’s Three Monkeys.

Read more about the Ozu season at the BFI »

Best known for tales of family tensions and troubles, such as Tokyo Story itself and other films like An Autumn Afternoon, Story of Floating Weeds, Late Autumn and Brothers and Sisters of the Toda Family, the season also offers the chance to see lesser known comedies (like Days Of Youth) and gangster films (Dragnet Girl). The BFI are also running a special offer, buy tickets for four films, get a fifth free!

The retrospective will be accompanied by a season highlighting Ozu’s influence on filmmakers throughout the world, including Ang Lee’s Eat Drink Man Woman, Jim Jarmusch’s Mystery Train and Nuri Bilge Ceylan’s Three Monkeys.

Read more about the Ozu season at the BFI »

Winner of the FIPRESCI Prize and the Caligari Film Award at the 2009 Berlin International Film Festival, the latest film from acclaimed Japanese writer-director Sion Sono (Exte: Hair Extensions), LOVE EXPOSURE is a monumental work of cinema that manages to combine comedy, action, romance and drama into its compelling, satirical and frequently violent commentary on religion, morality, sexual perversion and, of course, love, both requited and unrequited.

Following the untimely death of his mother during his early childhood, Tokyo teenager Yu (Takahiro Nishijima) is raised by his father, Tetsu (Atsuro Watabe), who has dealt with his grief by becoming a Catholic priest. Despite his new calling, Tetsu is seduced into a love affair with an emotionally unstable parishioner, an act that causes him to transfer his guilt onto Yu, whom he forces to attend confession as often as possible. Eager to satisfy his father’s demands, but quickly running out of false transgressions to own up to, Yu begins to find new and genuine sins to confess, the most effective of which proves to be taking covert up-skirt panty photographs of young women on the city’s streets.

Eventually, Yu’s misdemeanours attract the attention of teenage girl Aya Koike (Sakura Ando) – a con artist, coke dealer, the regional leader of a bizarre religious cult and a victim of paternal abuse – who decides she can use the wayward “king of perverts” for her own means. Shortly after their auspicious meeting, a cross-dressing incident resulting from a lost bet also brings Yu into contact with Kurt Cobain-loving, but otherwise totally man-hating, schoolgirl Yoko (Hikari Mitsushima), with whom he falls instantly in love. The fates of this trio become hopelessly connected and sealed when Yu’s father decides to give up the cloth to marry his lover and Yu discovers that Yoko is about to become his stepsister!

Running at just under four hours (although moving at such a brisk pace it’s barely noticeable) and already being hailed as Sion Sono’s career masterpiece in many quarters, LOVE EXPOSURE stars Hikari Mitsushima (Shaolin Girl; Death Note: The Last Name; Death Note), Takahiro Nishijima (star of Japanese TV’s Ghost Friends), Sakura Ando (Crime Or Punishment) and Astsuro Watabe (Echo Of Silence) and was the recipient of the 2009 awards for the Best Asian Film, the Jury Prize for Best Female Performance (Hikari Mitsushima), the Jury Special Prize for Feature Film and the Most Innovative Film at Montreal’s Fant-Asia Film Festival.

The two-disc LOVE EXPOSURE (cert. 18) will be released on DVD (£14.99) by Third Window Films on 11th January 2010. Special Features include: anamorphic widescreen presentation; “Making of” featurette; trailer; optional English subtitles; trailers for other Third Window releases.