Monster Team-up: Godzilla vs the Thing (Mothra)

"King Kong vs Godzilla" was a box-office smash, not only in Japan, but abroad. (It still stands as the all-time, Toho/kaiju earner.)  A direct, shoe-in sequel to the titanic clash was proposed, but Toho (per trailblazing producer Tomoyuki Tanaka) picked a different path.

As such, Mothra (and her offspring) challenged the studio's homespun "dragon", in what became "Mothra vs Godzilla" or "Godzilla vs the Thing", as it was better known in the U.S. (thanks to American International Pictures), with other title variations surfacing around the globe. (Later, it was released on Paramount VHS as "Godzilla vs Mothra".)  

I must confess, I was a trifle disappointed when I first viewed the 1964, Ishiro Honda directorial effort, in that I had anticipated a super-morphed version of James Arness' "The Thing (from Another World)".  Mothra's name recognition beyond Japan wasn't as strong at this point, which is why an air of mystery enshrouded her.

Though I found Mothra (Mosura) interesting, she was my least favorite of Toho's A-listers. I fancied Rodan (Ladon) and Ghidrah (Ghidorah) more. Also, since I was viewing the Toho flicks out of sequence on UHF, my loyalty to the mighty moth was stunted due to no fault of her own. Be that as it may...  

Per Shinichi Sekisawa's script, Godzilla is much meaner in his fourth, headlining outing, and that's saying a lot since he was far from Mr. Congeniality in the earlier chapters. 

Disgruntled by his defeat to Kong, Godzilla appears determined to pounce Mothra/the Thing (who goes by both names in the dubbed version) for a presumed, easy win. If Mothra's washed-ashore egg just so happens to get smashed along the way, so be it.  However, much to Godzilla's dismay, the ailing Mothra fights with unsurpassed vigor to protect her confined twins. 

Mothra's egg also impact's the film's make-a-buck subplot: similar to the prior chapter's, which in its own right springs from "King Kong '33" and "Mighty Joe Young '49".  

To thwart the business men who wish to exploit the uncanny formation, the miniature, guardian ambassadors of Infant Island (dubbed Mothra Island) intervene: The fairies are portrayed by Emi and Yumi Ito, who were better known as the Peanuts on Japan's nightclub circuit and held a significant role in the first Mothra movie. They sing (pray) in a most melodious manner to Mothra and her soon-to-be-hatched larvae to halt Godzilla.  

Beyond its ultra-small/ultra-big performers, the film features an all-star Toho cast, with Hiroshi Koizumi as Professor Shunsuki Miura; the lovely Yuriko Hoshi as novice photographer Nakanishi Junko; Akira Takarada as reporter Ichiro Sakai; Yu Fujiki as reporter Jiro Nakamura; Jun Tazaki as editor-in-chief Marata; Yoshifumi Tajima as the Denham-seque Kumayama of Happy Enterprises; and Kenji Shara as the unscrupulous Jiro Torahata.

Hajimi Koizumi's cinematography is the most striking of any Toho production; and Akira Ifukube's iconic score complements Honda's direction to a tee, particularly during the film's ferocious, final frames, when Mothra's incensed children back the big, green one into a sticky situation (to say the least).  

The film has never waned in popularity and was remade in '92 to huge fanfare. Even so, for sentimental reasons, the original remains favored and clinched a long line of Toho crossovers, which marched in respectful step to Universal's monster rallies.

Even if one doesn't consider "Godzilla vs the Thing" a classic (though how could one not?), there's no denying the epic's refreshing, rock 'em, sock 'em execution. 

They sure as hell don't make 'em like this anymore; so toss that PC junk out the door, and let old-school, fight-to-the-death Godzilla and Mothra show ya how it's done.

HAPPY 75TH ANNIVERSARY...FRANKENSTEIN MEETS THE WOLF MAN!!!

Today marks the 75th anniversary release of perhaps the most influential monster-movie team-up in history..."Frankenstein Meets the Wolf Man"!!!

The film, written by Curt Siodmak and directed by Roy William Neill, sports a memorable Hans Salter score and one helluva cast: Lon Chaney, Jr.; Bela Lugosi; Maria Ouspenskaya; Ilona Massey; Patric Knowles; and Lionel Atwill. It also paved the way for such significant monster-movie rallies as "House of Frankenstein", "House of Dracula" and "Abbott and Costello Meet Frankenstein".

The film is both thrilling, moving and still holds up today: an indisputable classic that demonstrates how to do a crossover right!!!

Monster Team-up Reflection #34: I saw the Mummy...

I was pleased to see Karl Freund/Boris Karloff’s “The Mummy” referenced in a theatrical, promotional featurette for the '17 reboot. However, that “The Mummy ‘32” was highlighted doesn’t mean that the new entry, directed by Alex ("Star Trek"/"Spider-man") Kurtzman, is faithful to the cinematic foundation, whether in content or pace, but it at least confirms that Universal Studios acknowledges its classic past. In so doing, it additionally establishes that its new entry is but another in a long string.

“Mummy ‘17”, in this respect, is also an offshoot of Hammer Studios' bandaged antagonists; the Aztec Mummy imports; Steven Sommer’s movie-serial styled samplings; and all those among and in-between. 

The new film, however, is characterized by a beautiful, disinterred lady, not that such re-animated lovelies haven't graced such stories before. (Consider Bram Stoker's "Jewel of Seven Stars" and its various adaptations; plus the Universal inclusions of Imhotep's Princess Ank-es-en-Amon and Kharis' Princess Anaka.) Per screenwriters David Koepp, Christopher McQuarrie, and Dylan Dussman, the main difference this time (besides the addition of another classic, horror character within the structure) is that the revived female becomes the film's all-consuming catalyst. She is--no ifs, ands or buts--the Mummy, even if others of her more-or-less kind remain at her disposal. 

Sofia Boutella, who made a stellar splash as Jaylah in last year's “Star Trek Beyond”, plays Princess Ahmanet, a power-hungry Egyptian monarch who’s sprung from her Iraqi tomb inadvertently by mercenary Sergeant Nick Morton, portrayed with a devil-may-care edge by Tom Cruise. Abetted by his pal, Corporal Chris Vail (Jake Johnson), Morton has no qualms about transporting the princess and her artifacts for monetary gain.

It's on the jet trip home that the initial phases of Ahmanet's curse really unwrap, seemingly killing Morton, but not before he manages to dispatch his archaeologist lady friend, Jenny Halsey (Annabelle "King Arthur" Wallis) by parachute. Morton awakes in a London morgue, bursting through his body bag, his head full of questions and fears. How the hell did he survive and (of all extraordinary things) without an apparent scratch? 

It appears that the now emancipated princess has the hots for Morton, keeping him on a short leash (and as a handy, God of Death vessel), as she attempts to turn our world into a "dark universe", which leads to...

Russell Crowe's Dr. Henry Jekyll and of course, his alter-ego, Mr. Edward Hyde...  Jekyll is a cryptozootologist of sorts, an expert of "gods and monsters", if one will (and at various times, the movie's host/narrator). His dark side can be summoned easily enough, or so Morton comes to learn, but for the most part, the good doctor acts as the solider of fortune's congenial mentor, inspiring him to snuff the mummy's curse.

The Jeykll/Hyde/Mummy configuration is the film's most enjoyable element, but nothing new in the realm of storytelling. The combo appeared in Warren Magazine's Eerie #78, though the characters' overlap was more concise than in Kurtzman's film. 

As presented in the latter, the iconic personas appear with gradual nonchalance, as such characters would in a Jess Franco or Paul Naschy picture (but with only Jekyll, not ever Hyde, interacting with Ahmanet). This seeming off-the-cuff approach might likely be used for Universal's planned "House of Frankenstein"/"House of Dracula/"Van Helsing" quasi reboots. ("Dracula Untold" is no longer part of the equation.) Incidentally, Crowe would make a superb overseer for any monster rally, considering the suave credibility he grants his dual embodiment. 

Kurtzman's film presents an open ending, in obvious anticipation of a sequel, but what movie doesn't these days? In the meantime, the existing adventure offers lots of weird turmoil, dusty explosions, a harrowing underwater sequence and a spectral smidgen of "An American Werewolf in London", "Lifeforce" and "The Blind Dead". Through all this, Morton fervidly jaunts and for appearance sake, saves the day, along with the alluring Halsey, who acts as Ahmanet's fleeting competition. Ahmanet, however, is as hounded in her own right to regain her glorious past. Though there's every reason not to feel sorry for her, somehow or other, we do.

As far as Boutella goes, she's made history by simply being part of an extensive sub-genre. She's also an exotic gem to savor, though purists of classic Universal may find her story's roller-coaster intersections too reminiscent of Sommer's films. On the other hand, fans of the latter (i.e., later Universal) might find her movie's moody ambiance ponderous. Nevertheless, for those open-minded enough to taste from both ends, the new "Mummy" will entertain. To expand Ahmanet's story, therefore (as well as Morton and Jekyll/Hyde's), seems sensible, but only the film's box-office gross will determine whether another resurrection is bestowed.

Monster Team-up Reflection #33: I saw the Blood Wars of the Underworld...

Len Wiseman’s “Underworld” franchise is a crossover of vampire and werewolf lore (pitting the two sides against each other): a hybrid tale that's spawned actual hybrids in its story line. The saga is also a hybrid of the horror, superhero/action and historical genres: as much “X-Men” as it is “Penny Dreadful”, as much an espionage soap opera as it's a brutal allegory for any number of real life's civil conflicts. 

The latest "Underworld" is subtitled “Blood Wars” and is directed by Anna Foerster and written by Cory Goodman (based on a treatment by Goodman and Kyle Ward). It reflects all of the above elements and exists as both a sprawling rehash and a contemplative extrapolation. 

We again have Selene, the gun-toting, sword-swiping Death Dealer, portrayed by the magnetic Kate Beckinsale (who’s held the lead in all but one “Underworld” feature). Here she embarks on another mission to end the centuries-old bloodshed between Lycans and Vamps, and to complicate her situation, she's estranged from her bloodsucking clan. Alas, the odds for success are more daunting than ever, with the werewolf side inclined to create leveraging hybrids from the blood of Selene's missing daughter, Eve (India Eisley, featured via inserted imagery). 

Former chapter Vamps, the enterprising David (Theo "Divergent" James) and his perceptive dad, Thomas (Charles Dance), soon enlist the heroine to crush the Lycan campaign. Cool, persuasive Semira (Lara "Sherlock" Pulver) ensures Selene's amnesty so that she might mold a Vamp army against a large-scale, Lycan attack, but is this her true motive? 

New Lycan leader, Marius (Tobias Menzies) isn't at all intimidated by a Vamp counter, confident he can make his clan supreme (and perhaps a few deceitful Vamps along the way). He becomes a blaring thorn in Selene's side and will throw all her efforts asunder, unless the scales miraculously tip. 

It takes a spell to get to that pivotal point, however, with the film's bridging exchanges and moody scenery taking center stage. The story's main base, the Nordic Coven, consumes most of the film: a wintry realm, occasionally adorned by the series' usual, blue sheen and plenty of helpful, fair-haired citizens.  

The icy aura certainly complements Beckinsale's lovely, pale guise. As enchanting as Selene is in her previous outings, she shines to a far greater extent (if that can be believed) in this one, thanks to cinematographer Karl Walter Lindenlaub's biting hues. Sometimes his technique makes Selene look more angelic than parasitic, but what the heck? Perhaps at this stage, our enticing lead is more the former than the latter...well, more a latex-clad, killer angel than a divine, winged one, anyway.

As Beckinsale's Elder "equivalent", Dance resumes his stately stance, even if still underused and--SPOILER--dispatched far too soon. Nonetheless, per his imposing Peter Cushing-esque stature, the actor can’t help but elevate the stakes. Let’s face it, this suave guy has imagi-movie clout. (He played the Phantom of the Opera in the NBC '90 mini-series for cryin' out loud, as well as having starred in “Alien 3”; “Dracula Untold”; “For Your Eyes Only”; "Game of Thrones"; “The Golden Child”; “Ironclad”; “The Last Action Hero”; “Pride and Prejudice and Zombies”; and “Victor Frankenstein”. Now that's one impressive resume.) 

Without such classy casting (and incidentally, to some degree or another, everyone mirrors Dance's chic style), "Blood Wars" may have dwindled into another said-and-done quickie, but fortunately, the movie's personas, and the careful discussions that convey their causes, lead Wiseman’s mythology to a satisfying closure. On the other hand, there’s no reason why tribal animosity can’t rise again (and hints of an ongoing cycle do come by story's end), but if a continuation is to occur, it must manifest in the right context...

Imagine, if you will, a "Resident Evil" crossover...Selene and Alice soaring through the air, grabbing onto each other, twisting and turning until they spiral into a stretch of sensual mud, their feisty fight continuing as they rip each other’s clothing, clawing and gnawing each other's pallid flesh and...oh, sorry, got carried away, but considering the lusty prospect, can you blame me?

Mummy 2017 Trailers Emerge!!!

Whenever it comes to monster team-ups, I can't help but get excited. Next year's "The Mummy" (directed by imagi-movie favorite, Alex Kurtzman, and headlined by the legendary Tom Cruise) is such a case in point. One can see from both the teaser and initial, full (very action-oriented) trailers, that the movie isn't a reboot/remake (hell, it doesn't even have anything to do with Imhotep or Kharis, for goodness sake), but it certainly includes a couple horror icons...well, one in truth a bandaged knock-off, but the concept still meshes. 

The film's title character, named Princess Ahmanet, is portrayed by Sofia Boutella, who made a huge impression on fans in this summer's "Star Trek Beyond", and prior to that, in the action hit, "The Kingsman". The film also features a man who has quite a diverse group of characters already under his belt, Russell Crowe, in this instance portraying Dr. Henry Jekyll. 

Now, I don't know if Eddie Hyde will make an appearance in "The Mummy", since the trailers only offer a glimpse of what's in store, and back-up marketing is even more secretive. (I'm assuming there are probably plans to introduce Hyde in a later Universal mash-up or solo Jekyll/Hyde feature, if either should come about.) Nevertheless, the simple fact that Jekyll harbors the essence of Hyde is enough for me to label this installment an official monster team-up, and I'm diggin' in my heels and stickin' to that notion. 

Maybe Kurtzman's approach (and of course, screenwriter Jon Spaihts') will be in line with Jess Franco's, presenting traces of iconic characters throughout (hints of potential developments, if you will), but we'll see. Whatever's in store, I, for one, will be waiting most anxiously...

Monster Team-up Reflection #32: Rankin/Bass' Mad Monster Party?

Jules Rankin and Arthur Bass blessed our childhoods with stop-motion wonderment. With Rankin/Bass' televised Christmas programs being so popular, it was only natural for the studio to branch out with a theatrical release, the result being the 1967 Halloween-ish salute called "The Mad Monster Party?" (Yes, the question mark, for whatever cryptic reason, is an official part of the kooky title.)

Directed by Bass, who co-produced with Rankin and Joseph E. Levine, from a screenplay by Harvey Kurtzman (best known for his Mad Magazine and Playboy cartoons), the story presents Baron Boris Von Frankenstein (Boris Karloff) living on the Isle of Evil, set to retire upon the completion of a matter-destroying formula. He desires his nerdy nephew, Felix Franken (Allen Swift), to become his successor and rounds up the world's most famous monsters to make the big announcement. 

The gathering (or "party", if you will) includes the Frankenstein Monster; his Bride (Phyllis Diller, standing in for Elsa Lancaster); the Creature from the Black Lagoon; the Lugosi-ish Dracula; Dr. Jekyll and Mr. Hyde; the Mummy; Quasimodo/Hunchback of Notre Dame; the Sydney Greenstreet-ish Invisible Man; the Werewolf/Wolfman; the Peter Lorre-ish Yetch (Swift); and his ghoulish, zombie-clone bellhops. There's also a specimen unseen for most of the film, referred to as "It", who holds (SPOILER) a startling resemblance to a particular inhabitant of a little place called Skull Island. (It makes one wonder, therefore, if Rankin/Bass hadn't at some point pitched stop-motion puppetry to Toho, when it came to their "King Kong Escapes" collaboration.)

The Baron's secretary, a fetching redhead named Francesca (Gale Garnett, who made "We'll Sing in the Sunshine" such a bit hit), takes issue with Felix assuming command and enlists Drac (and inadvertently the other monsters) to thwart the Baron's plans. However, in an unexpected turn, Francesca falls for the hapless nephew, which leads to an explosive yet "happily ever after" climax. 

Not only is "Monster Party" a bubbly character tour de force, it's characterized by beloved personalities and their distinct vocalizations, headlined of course, by Karloff (think of his portrayal in "Frankenstein 1970", but made more congenial); and Diller, essentially playing herself as a lovable, wise-cracking caricature. Incidentally, the Frankenstein Monster, a lumbering but cute variation of Jack Pierce's design, is named Fang, after Diller's referenced boyfriend in her stand-up routines. (Indeed, the pop-cultural vibe couldn't have been more hip at the time, or arguably, even at present for those in the know.)

The aforementioned Swift, perhaps best known to cartoon fans as Simon Bar Sinister and Riff-Raff on "The Underdog Show", supplies not only Felix's voice, but Yetch's, with all the trademark Lorre intonations. 

Felix, however, is Swift's own concoction, smacking of a congested James Stewart, combined with Jerry Lewis' "Nutty Professor'"s, Julius Kelp. Felix is clumsy but amiable, making him similar to other '60s comedic heroes, not only Lewis', but those featured in such Don Knotts fare as "The Ghost and Mr. Chicken" and "The Reluctant Astronaut". Felix also holds the distinction of being different, stumbling his way through life, even more so than the monsters (who hold an inherent camaraderie), making his circumstance the film's recurring concern. 

Like other Rankin/Bass productions, "Monster Party" succeeds as an endearing musical, thanks to Maury Laws' catchy compositions, with Diller rising to the occasion on "You're Different" and Garnett belting out the wonderful "Our Time to Shine", in what becomes a terrific dance sequence with Drac. Also, there's an uproarious scene where the the Mummy, Bride and Quasimodo dance to the Edwardian-haired skeleton band, Little Tibia and the Fibias, who perform the groovy "It's the Mummy". 

Though considered a box-office flop in '67, "Monster Party" began its steady cult rise throughout the early '70s when it aired on UHF stations. Children and adults, who appreciated the likes of Rankin/Bass' Rudolph and Frosty shows, embraced the film and looked forward to repeat viewings. Also, Drac's monocle look clearly inspired "Sesame Street'"s Count, which many children of the time were quick to acknowledge, thus enforcing the film's earliest, pop-cultural influence.   

In '73, "The Saturday Superstar Movie" series premiered a cell-animated follow-up to the film. Though it never went beyond one entry, fans of the '67 film respect its connection and perhaps the fact that it exudes the same cheerful charm of "The Groovie Goolies" and such live-action counterparts of the era as "Monster Squad" and "Hilarious House of Frightenstein".

In the later decades, with the advent of VHS and special-edition disc releases, "Monster Party" has grown even larger in popularity, prompting companies to produce resin/vinyl figures and latex masks of the characters. (The movie also appears to have influenced Tim Burton/Henry Selick's stop-motion favorite, "Nightmare Before Christmas", which in its own right may have helped usher in the "Monster Party" collectibles.)

As an enduring monster-rally epic, "Monster Party" has arguably matched the acclaim of "Abbott and Costello Meet Frankenstein" and even more serious fare like "House of Frankenstein" and "House of Dracula". "Hotel Transylvania" also owes much debt to it. 

The filmmakers' love for monsters and their varying mythologies, as well as its underlying celebration of being unique in a world of blah normality, is more than enough reason why this charming team-up has stood the test of time and is destined to delight audiences far into the future: in other words, a classic if ever there was one.