Director: Kimiyoshi Yasuada
Year: 1966
Country: Japan
Alternate Titles: The Giant Majin; Fury of Mountain God; Majin the Hideous Idol; The Devil Got Angry; Majin, Monster of Terror; Majin, the Stone Samurai; The Vengeance of the Monster
Genre: Kaiju
Plot:
A samurai lord of a once peaceful village was murdered by one of his own men. The traitor then claims the throne, forcing the lord's two small children to flee into the woods, where they conceal themselves near the huge stone statue of Daimajin, the god of their village. After 10 years, the new samurai lord was proven to be very brutal and merciless towards the villagers, showing off his authority to no limits. Therefore, the villagers pray for Daimajin to awaken and to use his powers and spirit to save them from the treachery thrust upon them.
Review:
Overall, this is one of the best entries in the genre. Among the more standout qualities featured here is the wholly immersive storyline that depicts this mountain community and their relationship with the Majin. Creating a community that is aware of its existence and presence while not being completely enslaved to practices designed to placate it is a surprising touch, as the villagers are allowed a freedom of life not normally associated with these types of efforts. That includes the use of ceremonial appeasement rituals and practices that are performed only in times when it’s necessary, instead of a constant factor in their lives, where they pray for his protection when they believe he stirs from his mountain home. The shift in years to show the treatment and brutality inflicted by the traitor and his men towards the villagers is also effectively realized with their deplorable working conditions, slave labor lifestyle, and lack of resources are contrasted quite well, leading to the need to seek revenge.
On top of this great story, the film works well by offering a spectacular mix of action. The sequences depicted here are quite fun in that they mix together elements from the tokusatsu and jidaigeki genres. It all starts incredibly well with the takeover of the castle, where the traitors’ forces arrive and take out the guards in a prolonged, engaging sword battle throughout the castle. As the heroic villager races to save the children from the encroaching army, the close calls and escapes that are featured here provide some excitement and urgency in the chance to escape the castle. As well, the other battles here are equally lively, with the soldiers shown to be keeping the villagers in line under orders, subjecting them to harsh treatments and orders which only further the audience’s disgust towards them. As the battles at the compound provide even more fun as the quick and brutal confrontations showcase their superiority against the paltry uprising attempts by the villagers. All of these aspects provide a great build-up for the most part.
It’s when the film finally awakens the Majin, though, that it effectively becomes an all-time classic. The resurrection ceremony featuring the troops boring into the statue, causing it to bleed on the soldiers below, triggering a series of natural disasters and landslides that wipe out everyone, is a fantastic display of miniature work and live-action. Seeing the creature come to life and plod off towards the castle is incredibly cathartic and joyous, knowing that it’s come to save the day after everything’s happened, and the destruction that follows is no less enjoyable. Seeing the creature smash the wood and stone to pieces as the crumbling miniatures are interspersed with full-scale stunts of the actors being knocked over, falling through holes dug up by the creatures’ wake, or interacting with the props of the creatures’ feet or hands is marvelous to behold. The tactics to try to stop it are both fun to see play out and logical in construction, if a tad too complex to be thought of at the moment, especially if no one’s taking the threat of it appearing seriously. Regardless, the action and spectacle win out here, and they’re a lot of fun, resulting in the film’s unquestioned highlight. Some may be taken aback by how late he finally appears, but the quality of his scenes overrides that easily for a lot to like here.
Overview: ****.5/5
Without much in the way of flaws and generally working on top-quality material in most other aspects, this is one of, if not among, the best entries in the genre, which has quite a bit to like about it. Enthusiasts of either the tokusatsu or jidaigeki genres will find plenty to enjoy here, as well as fans of giant monster movies or Japanese sci-fi films, while only viewers who are unimpressed with these factors should heed caution.
This review was originally published on Asian Movie Pulse and is gratefully reprinted with their cooperation.
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