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Reviews
Daikaijû Baran (1958)
A little overview of both the American and Japanese version
Original Japanese Release (1958)
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Daikaiju Baran (Giant Monster Varan) follows a group of scientists as they venture into the Tibet of Japan to find a rare species of butterfly, exclusive to the region. After two investigators are killed, the authorities discover a giant monster living under the lake known as a Varanopod (an ancient reptile species) which goes on the rampage through the forest. The Self Defence Forces managed to drive off the kaiju from the survivors, forcing Varan to glide into the air with thin skin membranes between its limbs. After a number of encounters out at sea, Varan makes landfall at Haneda airport and runs rampante again. The film concludes with the humans using explosives attached to flare-mounted parachutes to trick Varan into eating them. After returning to sea, a big explosion erupts, plausibly killing the monster.
American re-edit (1962)
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American military officials conduct a test to purify salt water in a stagnant river on an offshore island near the Japanese territory. Ignoring the protests and warnings of the superstitious natives, the monster Varan (renamed "Obaki" throughout the film) rises up and retaliates against its human aggressors. Having snuck away via the river into the open sea, the American general (through a Japanese-American soldier) alerts the mainland of the threat. As is the Japanese cut, Varan attacks Haneda and then retreats (no explosives dropped by plain this time). A counterattack from the navy is effected and depth charges are dropped on Varan. The closing narration from the general (whom we follow throughout the film) sounds clear that Varan (Obaki) has been defeated, but might return soon. Either way, he's sure that the military will be prepared.
In the context of the original Japanese release, Varan was originally intended to be a co-production between Toho and an American film company. At some point in the film's production, the U.S. company pulled out from the project, leaving Toho to make the film themselves. The result is a movie which had some potential to be
on the same level as Godzilla (1954), but it does have its flaws.
The quality of acting and direction does vary from the human characters to the monster scenes, which the best sequences of the movie. The creature design, paired with the miniature destructions in accompaniment of Akira Ifukube's orchestral score are unique in the Japanese release. As for the western edit (curtesy of Jewel International Pictures in 1962), the entire movie has been so far removed from the original version. All of the characters have been changed from scientists and the like to a U.S. general, his wife and a small battalion of troops stationed to keep the locals at bay. In addition, Ifukube's score has been completely replaced with music from other science fiction and horror movies, even Varan's roar was removed.
This presentation also cuts together stock footage (most notably) from Godzilla (1954) and Godzilla Raids Again (1955). The Japanese release also did this but only used two shots from Godzilla (the building crumbling apart and Godzilla's foot crashing through a roof).
In conclusion, the Japanese version may come off a little cheesy at points but it delivers on the monster and miniature destruction scenes.
As for the American release, it's been changed to the point any trace of the original cut seems nonexistent. The storyline is also far removed, and Varan is not called "Varan" (even though it's in the U.S. title).
If you can find a copy, the. I'd recommend the Original Japanese release.
Psycho II (1983)
A worthy sequel and pretty well executed. Would recommend
Making a sequel to a great movie like "Psycho" by the master of suspense himself Alfred Hitchcock may not be sound like a good idea. When I found out that three sequels and a remake of the original exist I thought that they weren't really necessary seeing as "Psycho" has become timeless in its presentation and didn't really need a follow up. So out of my curiosity I decided to look at "Psycho II" and with low expectations.
But after watching it the first time, I was quite impressed with both the way it was filmed (similar to Hitchcock's classic) and with the storyline for the film. Including the references to Bernard Herrmann's soundtrack (the sequel soundtrack is composed by Jerry Goldsmith, who was a friend of Herrmann) and the little references to such as Marion Crane's other name "Mary Samuels", Arbogast's cut on his face being reflected in the death of the assistant motel manager, and much more. After rewatching it again recently I thought I might give my views on the 1983 sequel.
Synopsis-
Taking place 22 years after Alfred Hitchcock's original, Norman Bates (again played by Anthony Perkins) is released back into society, but is objected to by Lila Crane - who is now Lila Loomis (as in Marion's lover from the original film Sam Loomis) (again played by Vera Miles). As Norman makes a friend in a Diner waitress, Mary (Meg Tilly), the murders start happening again. Who could it be this time: Norman? Norman's mother? Or someone else?
Thoughts-
The formula of Psycho II retains a fair amount of the psychological aspect from the 1960 black and white masterpiece but also tries to incorporate a "who-done-it" murder mystery angle. One the first time seeing this movie there was a twist I personally did not expect along with some details I thought hinted at someone else aside from Mrs. Spool (Claudia Bryar) being the killer.
While I do enjoy this ambitious follow up to one of Alfred Hitchcock's greatest works I won't deny that Psycho II has its flaws, such as how the acting in some places (here and there) seems a little bit off and that there are some plot points that could have been either elaborated on or dropped from the finished film.
I think one example of the acting would be the scene where the teenager is murdered in the fruit cellar - the expression on the actor's face doesn't fully express the horror of a knife-wielding maniac in an old woman's dress approaching you ready to kill.
For the plot points, the "adoptive mother" angle sort of works but at the same time it doesn't. I think this because of this plot device has become quite cliche in some movies across other genres outside of the horror genre, however it can be an interesting device if executed correctly.
Another plot point that has had me thinking a bit was Mary being the killer. While the film tries to subvert what the audience thinks about who's the real killer (which we're lead to believe is Mrs. Spool). Though it does work but also doesn't at the same time (in my opinion), it also raises many questions. And I consider this to be a good thing in the context of some horror movies. For a Psycho film, I cannot really tell if it does or doesn't.
On one hand it does work because that can show the audience (possibly) a new side to Norman Bates or maybe unearth something about his past which wasn't mentioned in Psycho. Plus we could have seen what Mrs. Bates is like as a living character rather than a taxidermied corpse (maybe more monstrous than Norman's alter ego of his mother).
However, on the other, it doesn't work because that could complicate the storyline as it sound quite fantastical and out there. Plus I also think that trying to explore the mind and backstory of Norman Bates sort of takes away a lot of the mystery and disturbing features about him.
It is food for thought about whatever made Mary kill people as Mother, if she was the one behind it (I may have to retrace some steps about this idea).
Some of the things I like about this sequel are the soundtrack composed by Jerry Goldsmith, which is what I personally find to be not only one of his best but also underrated pieces of work with nods to Bernard Hermman's original music, such as the theme where Arbogast is walking up the stairs in the first film which is paid homage to in the scene where Mary prepares to take a shower, or the part of the score where Norman and Mary are fighting we hear that small segment of the shower theme from the original music. To me the soundtrack of Psycho II is a twisted mixture of suspense, terror, and doomed romance. One example of this is with the main title motif being used in the scene where Norman and Mary hold each other as they're barricaded inside the room until the morning, and then ending with that creepy "downfall" of violin strings.
Another aspect about Psycho II I liked was the cinematography. I liked how the filmmakers took inspiration from the principal cinematography of Hitchcock's Psycho as well as adding new cinematic shots for the film.
In conclusion I would say that Psycho II is a well crafted horror follow up to the forerunner movie of the slasher genre, and it is worth the watch.