YOKAI MONSTERS: ALONG WITH GHOSTS!

Yokai Monsters: Along With Ghosts (AKA Journey With Ghost Along Yokaido Road) ~ 1969, Yoshiyuki Kuroda, Kimiyoshi Yasuda, Japan

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The third entry in Daiei’s fantastically groovy Yokai trilogy rests on the far end of the spectrum from Spook Warfare; this time around we are given practically no insight into the yokai as individual personalities at all, and our narrative remains grounded solidly in the human realm, with our monsters popping in far less frequently than in the previous two films. Oddly enough, that means that we have the best story and the most engrossing characters of the entire trilogy, yet somehow, the movie still hits the finish line dead last insofar as entertainment value is concerned, because, really, Yokai is all about monsters per capita. Seems hardly fair, but thems the breaks, baby.

THE PLOT~ When some shady, gangster samurai intercept the delivery of some incriminating evidence, murder style, they also manage to inadvertently choose sacred ground as their primo ambush spot, thereby agitating the local yokai. The hoary old shrine keeper pleads with them to take the bloodshed elsewhere, but, predictably, he is ignored/murdered. Everything looks good for our samurai douchebags, until, that is, the yokai intervene, and place the evidence in the hands of the shrine keepers adorable grand-daughter. With Granddad dead and gangsters on her tail, our little heroine departs on a life and death quest to reach a nearby town where her deadbeat dad has been hiding out since her friggin’ birth, all the while deftly evading her murderous pursuers. But she is not alone; early in her quest, she meets a kindly young samurai who takes it upon himself to defend her, but of course , that’s easier said than done. Before the shows over, we have a few remarkably spooky altercations with the titular Yokai, as they deliver their traditional apparition-administered vigilante justice all up in the bad guy’s grills. It’s freaking rad, is what I’m saying.

Like all the Yokai films (100 Ghosts especially,) as well as Daiei’s also rad Daimajin, Along With Ghosts is, in fact, a samurai film with a strong paranormal element, but in this particular entry, the dial is cranked much further in the samurai direction than ever before. The spooky bits spice up the picture significantly, but they’re almost an afterthought, with minimal rewrites the movie could be told as a straight samurai flick without any ghost business at all. It also does a lot less filming on sound stages, instead many of our exterior shots have been moved to actual villages, open, sweeping fields, and other natural landscapes. There’s lot more moving camera now, due to our newfound wide-open space, and the end result is a more visually dynamic film. Additionally, the ghosts are no longer the least bit wacky, we don’t see a trace of our jive talkin’ Kappa or goofy Umbrella Ghost, and their replacements are pretty friggin’ terrifying. These hideous spooks are designed and implemented for horror, and horror alone. I do think the film could have benefitted from more time with them, but they’re sure effective as fuck when the picture does roll them out.

As I said before, despite the fact that from an academic perspective this film is actually much better than it’s predecessors, it’s still the least likable entry in the Yokai series, because the strength of these films lie almost exclusively in it’s many diverse monsters. In the case of Yokai, sacrificing a well executed narrative for a couple more ghosts is actually the way to go, as counter-intuitive as that may look on paper. Still, it’s no crisis, being the worst entry in the yokai trilogy remains nothing to sneeze at. All of these movies are rock solid. Along With Ghosts just happens to be the weakest in the bunch.

Or, at least, it was… Until 2005…

A-

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YOKAI MONSTERS: 100 GHOSTS!

Yokai Monsters: 100 Ghosts ~ 1968, Kimiyoshi Yasuda, Japan

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100 Ghosts is the strongest film in what is already a remarkably strong franchise, the Yokai Monsters series, three rad movies which were produced by Japan’s Daiei Studios in the late 1960’s. 100 Ghosts feels like a Japanese book of scary stories masquerading as a costume drama, but each of the individual tales are well integrated into the plot, so in the end it feels like a single, concise narrative, rather than an anthology film, like Creepshow, or Two Evil Eyes. Unlike Spook Warfare, 100 Ghosts keeps its narrative focused on the mortal plane, and dishes out the yokai in more modest doses. This time, the Yokai don’t really feel like characters, and they have no evident personalities. Instead, we see them more as supernatural agents of cosmic retribution; delivering justice to those who break society’s moral code, and this makes them infinitely more frightening than the squabbling, almost humorous depiction we got in Spook Warfare. Really, this movie actually gets pretty damn spooky toward the end, and much like Daimaijin, another Daiei studios film which is thematically similar to 100 Ghosts (And also shares much of the same cast), 100 Ghosts takes it’s time setting the scene before it hits us with a heavy dose of monster. The pay off in this film’s third act is well worth the wait.

THE PLOT~  When a group of thugs rides into a small village in rural Japan and commences to destroy the local shrine, the villagers find themselves understandably confused and distressed. It’s about to get worse, though, because this is just stage one of their shitty plan; and stage two is to follow up the besmirching of this religious site with the abrupt destruction of the local tenement house, a structure which much of our central cast calls home. Apparently his is all legal, too, due to a shady alliance between a local businessman and a super corrupt Lord, who is basically a damn gangster. Once everything is torn down and smashed, the bad guys are going to open up a cheap brothel and basically ruin everybody’s lives, so naturally our main characters wanna put the kybosh on this evil scheme like, ASAP. Along with the help of a wandering samurai, the villagers hatch a plot to save the day.

I know what you’re thinking… When you look at it, this sounds like the plot to the most generic 80’s teen movie of all time. It’s basically Breakin’ 2: Electric Boogaloo, only in Japan, with monsters. “Hey, gang, we gotta stop the evil billionaire from tearing down our rec-center and opening a strip mall! Let’s organize a concert to raise community awareness!” Yeah, pretty much that’s the exact plot of 100 Ghosts, but you don’t really  notice that when you watch it, because this movie is awesome as hell, and also a lot of people die. Plus, in 100 Ghosts, our human characters aren’t even able to pull it off anyway, and the real solution ends up having nothing to do with them. Instead, it’s the yokai that save the day. Allow me to explain:

Having smashed the shrine to smithereens, our two bad guys decide to prematurely celebrate how awesome it is to be a big shit head with a night of recreational ghoul summoning. Sounds reasonable. They do so in the format of a rad party game called ‘The 100 Spirits ritual,’ which seems to be something like a group-friendly version of “Bloody Mary.” In order to conduct the 100 Spirits ritual, you must first gather a group of your friends and neighbors around a story teller, who then recites a series of cautionary ghost stories, which have all been handed down over the course of many centuries, or maybe just made up on the spot, depending on the credibility of the dude you hire. At the end of each story, a candle is lit (Or put out, I can’t remember. Don’t conduct this ritual at home.) Once all of the night’s stories have been told, and all the candles are lit, it is crucial that the storyteller conduct a “Curse elimination ritual“, because apparently just hearing these forbidden tales is enough to curse the shit out of you. Sounds like a pretty important part of the exchange to me, I would definitely want to take the extra time for the Curse Elimination Ritual, but our bad guys opt out. Having just sat through, like, 100 cautionary tales, they immediately prove that no amount of second-hand information is enough to teach them anything. Instead, they kick the story teller out, telling him not to let their sliding, paper door thing smack him in the side of the ass on the way out, and go on to chuckle turdishly about how ghosts are for losers and how neither of them are about to die terribly. Predictably, after this, the bad guys get the hell haunted out of them something fierce, which is super great to watch.

Like all of the Yokai movies, 100 Ghosts features a vast menagerie of ethereal Japanese bozo monsters, but none of them particularly hog the spotlight, except, of course, for the Umbrella Monster, which, just the very name of this thing is enough to raise an eyebrow. In all fairness, according to Yokai Attack; a nifty little book written by Hiroko Yoda (presumably of no relation to Jedi Master Yoda) and Matt Alt, the Umbrella Monster’s true name is Kara-Kasa, but holy shit, dude, who cares? Check this friggin’ thing out:

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‘What’ indeed!

Pretty much, this particular monster doesn’t do a whole hell of a lot. It likes to sneak up and lick people, and it looks like the deranged little brother of that sexy lamp from A Christmas Story.

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See the resemblance? Yokai are weird sometimes… Usually, even.

Like all of the Yokai films, even for the lousy ass one that Takashi Miike made in 2005, the greatest strength of 100 Ghosts is in just how many awesome, and unique, Japanese bogey men and women are crammed into the film’s brisk 90 minute run time, as well as the impeccable work by the art department in putting all of them together. Besides all the wonderful monsters, the set and costume design throughout the picture are also impeccable, and I’d say that 100 Ghosts really is Daiei at it’s best. All three Yokai films are legit gems, which remain puzzlingly under-appreciated stateside, and 100 Ghosts is easily the raddest of the batch. Go seek it out!

A+

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