And now we get to talk about Sequelitis. You’d expect the fifth Bond movie to bear some resemblance to its predecessors, but You Only Live Twice can’t seem to help calling attention to its heritage. Personally, I blame Roald Dahl. He should’ve turned this project down from the start. He and Ian Fleming were apparently good friends in real life, but their writing styles couldn’t be further from each other if you placed them on opposites sides of the cosmos. Dahl hated the novel that shares this film’s title and, twenty-one years after the film premiered, flat-out admitted to Starlog magazine “I didn’t know what the hell Bond was going to do.” Producers Albert Broccoli and Harry Saltzman answered by giving him The Formula, whole and (more or less) complete by 1966, at the latest.
As Dahl defined The Formula would go on to define this series:
“Bond has three women through the film: If I remember rightly, the first gets killed, the second gets killed and the third gets a fond embrace during the closing sequence. And that’s the formula. They found it’s cast-iron. So, you have to kill two of them off after he has screwed them a few times. And there is great emphasis on funny gadgets and love-making.”
With this information, the author of Charlie and the Chocolate Factory became the author what is essentially Dr. No 2: In Japan. You can tell how many people actually bother to read Dahl’s work by whether or not they call this film “silly.” Sorry, Charlie, but compared to The Chocolate Factory (published the same year as this film’s eponymous novel) and especially compared to The GlassElevator, this is Roald Dahl phoning it in after he’s taken a fist-full of horse tranquilizers. And he still managed to create one of the most influential films of the series, large portions of which have become fertile ground for parody, satire and knowing reference. So I come not to bury this fifth Bond film, but to lament what could have been…and argue that, as “silly” as things get in this picture, they could’ve stood to get a whole lot “sillier.” There might be more to recommend. Continue reading You Only Live Twice (1967)→
Why yes, this is my favorite King Kong movie. Is my enthusiasm showing? Well, I’ll do my best to tuck it back as we explore this rarely-mentioned, esoteric bit of late-60s kaiju eiga. It’s about as far from Kong’s first adventure as you can get without being Mighty Joe Young…but that just means this movie’s escaped its prequel’s shadow…right? As far as my inner-twelve-year-old’s concerned, King Kong Escapes kicks ass. The rest of me would still recommend it to you…with the following 3000 words of reservation.
I mentioned how Godzilla vs. The Sea Monster began life as a King Kong movie, similar to how King Kong vs. Godzillabegan life as King Kong vs. Frankenstein (which instead spawned Frankenstein Conquers the World). Behind Sea Monster and tonight’s film you’ll find a 1966 collaboration between Japan’s Toei Animation studio and America’s Rankin/Bass productions, The King Kong Show. As its title and production company credits suggest, the Show was a half-hour animated series reboot of Kong’s origin for an audience of mid-60s kids. So they replaced the ship full of filmmakers with a family of scientific adventures named…Bond…just not that Bond. Continue reading King Kong Escapes (1967)→
Given King Kong‘s one of the most successful and popular monster movies of all time, it’s enjoyed numerous revivals over the years. Including one in the early 1950s that directly inspired the American atomic monster craze and the daikaiju eiga of Japan. Kong‘s direct sequel, Son of Kong, and its kissing cousin, Mighty Joe Young were…less than successful.
But that didn’t stop special effects wizard Wells O’Brien from conceiving yet another sequel. Something that would retain all the grandiose power of the original but do away with that slapdash, chash-in feel that made Son of Kong suck. It would be a conscious throwback to that Golden Age of Monster Movies: the 1930s, the age of O’Brien’s primes. And it would climax in a gigantic fight scene in the streets of San Francisco, with Kong squaring off against a gigantic Frankenstein monster composed of animal parts and, presumably, a constantly-beating heart, irradiated by the atomic bombing of Hiroshima.
By 1960, O’Brien had a treatment all worked up, but the projected cost of the stop motion animation necessary to pull all this off made Hollywood skittish. The producer O’Brien hired, John Beck, began to shop the movie around overseas. He eventually wound up at Toho, who liked the idea of a giant Frankenstein so much they sat on it for three more years…after they made this. Continue reading King Kong vs. Godzilla (1962)→
Reviews with swear words and sociopolitical analysis from David DeMoss