Odissea sulla Terra

Needless to say, Godzilla and his pals had something of an impact on the box office. People worldwide were flocking to see Toho studios Kaiju films, which was great for the studio. Not only did they have something that was a smash hit in their home country-it was big worldwide. So of course, others tried to capitalize. In Korea, there was "Yonggary." London gave us "Gorgo." Denmark offered the world "Reptilicus." Even America go into the action with "The Giant Mantis" and "The Giant Claw." I'm sure that Toho was amused and pleased that for a change, a Japanese Studio was giving the rest of world a run for it's money instead of the other way around.

Of course, other studios in Japan tried to capitalize on this. Daei gave the world the "Gamera" and "Daimaijin" films. Toei released "The Magic Serpent." Nikkatsu responded with "Monster From a Prehistoric Planet." However, the most out there of these movies was "The X From Outer Space", which came from the well respected Shochiku studios (who gave the world films such as "Tokyo Story" and "Night and Fog in Japan"), which also kick started a brief foray into the world of genre films.

The spaceship AAB Gamma has been sent to Mars so it can investigate reports of UFO's that seem to be surrounding the area. After running into a strange UFO (which, according to one scientist, "Looks like a giant omelet!") that leaves some strange spore-like substance on the ship, the crew decides that would be a nifty idea to bring a sample with them. This of course, turns out to be what Gob from "Arrested Development" would call "A Huge Mistake." That's because said sample soon turns into a giant monster that begins to run roughshod on Japan because apparently Godzilla or one of Gamera's enemies were on vacation. Also, the monster is named Guilala, and he looks like...well, he looks like a lizard/chicken hybrid.

What's interesting about "The X From Outer Space" is that is all starts out a lot like other space themed science fiction movies from the time. There's a bouncy theme song, it's got plenty of cool model and miniature effects, there's plenty of matte paintings, and everyone seems more interested in chilling out and drinking cocktails while bachelor pad music plays than they are solving whatever crisis is at hand. When Guilala does show up, thing takes a turn for the "what the hell" and doesn't look back. There's a sense of fun to most of the proceedings, as if the people who aren't taking all of this too seriously.

It's also interesting that even though he craves radiation like a certain mutated dinosaur and it's obvious as all get out that the people behind the movie are doing everything they can to compete with him/rip him off (it even breathes fire!), the whole thing has a lighthearted atmosphere to it. There's little to no attempt at trying to do some sort of social commentary like some of the "Godzilla" movies (or "Mothra" or the genre films Shochiku released afterwards.) This is a to the point monster movie that simply wants to entertain the audience, and damn it, it succeeds. The whole thing is so thoroughly goofy (I dare you not to laugh when an airplane crashes into the monsters head for no reason other than some sort of directorial goof), campy and all around fun that it's impossible not to enjoy what's going on here. Only the most stuffy shirted type could not be charmed at the nuttiness on display.

At the end of the day, "The X From Outer Space" is nothing more than a light but charming little Kaiju film. It doesn't have the muscle of the best "Godzilla" movies, but it doesn't need it. It's campy, light entertainment that just happens to be a lot of fun, and that's all I asked for.

It starts with a bunch of astronauts preparing for a mission to Mars, three guys and a girl, of course (and an American girl with a crush on the Japanese mission commander at that!), while the mission commander meanwhile has an uneasy relationship with the beautiful moonbase communications officer who is a good friend of our beautiful blonde scientist (they even shower together).

Anyway, once they're enroute in space things start to happen, like blocked communications signals and asteroid showers, and a weird UFO with a tracking beam that deposits some sort of glowing spores on the ship. Naturally they bring one back and it grows into a giant semi-chicken-shaped monster who stomps off towards Tokyo. Then it becomes your typical man-in-a-suit monster movie.

Which is where they seemingly pulled this mess. A space ship on its way to Mars picks up some spores on its hull. Of course, Man being Man, the spores are brought back to earth. Funny how guys returning from, say, Africa have to pass through Customs and then through a medical quarantine, but some space spore is carried right to Earth. Needless to say, contact with Earth's atmosphere causes the spore to become Guilala (where do they come up with these names?!), a cross between a giant chicken and a dinosaur. It is a lively monster, though. You can see the spring in its step when its trashing Tokyo.

The movie has the usual trademarks of Japanese monster films -- bad dialogue (Peggy Neal's "Monsters have rights" speech ranks up there with Peter Graves' "Man has a responsibility" speech from "It Conquered The World"); atrocious dubbing (why do they dub American actors' voices); cheap special effects, and unintentional comedy. For instance, Peggy Neal, an actress who unwisely used Japan as a starting point for a failed movie career, and a Japanese astronaut (Eija Okada, sadly far removed from brilliant films like "Hiroshima, Mon Amour") bounce across the moon. You can almost see the trampolines. Another time, as Guilala moves across the countryside, a soldier on a ladder moves a cardboard cutout of the monster across a map. It reminds me of "Varan, The Unbelievable" when the army comes up with a detailed miniature model of Varan for their strategy board only minutes after the monster first appears.

The miniatures tanks and jets are sub-par even for Japanese films. In one scene, a jet gets taken out and hits the water, looking about as large as an oil tanker.

The funniest part of the movie, aside from the annoying theme song ("Stars are our destiny..."), is the monster. It looks as if the monster suit is a size too large for the actor inside. Guilala shoots fireballs so fake-looking you can almost see the strings guiding them towards the tanks and jets. The monster smashes through the cheap cardboard city buildings a little too quickly (obviously the director didn't know that slowing the film speed a little would have helped). It's roar is, at first, laughable, then, finally, just plain irritating. There's a scene later where Guilala chases after a jeep hauling a trailer full of radioactive material. The jeep's doing about 80 and Guilala's running after it in slow-motion (not the slow-mo like "Six Million Dollar Man," but as if the actor was being told to walk oddly to avoid catching up to the jeep too quickly).

I saw this film on "Creature Double Feature," a hugely popular syndicated sci-fi/horror anthology popular in the 1970's and early 80's (wow, I'm getting old). I watched it just for the laughs when I was only seven, so that shows how bad the film is if it can't get past a child.

In letterbox, in a near-pristine print, in the original Japanese (with subtitles) I have to say this is a much better film than the one most of us saw on TV, back in the day.

For one thing, the line "Monsters have rights, too!" is never uttered. even in translation. (Although -- now that I think of it -- some people might prefer the dubbed version precisely because of its goofiness.) Of course, that's just the dialog, and even the most handsome presentation of this film can't obscure its marvelously wacky weirdness.

The miniatures and effects are kind of a mixed bag. The space-related sets and models are actually fairly well executed, but the monster effects are often sub-Toho, sometimes hilariously so, like when an absurdly out-of-scale F-101 Starfighter crashes into the X and just sort of hangs there for a few seconds. I think that's more from a lack of experience with kaiju flicks on the part of the studio and its technicians than penny-pinching. In the Criterion edition, at least, it's obvious that Shochiku put a not inconsiderable amount of money into this production.

Silly as it undeniably is, there are in fact some very creative moments in this movie, such as when the monster absorbs too much energy from a nuclear reactor and turns into a gigantic, red-hot sphere which bounces around Tokyo, wreaking fiery havoc until it plunges into a lake.

When you look at the competition, stuff like "Gappa: The Triphibian Monster" and "Yongary", in its very odd and quite unique way this is clearly one of the most entertaining of the Toho-wannabe giant monster films of the 60s.

Oh this one was pretty bad, flat and low budget the first 45 minutes, with the highlight being a sinister Pumpkin Pie in outers space(!!) harrassing our sturdy tinfoil ship and its crew. Then you get to the chase, with the giant Aquatic chicken/lizard/guinea hen letting loose on poor old back-lot Japan.

Bad miniatures, bad sound, the three Caucasians are guys we might be intended to identify with ala Raymond Burr in the first Godzilla, but don't you believe it-Franz Gruber looks like a 6 foot Gary Owens from Laugh-in with a Chermann accent, the other two are crosses between Buddy Hackett and Dick York. Peggy Neal has the Angie Dickinson bit down too.

Your Japanese cast are all kinda interchangable, none of them any threat to Tishiro Mifune's reputation. The F/X are lousy, the dialogue and dubbing grade Z.

My fave parts? Besides the attack of the giant Pie? Where do I begin? There's the demo of the Moon's low gravity, showcased by two actors on trampolines in space suits, the trampolines hidden behind a 'crater edge'. The flaming bubbles the monster spits out at the world's worst Tank and plane miniatures. The great chase where two guys in a yellow-green jeep, pulling a trailer carrying a 'cargo of radiation'-filing cabinet with a radiation insignia on its side-race '80'mph down the road, while the 200 foot(100 foot? seems to chage size...)monster kinda shuffles after them, one big rubber paw waving ineffectively at the guy holding the 'Cargo box' and the driver putting the pedal to the metal. You don't for a second believe that the shufflin' X from Outer Space can catch up and grab'em, but he/it/she does. Riot! You also have a funny scene where at Army Headquarters, they show a guy on a step ladder, moving a little X from Outer Space Magnet from one town to another along a wall-map...Oh Lord. That one had me rolling in the aisles.....Then there is the obligatory stomp through the city, where these rubber suited guys always seem to concentrate on poorly made power line miniatures-after which you get the grand finale. They spray some white foam on the X from Outer Space, from a series of straffing runs-the X nailing a few last jets for good measure before being encased in the goo and making like the melting Stay Puff Marshmallow man of Ghostbusters. They then fling the little white sporestone essence of the X into orbit around the Sun, while Peggy Neal and Co. wax philosophic about how Monsters have rights too...Very, Very hard to keep a straight face while watching this one. If MST3K never did it, you have to say what a shame. The movie was a target and then some for Cro and the boys.

What more is there to be said? Sheer incompetance, bad acting, poor F/X....this gets a star for chutzpah and another half for the Villainous Pie.

*1/2 outta ****-if you like bad rubber suited monster movies, this is for you. Just don't say you haven't been warned.