though, suffice it to say these plans don’t pan out.
After Japan’s “Giant Monster Council” is abolished due to bud- getary constraints, the decision warrants reassessment when the first Gamera in 33 years appears. (I suppose, under similar circum- stances, the US would reinstate the council with a cash injection, while appointing a “Monster Czar,” who would oversee a task force intent on restructuring the council.) Anyway, though I pre- fer the film’s light-hearted first half, highlighted by the comical skateboard/kitchen montage, there is plenty of verve to the later sequences that employ the full- size monsters. Especially by ac- companiment of the pleasingly thunderous 5.1 sound mix, the battles are among the better ex- amples to be found in the check- ered kaiju genre, although one of the best GAMERA THE BRAVE moments is purely suggestive— a technique seldom put to use in such films—when a man stranded at sea is devoured by an unseen menace.
The beast responsible is christened Zedus, a reasonably impressive monstrosity who ab- solutely brings to mind VARAN THE UNBELIEVABLE (1962), but with marine iguana looks and a chameleon-like tongue, Zedus has more of a genesis in recog- nized zoological findings than the kaiju eiga fan has a right to ex- pect. In fact, no fantastic or sci- entific explanation ever materializes for the creature’s existence— quite unusual for the genre. Remi- niscent of the earlier Gamera films, though, such as Daikaiju Kuchusen-Gamera tai Gyaosu (GAMERA VS. GYAOS aka RE- TURN OF THE GIANT MON- STERS, 1967), Zedus displays a Gyaosu-like fondness for human flesh. “Zedus got a taste of us hu- mans. He’ll definitely come back for more,” postulates Professor
Amamiya (Kenjiror Ishimaru), who shoots up Gamera (not even the kaiju grows fast enough for man!) with a liquid derived from scarlet pearls in the hope of preparing him for battle with the larger Zedus. To put to rest any question of the evil embodied by Zedus, catastrophic 9/11 events come to mind when Gamera finds himself lodged in one of twin towers due to the de- structive power of his formidable foe. The reality check that charac- terizes the appearance of the new kaiju Zedus works pretty well, but the mature Gamera, who closely resembles a large green sea turtle, is not a particularly imposing co- lossus. The battle sequences are satisfying enough, however, as when the 8-meter Gamera pre- vents Katsuya and Kosuke from becoming a power lunch for Zedus, and the subsequent GORGO-style military escort of the injured Gamera is acceptably convincing. The CG creatures from an aerial perspective are the least effective, ie., when the mostly in- animate aquatic silhouette of Zedus heads for Nagoya around the film’s 60m mark.
In a motif common to other films of the series, Gamera is resurrected after withstanding tremendous punishment from his adversary. In this latest film, Gamera’s recurring role as Christ-like redeemer of human- ity is suggested in various in- stances, as when Zedus pierces Gamera’s paw (in another series tradition) around the 67m mark. And the film’s children, func- tioning ostensibly as disciples, collectively resurrect Gamera’s special powers through instinc- tive, selfless devotion. The self- sacrifice of the 1973 Gamera even rescued humanity from a financial standpoint, as the scarlet pearls left in his wake revitalized the community’s economy. Similarly, the 2006 Gamera’s red birthstone aids
Mai’s recuperation after heart surgery, which she understand- ably feared she may not survive. Framed anamorphically at
2.35:1, GAMERA THE BRAVE delivers a visually commanding representation of the polished handiwork of cinematographer Kazuhiro Suzuki. On par with the film’s visuals is the contri- bution from female screenwriter Yukari Tatsui, marking her de- but in the kaiju genre. Tatsui deserves credit for conceiving a storyline aimed at children that adults can find nuances in, as when a background news blurb reports the contractual success of a child actor. Both original Japanese and dubbed English audio tracks are in- cluded, each selectable in either 2.0 or 5.1 Dolby Digital. Easily legible yellow English subtitles are standard with the Japanese track and optional with the dubbed rendition, which differs in translation slightly from the subtitled version.
In the documentary feature “Director’s Lecture: How to Make a Gamera Film,” designed to appeal to kids in an instructive manner, director Tasaki makes filmmaking analogous to open- ing a restaurant. GAMERA THE BRAVE took a little over a year from conception to completion, including two months of standard shooting and three months of special effects shooting. A host of crew members explain their re- spective responsibilities for light- ing, cinematography, physical effects, sound recording, set de- sign, hair and makeup. Two TV spots and a theatrical trailer are selectable, and theatrical trail- ers for four other features on DVD from Tokyo Shock are in- cluded. You would think some- one would manufacture the time to check the spelling of these additional titles available for purchase.
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