Viewing the trilogy was possible thanks to the UK blue-ray version published at Arrow Video, it has a sublime hd master, filled with excellent bonuses that served as sources of criticism below. What a pleasure to rediscover the films in this state. It is this version that we will find in France in September of this year 2024 thanks to the edition Roboto Films available Here Pre-order.
It's 1954, and Ishiro Honda makes a giant creature movie: Godzilla, allegory of the traumatic fear of the A-bomb whose Japanese were the first victims in the Second World War. Revealed by nuclear tests, the creature acts as a divine punishment to show men that they are nothing in the face of nature. The legacy of Godzilla introduced a whole new kind of film: the Kaiju Eiga where the great G reigns in the dark rooms. Of course, we needed a competitor to the monster king. If a iguana, a marine creature or a Tyrannosaurus can mutate into Godzilla, why not a turtle?
Under Gamera's Eye
In 1965 Noriaki Yuasa directed Gamera, another giant creature awakened by nuclear tests. If everything seems to be a copy of Godzilla (read our folder), it is nothing, the difference comes mainly from the function of the creature: Godzilla is a plague described as a punishment, Gamera is the guardian of the protective universe of nature and children. And that's all the subtlety, the little ones are fascinated by this kaiju who enters into osmosis with their feelings when he cannot intervene to protect them from the dangers. No fewer than eight films will be produced during the Showa era from 1965 to 1980; It's inspired by the third opus Gamera vs. Gyaos (Noriaki Yuasa – 1967) that Shusuke Kaneko will start this revival.
Around the Turtle
La Daiei, founding studio of films Gamera of the Showa era, closed its doors in 1971, then was bought two years later by Yasuyoshi Tokuma (1921 – 2000) president of Tokuma Shoten, a legendary multi-faceted company (magazines, music, videos, etc..). As an example, Tokuma Shoten was a long-time partner of Studio Ghibli, producing the vast majority of his filmography, which is My neighbor Totoro (Hayao Miyazaki – 1988) Pompoko (Isao Takahata – 1998). Also, it was Tokuma Shoten that made it possible to release video Egg of the Angel in 1985, and to Ghost in the Shell 2: Innocence in 2004, works signed by Mamoru Oshii.
Among the other producers, there is Tsutomu Tsuchikawa who operates on the entire trilogy, future producer of Cure (Kiyoshi Kurosawa – 1997). He is accompanied on the last two shutters by Naoki Sato assistant producer on Patlabor 2 (Mamoru Oshii – 1993) and Miyuki Nanci producer The End of Evangelion (1997) and Shiki-Jitsu (2000) by Hideaki Anno. Market by what remains of the production company Daiei, director Shunsuke Kaneko, freshly released from his family movie Is a Summer Vacation Everyday (1994), allows a new (very) large challenge. He's the one who's gonna hit the first one. Gamera Heisei era.
He then took part in the project Kow Otani, the composer of his previous film, to direct the soundtrack of Gamera. He will thus work on all trilogy. The artist is a regular of Japanese animation. We owe him the jazzy BO of the second season of City Hunter, series produced by Sunrise in the late 1980s, then discovered in the mid-2000s in a more melancholic register with Shadow of the Colossus, videowork masterpiece by Fumito Ueda where our hero has to shoot down giants to save his dulcinate.
In the scenario it is the great Kazunori Ito who will be in charge of the writing of this new trilogy, that is the scriptwriter appointed by Momoru Oshii (Patlabor, Ghost in the Shell). Kazunori Ito had the opportunity to work with Shunsuke Kaneko in the horror movie Necronomicon (Christophe Gans, Shusuke Kaneko, Brian Yuzna – 1993).
Two big heads of Studio Gainax are also repatriated, so in full swing after the success of Nadia, the secret of blue water (1990-1991). This is Mahiro Maeda who will be commissioned to design monsters and Shinji Higuchi for special effects.
As for actresses, two actresses hold the main roles: Shinobu Nakayama, already used to monster movies since Godzilla vs. Mechagodzilla 2 (Takao Okawara – 1993) and Ayako Fujitani, a Japanese-American Métis, daughter of Steven Seagal, star of action films that no longer appear. The atypical face of the actress and her particular voice intensify the strange feeling when her character, Asagi Kusanagi, resonates with Gamera.
Gamera guardian of the universe
Mayumi Nagamine (interpreted by Shinobu Nakayama) is a young journalist who investigates the mysterious events of the island where there are many disappearances. The few testimonies of the inhabitants refer to a flying creature devouring human flesh in the archipelago.
Throughout the film, the mystery around the giant birds is intensifying and several hypotheses are put on the table, the following one: the Gyaos would be monsters created by the Atlantean people but who, because of their aggressiveness, would have escaped their creators. Only possible answer to stop them, the creation of another entity: Gamera, a gigantic creature with which one unites through a mysterious stone. Mastering the narrative, establishing a rich mythology and returning from a cult enemy. Gamera's Nemesis is iconic through sublime images and still so impressive FX directed by Shinji Higuchi.
Shinji Higuchi
While Shinji Higuchi's name is crucial in the production of the Gamera trilogy, it is because of its essential role in implementing gender-specific techniques, namely: Tokusatsu (Japanese special effects film). In the West, talking about the FX director in a science fiction film does not seem to be the first reflex. Outside here we are in a giant Japanese monster movie said Kaiju Eiga, and that's all the difference: the director passes hands to the director of special effects for scenes where monsters are put forward. One can say without mistake that he becomes the director of his sequences.
Rubber suits, models, miniatures and pyrotechnics are then the embodiment of Shinji Higuchi's vision. In this regard, it is not aberrant to say that Eiji Tsuburaya, great master of Japanese special effects, is co-director of the film Godzilla Ishiro Honda (1954). In addition, Shinji Higuchi is also director of the films Gamera.
The Perfect Kaiju Shot
Fans will not have missed the last explosion of the film, taken up later by S. Kaneko in his GMK (Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack – 2001) and will be found in Takashi Yamazaki's Godzilla Minus One (read our critical) a beautiful thematic continuity translated on screen by a beautiful tribute.
To put an end to comparisons, it is impossible not to mention the Godzilla de Gareth Edwards (2014) which takes up the screenplay of this Gamera, in particular with the introduction of a simili-Gyaos with the flying M.U.T.O. What if the best Godzilla movies were inspired by Gamera?
Gamera : Guardian of the Universe, released on 11 March 1995 in Japan. Immense commercial success and criticism, the result is a nomination to the Awards of the Japanese Academy for the award of the best second-role actress with Shinobu Nakayama. To this are added two awards from the Blue Ribbon Awards and four at the Yokohama Film Festival for best director titles, best screenplay, best technical effects and best second-role actress. No surprise, a suite is under construction. The spectators don't give a shit about this feature film, and it's a new legion of fans who will be waiting for the next one. Gamera.
Gamera 2, the emergence of a legion
How can we pass the first Heisei film without falling into the pitfall of redundancy? Simply by choosing the break with the first. On his release on 13 July 1996, spectators discovered a brand new proposal. Here the context is military, the new characters investigate the arrival of a meteorite and history develops through curious disappearances. The bloody deaths in Japanese subways seem to be consistent with what fell from the sky. No doubt, monsters are well present and Gamera will come clean up.
The same cast in production, however, this time the focus is focused on two new actors: Colonel Watarase performed by Toshiyuki Nagashima and Miki Mizuno in the role of young scientist Midori Honami.
Legion vs Destoroyah
The design of the creature designed by the great Mahiro Maeda (Evangelion, Furiosa..) looks like an insectoid queen. His name comes from Legion, a monster who relies on his cloud of flying beasts to sow chaos... Exactly like the kaiju Destoroyah of the movie Godzilla vs Destoroyah Directed by Takao Okawara and released the previous year in 1995, this is the main competitor franchise to dethrone. If we will gladly concede that inspiration is easy on this point, it may be on the side of Aliens James Cameron (1986) whom one must see the wink more marked with the famous queen of the Xenomorphs.
If Gamera will never surpass the king of monsters by the amount of films produced, nor in terms of profitability to the box office (2 billion yen for Godzilla vs Destoroyah 700 million for Gamera 2It must be admitted that the initial budgets do not go on an equal footing (1.2 billion for the budget of a Godzilla compared with 520 million for Gamera). Gamera In spite of its meagre means, it is still a small production which is able to match or even surpass productions which are more costly in terms of special effects. This second opus also makes it possible to highlight 3D sequences to animate the horde of winged creatures, or even the searcher-headed missiles that velocate in all directions way Itano Circus. There is a series of artistic proposals and new productions that make the Legion A real shock to the audience. In terms of critical fallout, many describe it as the ultimate Kaiju film. Just that!
Unlike its competitor Godzilla, immense creature with slow movement, Gamera offers a perfect negative: dynamic battles where the turtle spits out fireballs from its blissful mouth while slipping into the ruined city, it's... Burlesque in every sense of the word. The Earth's guardian turtle has only to do collateral damage, it has to save our blue planet no matter what (unless there is a child to protect on its way), this kaiju avatar of mother nature reaches the acme of its symbolism at its finale where Mana energy is lent to Gamera for its final Genkidama. Moreover, the comparison with Dragon Ball made sense as Gamera is present in the works of Toriyama, even assuming that the tribute is given through the film of S. Kaneko so certain images lend themselves to comparison.
Still farther
Gamera 2, the emergence of a legion does not permit comparisons with the previous film. We detach ourselves from the homage of the main nemesis of Gamera of the 1960s for a new creature that summons the AngelsEvangelion.
Gamera 2 Opens a new path for Kaiju Eiga by entrusting its special effects to the Higuchi genius. The tone is then set with kaiju fighting to the even more dynamic dimension thanks to the use of new 3D technologies (and without the budget of a large Toho production). A film that will serve the filmography of Shinji Higuchi so much we find the military aspect in his Shin Godzilla of 2016 (read our technical test), just like fighting in a warehouse surrounded by helicopters in Shin Ultraman (2022). A quite logical evolution. But when we think we have reached the top of the genre, another sky reveals itself, a layer above all the heavens: Gamera 3 !
Gamera 3, revenge of Iris
Released three years later on 6 March 1999, Gamera 3, The Revanche of Iris is the direct sequel to the first film. We then follow the dive into hell of Ayana Hirasaka, a young teenager who was bereaved by the death of her parents because of collateral damage caused by Gamera during his confrontation with Gyaos. The heart filled with hatred, it pactifies with a little magical creature locked in a temple hidden at the bottom of a forest. From this union was born Iris, the kaiju designed to confront the giant turtle.
The final transformation
The last film in the trilogy presents itself as the result of the genre, whether in terms of maturity of writing or design. Gamera has stopped evolving in its appearance becoming more prehistoric and demonic as feature films progress. The metamorphosis is so marked that we could bring this change curve close to the evolution of a Pokémon like: Carapuce, Carabaffe, Tortank.
And to stay on the side of pocket monsters, the final fight of Pokémon, the film: Mewtwo counterattack, Japanese animated film with international success released the year before Gamera 3, proposes a night confrontation between flying creatures on the background of full moon, unconscious visual echo that we find in the fight Gamera vs Iris.
Covenant with the devil
The origin of the name of the kaiju comes from the deceased cat of Ayana, named Iris in his memory, it remains the most dangerous threat ever appeared in a film Gamera. However, it seems completely harmless, far from the imagery of the vile and grotesque monster. In order to cast doubt in the eyes of the spectator, we draw his attention here to the appearance of several Gyaos with intense fighting in the background while waiting for the arrival of the real antagonist. Iris is an evolutionary being that has everything of the cute mascot, it is raised in hiding, first in the form of an egg, then once splintered, it presents a body of gastropods from which come tentacles. His plesiosaur facies give him an empathic side that lends him from the start to trust. Care must be taken to feed the beast and it is at the time of meals that its appendices come to plant themselves in the food to suck as one would with a straw. The harmony of the warm design is suddenly broken, the method of eating leaving a certain concern... Maybe because of the hints of Brainbug Starship Troopers, is it always that the kawairie is over...
This way of dealing with Iris is confused with a phenomenon of society, a real coup de force of 1996 and which will not escape our thirty-year-old readers. You'll have guessed, a few years before the release of Gamera 3It's the Tamagochi that all the kids were snatching! We no longer present this curious Japanese virtual pet in the shape of an egg. We had to wait for the hatching, then feed the offspring and avoid at all costs that it died because of our misguided. Addictive and great business idea to keep your eyes riveted on this little piece of electronic plastic. However, when we know the appeal of popular cinema to surf on societal fears, would Iris be in Tamagochi what Sadako is at the VHS?
The question remains open, especially since this pocket egg will be a success that will free up borders. Even the great Shigeru Miyamoto (guardian figure of Nintendo) was defeated by such a creative idea at the Game Developers Conference in 1999. And Sega in all this?
Sega, Daiei and Gainax
To the basic Tamagotchi technique, japon responded for the first time with a 128-bit living room console, Sega Dreamcast. In addition to its graphics ahead of its time, the machine had the peculiarity of using something new at the time, namely the Internet. First family console that sought to democratize the use of the net to play online and even send emails. It is with this magic that the protagonists of Gamera 3 will be able to investigate the various creatures.
No longer need to go through the eternal inaccessible government computers, the searches can be done directly in his room of gamers. Evangelion showed the Saturn of Sega, Gamera 3 Dreamcast! Unfortunately, the rest of the story and the sad fall of Sega, Daiei and Gainax are known.
Rei in the Shell
The main actress, Ayana Hirasaka is interpreted by Ai Maeda who was seen in Tory No. Hanako-san (Joji Matsuoka – 1995) and Shinsei tere no Hanako-san (Yukihiko Tsutsumi – 1998)Yurei Eiga). Ayana is inhabited by the particular aura of this time: her face without emotion leaves a strange imprint, little chatter, short cut, she has everything from Rei Ayanami of the animation series Evangelion, cult character that generated many mutic clones such as Lain (Serial Experiments Lain – 1998). Ayana merges with the creature, supporting more and more the comparison with the characters mentioned above, since they all end up, in one way or another, by being completely connected to a harmful which simmers and grows in their existential faults.
Ayana plunges into the tentacles of Iris drinking from her rancour, this is the last evolutionary step, the duo forms a cocoon to emerge from it grown, the final incarnation of the kaiju ready to fight. During the incubation of the girl, she is connected by many tentacles crossing her back, like the cables connecting man to the machine, a prolific trope of that time when the cyberpunk had the wind in its stern. It is a sub genre of science fiction that had captured great Japanese animation, starting with the cult film Ghost in the Shell of Mamoru Oshii, released in 1995, whose influence on many works is no longer to be called into question. Here Gamera 3 marries this imagery where removing Ayana amounts to releasing Neo from the Matrix.
Everything is allowed
In the wake of the apocalyptic The End of Evangelion (Hideaki Anno, Kazuya Tsurumaki) released three years earlier, and of which S. Higuchi was part of the team, his taste for chaos is all the more felt in the action scenes of our hell turtle. Is it a god or a demon? Gamera Never so destroyed by ignoring collateral damage. Hundreds of civilians die in explosions caused by clashes, nothing is spared from spectators and the deaths rain in the foreground. Not to mention the self-harm of Gamera to get out of bad situation, leaving behind him only desolation nightmaredesque and mound of buildings in ruins.
Even if the action seems to suffer from no prohibition, it remains flawless ingenuity. In the previous film, the 3D had found its place on a few specific occasions, in this third part the CGI no longer serves as a useful tool but integrates into an aerial confrontation of all beauty. The modelling of creatures moving in the moonlight makes it possible to dress the confrontation of kaiju. Gamera is a real fighter plane when his opponent is an angel flying with multiple tentacles. The camera follows the action while remaining visible, the twilight combat attenuates the 3D modeling by 25 years of age and finally suffers very little the dread of time.
Kill the beast?
In the films of great monsters, the question most often concerns « How to get rid of it? » Yet Gamera 3 escape this rule. There's nothing that can force Iris if it's Ayana. Shinji Higuchi recognizes it himself, it's a film about redemption, a will about fear of last judgment. But the theme raises other questions: how can we be forgiven for the sin of revenge? How can you calm your heart to the tragedies of our lives? How can I learn to forgive?
It's all the magic of this last film, under the dreadful background all the communication of Gamera 3 adopts the imagery of Yurei Eiga, the feature film borrows the visuals of Ring Hideo Nakata released a year earlier to show images of pure horror, especially when the creature curses the girl and locks her in a psychedelic introspection. The first human victims of Iris also resembled the victims of Sadako as he left their remains petrified by terror. This is particularly the case of a young woman, performed by Yukie Nakama, who will play Sadako the following year in the preque Ring 0: Birthday (Norio Tsuruta – 2000).
Beyond Ring, the children controlling from distance titans obviously recall the manga of Mitsuteru Yokoyama who worked on Tetsujin 28 in 1958 but also Giant Robo or children are accompanied by metal colossus. And beyond the Japanese references, there remains a risky similarity that assimilates Gamera 3 to Loch Ness, film by John Henderson released in 1996. The film tells the story of a little girl who visits in secret to plesiosaurs. The first form of Iris may be unconsciously inspired. As for its final shape, it is on the side of an anime by Yoshiyuki Tomino that one has to lean. From the confession of Fuyuki Shinada (creator model of the creature) the kaiju has this form that is found in the knight robot of Aura Battler Dunbine. Mahiro Maeda speaks of a mutant, a chimera with human DNA.
All her inspirations mix to give without a doubt the greatest film of Tokusatsu of his time but also and especially one of the greatest films of Kaiju Eiga. As the achievement of the genre giving it the maturity necessary to attribute to it its deserved international critical success. The films have been released at home in numerous editions edited by We Prod and M6 Video, with an original version subtitled in French, but which also contains a good quality French version, making accessibility easier, this one will be found elsewhere in the upcoming edition at Roboto. This trilogy of Gamera showed that Kaiju Eiga in the 1990s was not just the act of Godzilla. It can be said that Shusuke Kaneko and his team were able to highlight this genre cinema by proving that it was not reserved for a niche. Such a qualitative trilogy serves as a gateway to Kaiju's films, and to extend the experience of this reading, you have this special episode Gamera of the show Toku Scope directed by Jordan Guichaux and Fabien Mauro, experts of the genre who can give you a taste for the extraordinary richness of this cinema.
Documentary bans
There is a documentary film that S. Kaneko no longer wants to hear about: Gamera 1999 directed by Hideaki Anno. This film focuses on behind the scenes of filming Gamera 3: The revenge of Iris, the VHS was released on February 20, 1999 at Media Factory. To commemorate the release of Gamera 1999, H. Anno and S. Higuchi present a live talk show. The event takes place on February 28, 1999, in the event hall of the main branch of Yamano Music in Ginza. More than 200 fans are present and there is no room left.
Before the beginning of the show, the Austrian singer Juliana Schano staged, the artist had performed the theme of the end of the show. Gamera 3written by S. Kaneko Mou Ichido Oshiete Hoshii (Tell Me Once Again) and delivers this song live during a performance full of emotion.
Then the discussion between Anno and Higuchi begins with Gamera 1999. A total of 300 hours of footage were shot to produce the documentary. The film is shot in digital camera, taking care to make forget the cameraman's presence. This is the director's will: to get closer to a real experience on the stage. As S. Higuchi testified, he was not disturbed by being filmed when he went to work. H. Anno seems satisfied with the artistic direction of his film.
He wanted to appreciate the possibilities of the special effects of Japanese films of that time. But the director also has another will, in fact his film is experimental and prefigures the unusual camera angles that we already find in his first film Love & Pop (1998). The movie wanted to make you want to go see Gamera 3 but also to change the minds of those who would not have grasped all the subtleties of S. Kaneko's film. This artistic bias destabilizes the spectator, but especially S. Kaneko himself who was not at all aware of this crazy montage. It's rabies that he answers Julien Sévéon during an interview given for the magazine Mad Movies in October 2009. Curiously, H. Anno and S. Higuchi no longer collaborated with the director...
« Hideaki Anno is a real waste, a totally useless person. He showed me what he had done so I would agree, then he did something completely different. It's almost a crime. I would never forgive him. It's a real leech that deceives people. He may have talent, but he's certainly not a gentleman! »
One Gamera 4 ?
Yes, you read well, a direct follow-up to Gamera 3 exists. Name Gamera 4: Truth and directed by Shinpei Hayashiya it is a 45-minute independent film released in 2003. Never broadcast outside Japan, Gamera 4 would only be available during free screenings even if we can find on the net photos of the film in dvd and vhs, enough to revive all rumors...
With $2,500 in budget it is not necessary to expect technical prowess and indeed everything is broke, however one idea is to emphasize: the new enemy of Gamera is a white Gyaos. This idea fed many fantasies among Western fans who dreamed of seeing the sworn enemy of Gamera in its albino version. A short excerpt was unveiled on the Youtube platform in 2020, and the least we can say is that the lack of money is cruelly felt...
Braveheart
In 2006 Ryuta Tasaki signed the last official film of our giant turtle. Gamera The Brave is the last attempt to come back with a film intended for the young audience. Gamera appears with a soft design and without an ounce of anger and it is especially the friend of the children. The Apocalypse announced by Nostradamus is more than a bad memory, the years 2000 are well under way and Gamera is this little turtle raised in hiding by Toru Aizawa, a child who lost her mother. One day, a Kaiju who has everything tyrannosaur attacks Tokyo and our young hero is in danger.
This monster is called Zedus and wants to destroy everything on his way, unfortunately for him Gamera has grown well and intends to protect his friend well. Despite its beautiful production and its well-tired family scenario, the change of tone does not take place and the numbers at the box office will be right of the disappearance of Gamera in the dark rooms.
The End of the World According to Katsuhito Ishii
Gamera 4 was a fan movie, but the rumor of a sequel had not finished making her talk. In 2015 a short film was broadcast at the New York Comic-Con. The 50th anniversary of Gamera is celebrated and the director Katsuhito Ishii (The Taste of Tea – 2004) gives shape to what seems to be a trailer of a new project around the giant turtle. From the confession of S. Higuchi, Gamera 3 was realized with this idea that the end of the world would really come. A pre-apocalypse that K. Ishii grabs the body by pushing the cursor until he shows the tipping of the end of the world. His short film entitled soberly Gamera, then plunge Tokyo into terror.
Deaths and destruction... Gamera appears as the warrior creature enslaved by an army of blood-thirsty Gyaos. The film does not stop there since a ten-year ellipse reveals another context: a new kaiju with devastating powers stands up against Gamera who starts again to attack. Finally, we read, the promise of a film Gamera mature, benefiting from the best 3D technologies that do not have to blush the special effects of Western blockbusters.
It's all there and nothing yet. Radio silence on this case until the arrival of K. Ishii at the NIFFF festival in Switzerland for the 2023 edition. He then confided to Fabien Mauro during an interview for the magazine Otomo of September 2023 that an artistic disagreement led the project to cancellation. The production committees did not believe in this revival, allocating a budget that did not meet the director's ambitions.
One imagines the surprise and disappointment of the producers to see coming on the screens Shin Godzilla (S. Higuchi – H. Anno – 2016) is the return of a frightening Godzilla entirely in CGI with a talk to adults. With this new film Godzilla with critical and commercial success, Toho resurrects the king of monsters and brings him in through the large door of the Reiwa era. For the shot Kadokawa Pictures (formerly Daiei) was not visionary and can only be taken by himself. Another defeat of the giant turtle that was deprived of this new era.
Reiwa era without Gamera? Not quite...
Between 2017 and 2018, Polygon Pictures produced three 3D animation films by Godzilla by Hiroyuki Seshita and all available on Netflix. Critical success in half-tone does not prevent the platform from trying experience with the same director to produce Gamera, but this time it's the ENGI studio that fits into the production of this 3D animation series. Released in 2023, Gamera Rebirth presents itself in six episodes.
Kaiju attacks appear overnight on Japanese soil, only one being to stop them: Gamera. As in Gamera The Brave we follow a group of children spectators of these clashes. Gamera returns in a more muscular form than ever before, the giant turtle has been in the muscle room since its last appearance. Impressive and ultra violent, she strikes where it hurts with her attraction of special blows even more spectacular than usual.
CG... Ouch!
The realization fishing by its 3D of another epoch, the human characters have this rigid side that pricks their eyes and difficult to pass over the puppet effect. However, the creatures have been treated favorably, the Kaiju fights are impressive and raise the level. It is intense and the designs of monsters are of all beauty. Even if there are very few new kaijus, one must note an effort to redesign the bestiary of the universe Gamera. The first episodes have similar structures, and very quickly the series sinks into redundancy. When she emancipates from her carcans, the different protagonists develop and the stakes emerge. The series then takes on an unsuspected scale and thus we find the triptych dead, sacrifices, conspiracies and voyages in space
Not my Gamera?
Reborning a cult license is quite common, but restoring a second life to a niche franchise whose last film was released 17 years ago is a sacred bet. Going through a Japanese animated series to conquer a new audience is not always a good idea. To generalize, anime lovers don't have an appetite for Kaiju Eiga, and old fans of rubber monster movies demand real actors. If 3D does not attract either school, it seems difficult to resurrect the turtle. And yet it would be a shame to miss this series, because it reveals all its potential in the middle of it with interesting intrigues. Despite its old-fashioned technique, the action remains grim.
Towards a new hope?
A kaiju film festival is planned at the Maison de la culture du Japon in Paris, extended from Friday 4 October to Saturday 9 November 2024. This retrospective is named after Kaijû. A monstrous history of Japanese cinema 1954 – 2024. Among the long list of films is S. Kaneko's Gamera trilogy, the three feature films will be screened on Saturday, October 12, at 2.30 p.m. The opportunity to come discover or rediscover these legendary films. For more details the program is online Here. Fans of tokusatsu, do not hesitate to contact us to exchange with us on this turtle not like the others!
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