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Teruo Ishii (2018) by Tom Mes ARROW VIDEO ARROW VIDEO 29 Remembering Edogawa Rampo (2018) by Grady Hendrix

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Teruo Ishii (2018) by Tom Mes ARROW VIDEO ARROW VIDEO 29 Remembering Edogawa Rampo (2018) by Grady Hendrix ARROW VIDEO ARROW VIDEO 1 ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO 1 ARROW VIDEOCONTENTS ARROW VIDEO 4 Cast and Crew 7 Horrors of Malformed Men (2018) by Jasper Sharp 23 Once Upon a Time in Japan: Teruo Ishii (2018) ARROW VIDEOby Tom Mes ARROW VIDEO 29 Remembering Edogawa Rampo (2018) by Grady Hendrix 38 About the Transfer ARROW VIDEO2 ARROW VIDEO 3 ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO CAST Hirosuke Hitomi / Genzaburo Komoda Teruo Yoshida Hideko / Hatsuyo Teruko Yumi Jogoro Komoda Tatsumi Hijikata Toki Komoda Mitsuko Aoi Chiyoko Komoda Michiko Kobata Shizuko Yukie Kagawa Hirukawa Asao Koike Mie Mie Hanabusa 江戸川乱歩全集 恐怖奇形人間 Miki Yoko Koyama Edogawa Ranpo zenshu - kyofu kikei ningen Kei Kei Kiyama Kin Michi Tanaka Original release date: 31 October 1969 Hayashida Toshio Oida 99 minutes Takeshi Masaomi Kondo Masseuse Yoshiko Kato Guard Hideo Ko Female patient A Yumiko Katayama CREW Female patient B Asano Kanamori Directed by Teruo Ishii Male patient A Sachio Miyagi Screenplay by Masahiro Kakefuda, Teruo Ishii Male patient B Isamu Tsuchihashi Produced by Shigeru Okada, Kanji Amao Priest A Toru Yuri ARROW VIDEO BasedARROW on “The Strange Tale of PanoramaVIDEO Island” by Edogawa Rampo Priest B Akira Oizumi Director of photography Shigeru Akatsuka Doctor Kichijiro Ueda Lighting by Yoshiaki Masuda Nurse Kyomi Sakura Audio recording by Hiroo Nozu Hunchback A Ken Sawaaki Production design by Akira Yoshimura Hunchback B Misao Kawasaki Music by Masao Yagi (uncredited music also by Sou Kaburagi) Clerk Chiyo Okada Edited by Tadao Kanda Madman Hideo Ayuba Assistant director Tomoomi Yoda Madwoman Reiko Mikasa ARROW VIDEO ARROW VIDEO Slashed woman Miki Obana Manservant / Kogoro Akechi Minoru Oki ARROW VIDEO4 ARROW VIDEO 5 ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO HORRORS OF MALFORMED MEN by Jasper Sharp My first encounter withHorrors of Malformed Men (Edogawa Ranpo zenshu - kyofu kikei ningen, 1969) came at an early age, through a single haunting image with nothing in the way of accompanying text in A Pictorial History of Horror Movies (1973) by the esteemed British film historian Denis Gifford. Though Gifford’s focus was on European and American classic horrors, largely of the Gothic variety, this seminal publication contained a number of evocative stills from Japanese examples of the genre, providing my first introduction to many titles which only several decades later would I get the chance to see, including Kinji Fukasaku’s The Green Slime (Ganmâ dai-3-gô: Uchû daisakusen, 1968), Ishirô Honda’s Matango (1963), Haruyasu Noguchi’s Gappa the Triphibian Monster (Daikyojû Gappa, 1967) and Honda’s Destroy All Monsters (Kaijû sôshingeki, 1968).1 Who knows where Gifford acquired these images from... Few of these Japanese fantasy features had been released in the United Kingdom at the time of this publication, and certainly Horrors of Malformed Men never was. Indeed, even in its own country of production, it remained a tantalisingly elusive title for a period of almost five decades. All prints were pulled from circulation by its studio, Toei, shortly after its original release date of 31 October 1969. It was only recently made available for the local home viewing market, with a DVD release finally arriving in October 2017, some ten years after its worldwide DVD ARROW VIDEO ARROW VIDEO debut courtesy of North America’s Synapse Films. The film’s unofficial circulation by way of nth generation VHS dupes and sporadic midnight screenings at repertory cinemas like the Shin-Bungeiza in Tokyo’s Ikebukuro district had seen it acquiring a macabre mystique in its homeland, its mythic status amplified by a book about the film published in 1995 as part of theJapanese Cult Movie Collection series, and a section in Japanese Special Effects: A Complete Collection of Phantom Films from 1997. It was only to receive its first ever international airing in April 2003, screening as part of the Udine Far East Film Festival’s six-film ‘Teruo Ishii: The King of Cult’ retrospective, curated ARROW VIDEO ARROW VIDEO by Mark Schilling, with the director himself in attendance.2 1 - Gifford, Denis. A Pictorial History of Horror Movies (Hamlyn, 1973). The film is captioned with the singular translation of the original Japanese title, Horror of Malformed Men, while Matango is mistakenly written as Matanga, Fungus of Terror. 2 - Edogawa Ranpo zenshu - Kyofu kikei ningen (Nihon karuto eiga zenshu) (Tokyo: Wides Publishing, 1995) and Nihon tokusatsu: Genso eiga zenshu (Tokyo: Keibunsha, 1997). ARROW VIDEO6 ARROW VIDEO 7 ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO 8 9 Horrors of Malformed Men’s suppression has less to do with its contents than its labelling. The name itself is a pseudonym masking his birth-name of Tarô Hirai. The characters The word kikei in the original title, literally comprised of the characters for ‘strange’ and comprising it spell out the pun “Conflict walking along the banks of the River Edo” - aptly ‘form’, is considered bluntly offensive in Japan when used as a term to describe the so, considering that his first published short story, ‘The Two-Sen Copper Coin’ (‘Ni-sen physically disabled, although none of those appearing onscreen genuinely fit within this dôka’), arrived mere months after the Great Kantô Earthquake of 1923 had levelled much category. The word certainly has none of the countercultural cachet that its English- of Tokyo and the surrounding area. Read the name aloud, however, and a second pun language equivalent ‘freak’, for example, acquired in the 1960s. emerges: Edogawa Rampo is the phonetic rendering of one of his most significant sources of inspiration, Edgar Allan Poe. Not that the contents aren’t shocking in their own right. A lurid mixture of the erotic, the subversive and the carnivalesque that could only have hailed from Japan at the tail end of Poe was not the only figure to fuel Rampo’s fervid imagination. He also avidly devoured the the seditious 60s, this head-long plunge into the pre-Oedipal psyche represents a perfect newly translated mystery and detective fiction of a host of other Western writers, including marriage of the minds of the author, Edogawa Rampo (1894-1965), whose extraordinary Sir Arthur Conan Doyle, H. G. Wells and Maurice Leblanc. His most famous creation, tales from the 1920s serve as its inspiration, and Teruo Ishii (1924-2005), the director Kogorô Akechi, was a private detective who took centre stage in many of his novels and responsible for bringing his nightmarish visions to the screen.3 short stories. In the vein of Sherlock Holmes, Akechi brought rational explanations to the seemingly irrational literary worlds wrought by Rampo’s prose (the name itself is formed Ishii began his career at Shintoho in the 1950s with such lowbrow potboilers as Flesh from the characters for ‘bright’ and ‘intellect’), whilst also adopting all manner of cunning Actress Murder: Five Criminals (Nikutai joyû koroshi: Gonin no hanzaisha, 1957), the four- disguises to get to the heart of mystery and often deploying his legendary judo skills to get film early sci-fi serialSuper Giant aka Starman (Kôtetsu no kyojin, 1957) and organised him out of a tight spot. crime dramas like Flesh Pier (Nyotai sanbashi, 1958). Following the studio’s bankruptcy in 1961, he went freelance, predominantly directing for Toei, for whom he delivered a solid Rampo was also not alone in pushing forth a new literary genre of the fantastique in hit with the ten-filmAbashiri Prison (Abashiri bangaichi, 1965-67) yakuza jailbreak series Japan, reconstituted for a local readership from the narratives, themes and tropes of his starring Ken Takakura. Outside of Horrors of Malformed Men, Ishii is best known for his overseas models. Others such as Yumeno Kyûsaku (1889-1936), Unno Jûza (1897-1949) unflinching series of historical torture-as-erotic-spectacle titles likeShogun’s Joy of Torture and Umehara Hokumei (1901-46) also emerged at this time of burgeoning mass culture. (Tokugawa onna keibatsu-shi, 1968) and Orgies of Edo (Zankoku ijô gyakutai monogatari: Together they fabricated sensationalistic self-contained irrational worlds in the fields Genroku onna keizu, 1969), as well as the Meiko Kaji vehicle Blind Woman’s Curse (Kaidan of science-fiction, fantasy and horror, inspired by cultural, technological and scientific nobori-ryû, 1970), one of his few films made for Nikkatsu during this period. developments during the period of rapid internationalisation of the late Taishô era (1912- 26). Their works were regularly serialised in the popular magazine Shin Seinen (‘New Co-scripting Horrors of Malformed Men with screenwriter Masahiro Kakefuda, a man Youth’), launched in 1920 and itself symptomatic of this new modernity. ARROW VIDEOalso responsible ARROW for penning, amongst manyVIDEO other titles, Orgies of Edo, the notorious nunsploitation movie School of the Holy Beast (Seijû gakuen, 1974) and various entries Nevertheless, this shock of the new was met with considerable resistance from more in the ten-title trucker series starring Bunta Sugawara, Truck Guy (Torakku yarô, 1975- conservative forces during the period of hardship and reconstruction following the trauma 79), Ishii appears unfettered from the commercial constraints of his previous yakuza and of the 1923 earthquake. The hyperreal illusionary worlds such authors created were seen torture films. The result is a film which unfolds to a hypnagogic dream logic quite akin to as contaminating the national mindset and corrupting the minds of its youth. All of these Rampo’s prose. writers faced increasing difficulties with the censors following the passing of the Peace Preservation Law (Chian ijihô) of 1925, their works labelled dismissively as ero-guro ARROWRampo VIDEO himself emerged out of a clashARROW between two very different VIDEO cultural forces; those of nansensu (‘erotic grotesque nonsense’).
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