For those of you who missed last week’s post, a quick recap:  I recorded audio commentaries to both the Japanese and American cuts of Ishiro Honda’s GODZILLA for Criterion, but some of the material was cut from the tracks as the discs were sent to the factory.  I am using this forum as a venue by which to publish some of the deleted material.

The most controversial sections addressed the European distribution of the original Godzilla.  Last week we saw what happened in Germany–this week we explore the nuttiness of COZZILLA!

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The cat is out of the bag–I had been under orders not to tell anyone until now that I provided the Vin Scully style play-by-play for both versions of Godzilla (1954/1956) on Criterion’s new Blu-Ray edition. I guess some Godzilla fans sensed something in the air, the way animals perceive a coming tornado, because I’ve gotten quite a few email inquiries about whether I was doing a commentary for the Godzilla vs Megalon Blu-Ray. Close, but not quite, fellas.

Over at the Criterion Forums, speculation about the Godzilla Blu-Ray led to this exchange:

Posted: Mon Aug 22, 2011 7:43 pm 

What value does this have besides kitsch? This is an honest question; I’m not trying to troll anyone who likes this. I’ve never seen anything Godzilla-related, and I’m curious as to what the appeal is.

Posted: Mon Aug 22, 2011 7:53 pm 

You have to look at the first Godzilla movie quite differently. It was a lot more serious in tone, a reaction to the bombings in WWII, the destruction of Japan, the hydrogen bomb testing in the Pacific that killed some fishermen (a newsreel on the BFI disc shows it).

Fair enough, but it does rankle me a tad how respect for the austere horror parable of Honda’s original Godzilla tends to come at the expense of the later, sillier films. The 1954 ‘Zilla is a masterpiece, a work of apocalyptic art. But the crazy sequels are fun, too, and I hate to see them thrown under the bus.

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We begin with a warning:

FRANKENSTEIN-warning

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This vaguely threatening yet ironically tongue-in-cheek admonition would influence generations of horror filmmakers to come. And I don’t just refer to all the times that savvy exploitationists would post nurses in the lobby to relieve the fainthearted, or take out insurance policies in cases audience members died of fright. Those are stories for another day. What matters to me today is that bit where Edward Van Sloan worries that Frankenstein did what he did “without reckoning on God.”

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Every October 1st I turn into a big weirdo. Well… more so.  READ MORE

Both are English, but the title is a trick question. To be more accurate, it would read: “What should H.G. Wells and Wallace and Gromit have had in common?” Around the mid-1990′s a very interesting project almost saw the light of day: a faithful film adaptation of H.G. Wells’ The War of the Worlds that was to fuse the talents of Aardman Animations and director Alex Cox. “It would have been the biggest project I’d ever done,” says the director. Sadly, the whole enterprise was torpedoed by one musician. I recently sat down with the director for more details to this story.  READ MORE

The late 1970s was a period in film comparable to the present day: Hollywood developed a fixation on geek culture, turning out comic book movies and remakes of older sci-fi productions, while Lucas and Spielberg created new versions of well-worn pulp forms. Part of the leading edge of this trend was Dino DeLaurentiis’ 1976 King Kong.

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Today is the last day of TCM’s month-long celebration of Drive-In Double Features and if you’re anything like me, you’re going to miss spending your Thursday evenings with radioactive monsters, space aliens, sea creatures, giant women and mutant men. When viewers tune in tonight they’ll be able to enjoy some of my favorite ’50s science fiction flicks including THE BLOB (1956), THE H-MAN (1958) and X THE UNKNOWN (1955), which all explore our primal fear of the primordial ooze.

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We start here: Seven passengers on a yacht.  There’s the millionaire who owns it, his hired skipper, and the weirdo first mate.  Their passengers include a sexy starlet, a virginal country girl, and a professor.  The ship encounters a terrible storm, and the travelers are soon shipwrecked on a Pacific island with no hope of rescue.  And that’s when things start to get interesting.

I could be talking about GILLIGAN’S ISLAND, the amiably stupid CBS sitcom (1964-1967).  But as it happens I’m talking about the 1963 Japanese horror flick MATANGO.

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I spent this morning watching a compilation DVD that was sent to me by filmmaker/artist/musician Cory McAbee. It was titled “TnT” (which stands for Titles and Trailers), and it was the focus of a presentation he did a few months ago for the UnionDocs Collaborative in Brooklyn in conjunction with Rooftop Films (whose byline is: “Underground Movies Outdoors”). Their program notes that short films have now become a predominant form of entertainment, thanks in part to the growing popularity of video-sharing websites. But long before everyone was glued to YouTube or their cell phone, we were (and are still) watching short films on the big screen in the form of trailers and credit sequences – both being made, for the most part, by “outside parties (who) were hired to create a short interpretation from the film itself or from unused elements.” Cory’s TnT collection were specific “short films” that had influenced his own work in meaningful ways. While I can’t think of title-sequences that have influenced my life, I can certainly think of more than a few trailers that had a big impact on who I am now.  READ MORE