Wrath of Daimajin

The first film, released in April 1966, was a fun blend of fantasy and horror, even though it was hampered a bit by soft pacing. The second film, following four months later, was just as sharply crafted but did not suffer from the same pacing issues, and moreover told such a compelling story that the titular entity was almost altogether unnecessary. With new director Mori Kazuo now taking over to helm the same returning crew for the last of Daiei Film's trilogy, I've very much been looking forward to 'Wrath of Daimajin' - though the question still stands of how it would compare.

The good news is that in general, though we may debate the finer points, all three pictures having effectively been made contemporaneously means that we are assured of the same broad quality and common traits. If you enjoyed 'Daimajin' and 'The return of Daimajin,' you'll likely also enjoy this conclusion to one degree or another, and much that is true for the predecessors is also true for this feature. Beautiful filming locations are one thing, but outstanding detail was poured into most every facet of the production. The sets are utterly gorgeous, and even the costume design, hair, and makeup received substantial care. The proliferate practical effects and stunts are all terrific and exciting, and the action to come. Composer Ifukube Akira provides a swell dramatic score that lends to the somber airs of the proceedings; the cinematography is vivid, and the sound design impeccable.

On the other hand, this title bears the distinction of largely centering children as its protagonists. While it's not universally the case, the simple fact of the matter is that elevating children in a movie very commonly diminishes its seriousness: kids must almost always be cute, their acting skills are quite plainly variable, and if they appear to be in too much danger then a stark new level of violence is inherently breached. Even as the same overall plot structure holds of Daimajin defeating the cruel villains who harm innocents, significant airs manifest in part of an adventure piece more or less suitable for younger audiences. As returning writer Yoshida Tetsuro splits his narrative and scenes with emphasis on those youths, the urgency of the scenario takes a hit. In turn, and in its own way, 'Wrath of Daimajin' again comes across as somewhat struggling with weak pacing - in all earnestness the viewing experience is less actively engaging; the effects-laden climax, which should be and surely is the top highlight, feels overlong.

Please understand, this flick remains enjoyable and worthwhile on its own merits. It's solidly crafted, there are nice little touches throughout, and the root story ideas offer firm foundation. At large the acting is commendable, and the direction, and it's also worth observing that in no small part this installment carries the vibe of tragedy - an interesting distinguishing factor. Nevertheless, an uneven tone, slow plot development, and decidedly less focused storytelling result in a fantasy drama that has a harder time holding our attention than the progenitor, let alone the vibrant first sequel. We get what we came for; the anticipated saga just isn't as strong as it could have been. Even so I had a good time watching, and so long as you don't mind the imperfections too much, 'Wrath of Daimajin' is still a fine slice of entertainment for a lazy day, and a decent finale for Daiei's trilogy.

The sleeping Daimajin has moved to an island home and the people under his protection live happily at lakeside. When evil warlords decide its time to subjugate these peaceful neighboring domains they go right for their leaders with some sneaky assassins and a surprise attack. As a demoralizing move they blow up the stone god in his island home. What a bad move that turns out to be. Not the best of the three Daimajins. It's much less beautifully filmed and the story isn't so great. I liked "Return of Daimajin" best because the kids are cute and the cinematographer had the eye of a naturalist.

Wrath of Daimajin is the third, final and best entry in the Japanese franchise about the ancient demon god who protects his disciples from cruel injustices. In this movie, a group of lumbermen have been kidnapped by the henchmen of an evil lord who is trying to build powerful weapons to invade neighbouring communities. One lumberman survived severely injured and made it back to his village. While the adults in the village are too scared to try to save their fellow citizens, four young boys decide to leave secretly to save their kidnapped fathers. However, they don't only have to confront the evil lord's pitiless army but numerous natural obstacles such as dangerous earthquakes, wild rivers and heavy snowfall. The four boys have to go onto Daimajin's sacred mountain to make it to the evil lord's labour camp and the mysterious deity decides once more to intervene.

This third movie has a completely different vibe than the previous entries. First of all, the protagonists of this movie are four courageous children. Daiei Film attempted to aim for a younger target audience with this movie and the company did a surprisingly convincing job. In addition to this, Wrath of Daimajin can certainly be described as an adventure movie as it follows the children's epic journey across the mountains. Another element that might come as a surprise is that this movie might also be the most brutal one in the franchise. If you thought that this movie might be less intense because children are involved, you are gravely mistaken. These little doses of stunning intensity make this film also the most captivating, emotional and profound one in the franchise.

The movie also convinces in the departments that made the previous entries so enjoyable. The locations are absolutely stunning and vary from traditional mountain villages over dense forests, beautiful meadows and sinister screes to desolate labour camps. The balance between beauty and terror in these locations leads to an emotional rollercoaster ride.

The special effects are once again stunning for their time. The way the filmmakers created artificial snow looks particularly realistic. The scenes on an improvised raft on a dangerous river are particularly memorable. The closing twenty minutes show the titular monster in a most diversified way as a mystical saviour and a fair avenger.

The acting performances also deserve critical acclaim. The four child actors are everything but shallow and play their roles with focused dedication and emotional depth. The adults also do wonderful jobs as the fearful peasants evoke strong controversial feelings among viewers while the antagonist is particularly brutal and is even shown torturing one of his prisoners to death.

In conclusion, Wrath of Daimajin is the best entry in the trilogy about the ancient demon god. This movie mixes genre elements of adventure, drama and fantasy in an equally entertaining and profound way. This film should be enjoyed by cineasts of any age and its quality has stood the test of time. It's regrettable that this is the last entry in the franchise since the quality of this trilogy is better than more renowned film series such as Gamera and even Zatoichi. Make sure to purchase the wonderful boxed set by Arrow Films since its elevated price is justified by enjoyable multiple viewings of these three masterpieces.

Daiei Studios' Wrath of Daimajin is the second and final sequel to the movie featuring the giant stone god. In this plot, a Lord Arakawa kidnaps the men of villages in a mountainous region to use as labor to produce gunpowder. As a result, a group of young boys journeys through the mountains, including through the valley of Daimajin, to rescue their fathers.

The plot, I thought, was not as suspenseful and solid as the original movie, as it concentrated too much on the boys' adventures in the mountains, alternating between that and the fathers' mistreatment at the labor camp. But there is the satisfying fun of seeing Daimjain awaken to wreak havoc on those nasty doers.

The acting was pretty good, cinematography was brilliant, and special effects were neat. And once again, you are treated with another great Akira Ifukube score; however, some of the music soundtrack is reused or reworked from past film scores.

Overall, it's not too bad of a sci-flick, but is the weakest of the Daimajin Trilogy.

Grade C-

This is the third and the final installment of Daimajin trilogy. The three stories are not connected in their plots.

Daimajin is a 50ft tall stone talisman with a spirit of deity residing within. It turns mobile when the innocent people are oppressed to battle evil.

Four kids embark on a journey to rescue their father who is enslaved by an evil warlord in a place called Hell's Valley. On their way they pass the mountain where Daimajin resides. Daimajin sends a hawk to accompany the kids and to protect them, but when things goes badly for the kids, Daimajin turns his fierce face to the evil warlord.

The four kids are unusually resourceful, and gets around where even adults would find it a challenging situation, surviving in mountainous wilderness, and in a snow storm.

Daimajin awakes this time in a snow storm, and rest is a bad day for the evil warlord and his soldiers.

The production isn't as good as the previous Daimajin movie as the movie relies heavily on the acting ability of the four very young actors. They put in a surprisingly good performance, but they're no Jody Foster in "Taxi Driver". The caliber of other actors aren't as high as well. Special effects are just as good, and it's one of the best '60s suitmation movie. It's better in my opinion than the Gamera series done by the same studio around the same time. Not a masterpiece in any way, but a movie that still holds its own after nearly half a century.

Recent TV mini-series "Daimajin Kanon" is a direct homage to this series with Daimajin being done in CG instead of suitmation.