Latitude Zero (緯度0大作戦, Ishiro Honda, 1969)

latitude zero1969. Man lands on the moon, the cold war is in full swing, and Star Trek is cancelled prompting a mass write-in campaign from devoted sci-fi enthusiasts across America. The tide was also turning politically as the aforementioned TV series’ utopianism came to gain ground among liberal thinking people who rose up to oppose war, racial discrimination and sexism. It was in this year that Godzilla creators Ishiro Honda and Eiji Tsuburaya brought their talents to America with a very contemporary take on science fiction in Latitude Zero (緯度0大作戦, Ido Zero Daisakusen). Starring Hollywood legend Joseph Cotten, Latitude Zero gives Jules Verne a new look for the ‘60s filled with solid gold hotpants and bulletproof spray tan.

International scientists Dr. Ken Tashiro (Akira Takarada) and Dr. Jules Masson (Masumi Okada) are in the middle of a bathysphere alongside American reporter Perry Lawton (Richard Jaeckel) when a volcano suddenly erupts. Rescued by a passing sub, the team soon notice there’s something very strange about this serendipitous crew. To begin with, the doctor treating their injuries is a svelte young blonde woman in a skimpy outfit, and then there’s that plaque on the bridge which says the boat was launched in 1805, and why won’t Captain McKenzie (Joseph Cotten) tell them which country this very expensive looking rig belongs to?

All these questions will be answered in due course but the major revelation concerns the futuristic city of Latitude Zero – a secret underwater world where top scientists and other skilled people who have been “disappeared” from the surface conduct important research free of political constraints. Despite the peace and love atmosphere, Latitude Zero is not without its villains as proved by exile Malec (Cesar Romero), McKenzie’s arch nemesis who has set out to kidnap a prominent Japanese scientist before he can make his way to the city. Malec is hellbent on taking McKenzie down and has drifted over to the scientific dark side by conducting brain transplant experiments to create his own army of bizarre creatures to do his bidding.

There may be a cold war going on but Latitude Zero is more or less neutral when it comes to its position on science and scientists though when push comes to shove it leans towards negative. Malec, played by Batman’s Ceasar Romero, is a moustache twirling villain of the highest order who will even stoop to transplanting the brain of his own lieutenant into a lion as well as making other strange creatures like giant rats and weird bats to try and destroy McKenzie’s enterprises yet those enterprises are the entire reason for the existence of Latitude Zero. Towards the end of the adventure, Lawton points out to McKenzie that his world is essentially selfish, stealing all the best minds for his underwater paradise and secreting their discoveries away rather than sharing them with the the surface. McKenzie sympathises but deflects his criticism with the justification that mankind is currently too volatile and divided to take part in his project, though they do try to drip feed the essentials all in the name of making the world a better place.

Lawton further shows himself up by trying to loot Latitude Zero which has an abundant supply of diamonds it barely knows what to do with. What is does with them is experiment – jewels are worthless baubles here, the value of the diamonds is purely practical. Similarly, they have a taste for solid gold clothing which might explain the skimpiness of their outfits were it not for the fact the precious metal holds no other value than being stylish.

Unlike other subsequent US co-productions such as Fukasaku’s Virus, Latitude Zero was filmed in English with the Japanese cast providing their own English language dialogue (with various degrees of success). A second cut running fifteen minutes shorter was later prepared for the Japanese market with the entire cast dubbed back into Japanese and dropping McKenzie’s often unnecessary voice over. Given a relatively high budget, Honda and Tsuburaya once again bring their unique production design to life with intricate model shots and analogue effects complete with a selection of furry monsters even if they’re operating on a level that owes much more to Star Trek than Godzilla. It’s all very silly and extremely camp but good clean fun with a slight layer of political subversiveness which displays a noted ambivalence to the neutrality of utopia even whilst hoping for the day when the world will finally be mature enough to pursue its scientific destiny without polarised politics getting in the way.


Original trailer (English version)

Sannin Yoreba (三人よれば, Toshio Sugie, 1964)

vlcsnap-2016-06-02-01h37m01s384Hibari, Chiemi and Izumi reunite in 1964 for another tale of musical comedy and romantic turmoil in Sannin Yoreba (三人よれば). Beginning as teenagers in So Young, So Bright and Romantic Daughters before progressing to the beginning of their adult lives in On Wings of Love, the girls are all grown up now so the plot of Sannin Yoreba centres around the eternal conflict in the youth of every young woman in ‘60s Japanese cinema – marriage!

At the beginning of the film the three girls are intrigued and excited to receive a call from their old high school teacher who has recently retired. Meeting up to go visit her, the girls relive some old memories with the help of a few repurposed scenes from So Young, So Bright spliced in plus a few additional bits so that it looks like Izumi was also a classmate with them (in the movie she played an apprentice geisha Chiemi and Hibari met in Kyoto) as well as replacing the actress who played the teacher with the woman we’re about to meet. The trio even sing the title song to the first film, Janken Musume, as they drive over to their teacher’s house.

However, once they get there the nostalgic mood begins to dissipate as they realise their teacher has ulterior motives for inviting them. It seems, now that she’s retired, she’s opened a dating agency and wants to introduce our still single ladies to a few “eligible bachelors”. Horrified, the girls each quickly claim to have serious boyfriends already even though Hibari is the only one actually in a relationship. The teacher seems satisfied but invites them all back beaus in tow to give her final verdict. Thus begins the complicated road to true love for our musically inclined heroines.

It’s been seven years since the last Sannin Musume movie and truth to tell things have moved on the meantime leaving the Hollywood inspired musical glamour looking a little old fashioned. Much of Sannin Yoreba is a nostalgia fest despite the fact that it hasn’t really been all that long. Harking back to the first film by singing the title song and reusing the high school era footage seems primed to pull the similarly aged ladies of the audience back to screens across the country.

Sannin Yoreba has the fewest musical sequences and steers clear of large scale production numbers in favour of smaller solo showcases for the leading ladies. There’s more of a blur here into what are really fantasy sequences again taking place as the girls daydream or worry about various things – Chiemi at her place of work (in the production booth of a TV studio), Izumi in her salon, and Hibari at a bar after having a serious argument with her fiancee (once again played by Akira Takarada). That said, the girls end up at a theatre again as they did in the first two movies where they watch themselves perform a tripartite musical set piece which splits off into individual numbers for each one of them. A kind of Chaplin meets Marx Brothers meets Easter Parade theme, the girls dress up as tramps wandering through Times Square where they spot adverts for various shows which inspire their routines including Madame Butterfly where Chiemi plays both the captain and the geisha, and a bullfighting bolero number with Hibari giving it her full on Zorro.

Once again its an elegantly put together fluff fest intended to showcase the entertaining personalities of the three leading ladies who are now some of the biggest performing stars in post-war Japan. As usual the girls have great chemistry together and make a convincing group of lifelong friends whose relationship transcends that of any potential romance on offer. The movie ends with a wedding and another musical finale which incorporates three all three singers so, as expected, everything works out OK in the end which is mostly what people what from a cosy musical comedy starring three giants of the entertainment world. It may be a little sluggish in places and lacks the absurd comedic touch of the earlier movies, but Sannin Yoreba is a welcome return for the idol supergroup even if this kind of movie was evidently on its way out by the mid 1960s.


This is the last of the Sannin Musume movies  😦

Nothing from the film but here’s a video of the three girls some years later singing one of the songs which crops up throughout the movies: