A Japanese double-bill poster for re-release of ace director Werner Herzog‘s two masterpieces. Made ten years apart, both films star Klaus Kinski, a frequent collaborator, and the stories behind the making of the films are legendary.

Fitzcarraldo tells the true story of  one man’s obsession to build an opera house in the Peruvian jungle, a task that sees him having to drag a full-sized steamer boat over a mountain from one river to another. Rather than rely on special effects or clever editing, Herzog and the crew actually did drag a steamer boat over a mountain! The story of the shoot was told in the excellent documentary Burden of Dreams.

Aguirre, Wrath of God was a similarly chaotic and pressured shoot and the story goes that when Kinski decided to leave the set and return home, Herzog pulled a gun on him and threatened to shoot him and then turn the gun on himself.

Herzog once said of Kinski: “People think we had a love-hate relationship. Well, I did not love him, nor did I hate him. We had mutual respect for each other, even as we both planned each other’s murder”.

I believe this double-bill poster was for a Japanese release in either 2000 or 2001 and the artwork is by an artist called Suzuki Cohjizukin about whom I know very little. Some of his other works can be found with a google search but if anyone knows anything more about him please get in touch.

Here are the original trailers for Fitzcarraldo and Aguirre.

This is the B2 poster for the Japanese release of Godzilla vs. Megaguirus which was the 24th film in the long-running franchise featuring the King of the Kaiju (giant monsters). The film was also the second release in the third generation of Godzilla films (known as the Millennium Series), which are all standalone (with the exception of Godzilla: Tokyo SOS) and were mooted as ‘alternative universe’ stories. It ended up as the least financially successful film in the Millennium series, with the special effects director Kenji Suzuki apparently taking the blame. Referencing the first film, the story sets up a universe in Godzilla attacks the first Japanese nuclear power plant in 1966 which led to the formation of a section of the Japanese Self Defence Force called G-Graspers, dedicated to fighting Godzilla.

After nuclear energy is replaced by ‘plasma energy’ in 1996 it is hoped that the kaiju will no longer attack Japanese cities in search of nuclear energy, but the plan fails and plasma energy is also eventually outlawed. Later in 2001 an experimental satellite weapon called the Dimension Tide is fired and opens up a wormhole through which a prehistoric dragonfly appears, lays an egg and disappears back through the wormhole. A young boy discovers the egg and takes it with him when he moves to Tokyo, but when the egg starts oozing a strange liquid the boy throws it into the sewers. The egg is actually hundreds of smaller eggs which start to grow on contact with water and evolve into large dragonfly larvae which soon hatch and become adult Meganulon.

When Godzilla attacks Tokyo once more, the dragonflies are attracted to his energy and engage him in battle, but they are no match for the kaiju’s power and are almost all obliterated. Those that survive return to the sewers and, with an amount of energy taken from Godzilla, they inject a large cocoon that hatches as Megaguirus, queen of the Meganulon, and she immediately heads towards Godzilla, ready for an epic showdown.

The artwork on this poster is by Noriyoshi Ohrai, my favourite Japanese artist and certainly in my top five greatest film poster illustrators of all time. He’s responsible for a number of other posters in the Godzilla franchise, some of which can be seen here. He also worked on a number of Star Wars related posters, including this lovely 1982 B2 to celebrate the release of the Japanese dubbed version of the original film. In March 2014 a retrospective exhibition was held in Japan of Ohrai’s work and I made the trip over to Miyazaki to see the exhibition. I’m very glad I did as it featured most of his original artwork and a whole array of posters and book covers. A full report will follow soon.

The posters I’ve managed to collect by Noriyoshi Ohrai can be seen by clicking here.

This is the B1 poster for the Japanese release of Godzilla vs. Megaguirus which was the 24th film in the long-running franchise featuring the King of the Kaiju (giant monsters). The film was also the second release in the third generation of Godzilla films (known as the Millennium Series), which are all standalone (with the exception of Godzilla: Tokyo SOS) and were mooted as ‘alternative universe’ stories. It ended up as the least financially successful film in the Millennium series, with the special effects director Kenji Suzuki apparently taking the blame. Referencing the first film, the story sets up a universe in Godzilla attacks the first Japanese nuclear power plant in 1966 which led to the formation of a section of the Japanese Self Defence Force called G-Graspers, dedicated to fighting Godzilla.

After nuclear energy is replaced by ‘plasma energy’ in 1996 it is hoped that the kaiju will no longer attack Japanese cities in search of nuclear energy, but the plan fails and plasma energy is also eventually outlawed. Later in 2001 an experimental satellite weapon called the Dimension Tide is fired and opens up a wormhole through which a prehistoric dragonfly appears, lays an egg and disappears back through the wormhole. A young boy discovers the egg and takes it with him when he moves to Tokyo, but when the egg starts oozing a strange liquid the boy throws it into the sewers. The egg is actually hundreds of smaller eggs which start to grow on contact with water and evolve into large dragonfly larvae which soon hatch and become adult Meganulon.

When Godzilla attacks Tokyo once more, the dragonflies are attracted to his energy and engage him in battle, but they are no match for the kaiju’s power and are almost all obliterated. Those that survive return to the sewers and, with an amount of energy taken from Godzilla, they inject a large cocoon that hatches as Megaguirus, queen of the Meganulon, and she immediately heads towards Godzilla, ready for an epic showdown.

The artwork on this poster is by Noriyoshi Ohrai, my favourite Japanese artist and certainly in my top five greatest film poster illustrators of all time. He’s responsible for a number of other posters in the Godzilla franchise, some of which can be seen here. He also worked on a number of Star Wars related posters, including this lovely 1982 B2 to celebrate the release of the Japanese dubbed version of the original film. In March 2014 a retrospective exhibition was held in Japan of Ohrai’s work and I made the trip over to Miyazaki to see the exhibition. I’m very glad I did as it featured most of his original artwork and a whole array of posters and book covers. A full report will follow soon.

The posters I’ve managed to collect by Noriyoshi Ohrai can be seen by clicking here.

The film that launched Christopher Nolan into the international cinematic limelight, the ingenious mystery thriller Memento was written and directed by the man who would go on to helm the phenomenally successful Dark Knight Trilogy. Based on a short story by Jonathan Nolan the story focuses on a man called Leonard, played by Guy Pearce (an important role for the actor), who has no short term memory and is obsessively trying to solve the murder of his wife. Using scribbled notes, polaroids and tattoos, Leonard attempts to make sense of discoveries he makes and the interactions he has with people along the way, which includes Teddy (Joe Pantoliano) and Carrie-Anne Moss, two characters who shift and change throughout the film as Leonard, and the audience, try to understand who’s ultimately responsible.

What makes the film so memorable is the way that the story is told with two timelines being shown one after another, one in black and white and chronologically ordered, and the other in colour and in reverse chronological order. The film opens with Leonard shooting and killing Teddy, but as the film progresses we see Teddy alive and the reason for the shooting eventually becomes clear, with a devastating reveal at the end of the film. This diagram gives you an idea of the way the story is told and the film continues to be discussed almost 15 years since its release (see here and here, for example). Critics and audiences responded positively to a film that felt genuinely fresh and different, particularly compared against a glut of sequels and identikit plots that were flooding the cinema at the end of the 1990s.

This is the Japanese B2 (red style) from the original release there back in 2001 and the design is unique to this poster. The American one sheet is markedly different and includes Carrie-Anne Moss.

David Cronenberg‘s 1999 sci-fi thriller eXistenZ is not one of the director’s best, in my opinion, but it does contain typically excellent future-thinking concepts and his trademark body horror. The film is set in the near future and is focused on the idea of virtual reality gaming, far in advance of the ridiculous headgear and black plastic stands that briefly appeared in gaming arcades towards the end of the 1980s.

Jennifer Jason Leigh plays a revered game designer called Allegra Geller who is forced to flee an exhibition of her latest product when an assassin attempts to kill her using a bizarre organic gun that fires human teeth. Ted Pikul (Jude Law) works for the games company and is instructed to accompany Allegra as she escapes with her damaged product. The software is stored on a living organic pod and a connection between players is made by plugging into the system via a ‘bioport’ at the bottom of the spine (hello creepy body invasion!). Allegra and Ted must start a new game in order to determine how badly damaged the pod is and it’s not long before the line between reality and the game world blurs completely. Who is responsible for the failed assassination attempt and who can Allegra trust to save the game, and ultimately her life?

The ideas that Cronenberg explores are unquestionably interesting but the low budget nature of the film doesn’t always support them very well, particularly when it comes to the sets and environments, which are mostly all drab and uninteresting. Jude Law and Christopher Eccleston both have painfully bad American accents and some of the actors playing minor parts are terrible. You could argue that this is intentional and part of the ‘game world’ but I’m not sure they can be forgiven. The ending is also pretty cliched and frustrating. Some hail the film as a masterpiece but I’m hard-pressed to understand why.

This Japanese poster features a unique image and is significantly more interesting than the drab and misleading US one sheet (lick the light!) or the ugly UK quad. The flesh coloured shapes around the edge are organic and include human hands and other body parts. The little pink lizard in the credit area is featured in the film as a stop-motion creature.

The original trailer is on YouTube.