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For the town in the Democratic Republic of the Congo, see Matango, Democratic Republic of the Congo.

Matango (????) is a 1963 Japanese horror film directed by Ishir? Honda. The film stars Akira Kubo, Kumi Mizuno and Kenji Sahara. The film was partially based on William H. Hodgson's short story "The Voice in the Night" and is about a group of castaways on an island who are unwittingly altered by a local species of mutagenic mushrooms.

Matango
Theatrical release poster
Directed byIshir? Honda
Produced byTomoyuki Tanaka
Screenplay byTakeshi Kimura
Starring
  • Akira Kubo
  • Kumi Mizuno
  • Kenji Sahara
  • Hiroshi Tachikawa
  • Yoshio Tsuchiya
Music bySadao Bekku
CinematographyHajime Koizumi
Production
company
Toho
Distributed byToho
Release date
  • August 11, 1963 (1963-08-11) (Japan)
Running time
89 minutes
CountryJapan

Matango was different from Honda's other films of the period, exploring darker themes and featuring a starker look. It was nearly banned in Japan because its depictions of altered humans bore a resemblance to victims of the atomic bombings of Hiroshima and Nagasaki. The film was released theatrically in the United Kingdom and directly to television in the United States in shortened forms. The film is relatively obscure, with little critical analysis. In Monsters and Monstrosity from the Fin de Siecle to the Millennium: New Essays, Anthony Camara noted that the film was mostly familiar to "aficionados of Asian cult cinema, fans of weird literature, and sleepless consumers of late-night television programming". Retrospective reviews generally commented on how the film varied from Honda's other work, with its darker tone.

Screenplay

In Tokyo, a man travels to visit a university professor named Kenji (Akira Kubo) who is being held in the psychiatric ward of a hospital. The professor tells the man that although what happened to him sounds crazy, it is the truth. He begins his story.

A Japanese yacht on a day trip is nearly capsized by a sudden storm. The crew and passengers include Kenji; skipper Naoyuki (Hiroshi Koizumi); his shipmate assistant Senzô (Kenji Sahara); writer Etsurô Yoshida (Hiroshi Tachikawa); celebrity Masafumi Kasai (Yoshio Tsuchiya), the owner of the yacht; and two female passengers, professional singer Mami (Kumi Mizuno) and student Akiko (Miki Yashiro). The storm badly damages their ship, destroying the rudder and sails, which causes the vessel to drift uncontrollably. A few days after hearing a radio announcement that they were lost at sea, the group arrive at a seemingly deserted island. After disembarking and spending a day in search of food and water, they come across ponds that seem man-made, full of fresh rain water, along with a seemingly endless forest of mushrooms. However, Naoyuki warns them not to eat the mushrooms because they may be poisonous.

As they cross the island, they come upon a shipwreck on the shore. Although it seems to have been there only about a year, its sails are rotted and its interior is covered with a mysterious mold. Finding that the mold succumbs to strong cleansing products, they work to clear it from the ship. In doing so, they begin to suspect that the ship has been involved in some sort of nuclear testing of the polluted waters, forcing a bizarre mutation on various organisms, including mushrooms. As the days pass, the group grows restless as their supply of food stores starts to run low. They try unsuccessfully to hunt for turtle eggs and birds. With Kasai refusing to help find a way off the island, stealing from their food stores instead, Yoshida becomes concerned about their provisions and decides to try eating the local mushrooms.

One night, as Kasai is raiding the food stores, he is attacked by a grotesque-looking man who promptly disappears after encountering the group, presenting yet another mystery about the island. Yoshida and Kasai fight over Mami's affections. Suddenly, Yoshida goes insane as a result of the mushrooms he ate earlier. He pulls a gun on the men, but is locked inside Kasai's room. Naoyuki decides they must leave the island to survive. The others disagree, so he departs on his own. Mami frees Yoshida and they attempt to take over the ship, shooting and killing Senzô in the process. Kenji and Akiko manage to wrest control from the two and force them off the ship. Kenji finds the yacht adrift and swims out towards it. He finds Naoyuki missing and a note left behind explaining that he's responsible for the deaths of his group and has jumped overboard. On the ship, Kasai is confronted by Mami, who entices him to follow her into the forest. Perpetual rainfall has caused wild fungal growth, and Kasai realizes that those who have been eating the mushrooms have turned into mushrooms themselves. They are addictive and cannot be resisted after the first bite. Kasai is last seen collapsing as mushroom beings swarm him.

Meanwhile, Akiko and Kenji are attacked in force by the mushroom people. They are separated and Akiko is kidnapped. As Kenji tracks her down, he discovers that she has been fed mushrooms and is under their influence along with Mami, Yoshida, and Kasai. Kenji attempts to rescue Akiko, but he is overwhelmed by the mushrooms and flees without her, making his way onto the yacht and escaping the island.

Several days pass before Kenji is finally rescued. As he waits, he begins to wonder if he should have stayed with Akiko on the island. He turns toward the audience, his face covered in fungal growth, and says that it would not have made a difference whether he had stayed or not, but he would have been happier there with his love. The screen fades as Kenji notes that humans are not much different than the mushroom people.

  • Akira Kubo as Professor Kenji Murai
  • Kumi Mizuno as Mami Sekiguchi
  • Kenji Sahara as Senz? Koyama
  • Hiroshi Tachikawa as Etsur? Yoshida
  • Yoshio Tsuchiya as Masafumi Kasai
  • Hiroshi Koizumi as Naoyuki Sakuda
  • Miki Yashiro as Akiko S?ma
"Around this time, there were people who started to be Americanized, or have a very modern lifestyle. There were rich people who sent their kids to school in foreign cars, that kind of thing. We tried to show that type of social background in this film." - Honda on the film's social themes.

Director Ishir? Honda was better known for his kaiju (giant monster) films, but occasionally developed horror films such as The H-Man (1958) and The Human Vapor (1960), where characters become bizarre transformed beings. Honda's last film in this style was Matango. Bill Cooke noted in Video Watchdog that Matango defies easy categorization as a film belonging to either the kaiju (monster) or kaidan (ghost) genres of the era. In his book Japanese Science Fiction, Fantasy, and Horror Films, Stuart Galbraith IV described it as a psychological horror film that "contains science fiction elements".

In their book Ishiro Honda: A Life in Film, from Godzilla to Kurosawa, Steve Ryfle and Ed Godziszewski stated that both thematically and visually, Matango was "uniquely dark" among Honda's films and was a radical departure from his brightly lit and lighthearted films Mothra and King Kong vs. Godzilla. Art director Shiegkazu Ikuno designed the stark look of the film. Koji Kajita stated that Ikuno was Satoru Cuko's apprentice, and was "known for set designs that were the vanguard, experimental sets". Takeshi Kimura wrote Matango's screenplay based on a treatment by Shinichi Hoshi and Masami Fukushima of S-F Magazine editor Fukushima's story.

The story itself was based on William H. Hodgson's short story "The Voice in the Night", which originally appeared in the November 1907 issue of Blue Book. The script was relatively faithful to "The Voice in the Night", but added a number of extra characters. Honda was also inspired by a news story about a group of rich kids who took their father's yacht far into the sea and had to be rescued. Early drafts featured characters paralleling their real-life counterparts, as well as reports of ships and aircraft vanishing in the Bermuda Triangle. Tomoyuki Tanaka produced the film, with music by Sadao Bekku and cinematography by Hajime Koizumi.

According to Yoshio Tsuchiya, Honda took the project seriously, telling actors before production that the film was "a serious drama picture, so please keep this in mind and work accordingly". Tsuchiya also explained that in addition to the official ending of the film, a different ending was shot where Kubo's face was normal. Matango was Honda's first film to use the Oxberry Optical printer, which Toho purchased from the United States to allow for better image compositing. The printer allowed the ability superimpose up to five composite shots, allowing the crew to avoid costly hand-painted mattes and glass shots.

Theatrical

 
Matango was nearly banned in Japan because some of the makeup resembled the facial disfigurements characteristic of those who survived the atomic bombings of Hiroshima and Nagasaki.

Toho released the film in Japan on August 11, 1963. Honda described it later as a film that was not "a typical Japanese mainstream movie at all", saying, "When critics saw it, didn't like it, so that was pretty much the end of that film". Matango was nearly banned in Japan because some of the makeup resembled the facial disfigurements characteristic of those who survived the atomic bombings of Hiroshima and Nagasaki.

Matango was Honda's first film not to receive a theatrical release in the United States. There, American International Television released it directly to television in 1965 as Attack of the Mushroom People. This version of the film had a run-time of 88 minutes. Toho produced an English-dubbed version of the film, but it is uncertain when it was officially released.

Home media

Before to Matango's release on home video, Galbraith noted that the film was shown frequently on American television during the 1960s and 1970s, but as of 1994, it "ha all but disappeared". Ryfle and Godziszewski stated that Matango was considered an obscure film for many years after its release.

The film was released on home video in the United Kingdom in the 1980s under the title Fungus of Terror.Matango

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