Alakazam the Great (1960): A 50th Anniversary Review
Let’s see, how do I compare the first movie I ever saw as a five year old to how I see it 50 years later? I’ll begin by sharing that I believe in fate; coincidence is not coincidence. The anime ALAKAZAM THE GREAT (1960) is the first movie and “martial arts” film per se that I ever saw. It’s a Japanese film adapted from a Chinese kung fu novel about the Monkey King, and it was in a theatre in the middle of nowhere England (Tadley), a country still living in the past and distrustful of the Japanese since WW II. Yet there it was.
Coincidentally (or not), I was born in the Year of the Monkey, and when it comes to cinema, Fant-Asia and martial arts films are my shtick, which has just climaxed with the completion of my first book, The Ultimate Guide to Martial Arts Movies of the 1970s. The book includes in-depth martialogies on many sci-fi/horror kung fu films made during the 1970s, some of which I’ll exclusively reveal to Cinefantastique Online before the book’s Nov. 2010 release.
Here are my childhood memories of the film. Alakazam was a wee monkey who fights with a pole and zips around the sky on a cloud. He had three friends: a pig; a cannibal who wielded a pole with a half-moon blade that he used to burrow underground; and a Prince. I vividly recall an impish, child-like villain dressed in shorts with a horn on top of his head, which he used like a telephone to call a raging bull with witch-wife who owned a giant feather. Alakazam eventually got home to save his sick monkey girlfriend, and they lived happily ever after.
Now it’s 2010, I had not seen this film since 1961, and I’m quite well versed in the Legend of the Monkey King. I was so looking forward to re-watching this.
According to the English dubbed film version: Majutsoland, which lies off the coast of Japan, is a kingdom reigned by King Amo and Queen Amas. Their son is Prince Amat. The gods see that the animal world needs a new king. Whoever can leap off the waterfall and retrieve a placard from the underwater enchanted palace shall be king. Alakazam (spoken Peter Fernandez; singing Frankie Avalon) takes the leap, becomes king, then decrees he’s smarter and wiser than all humans. To prove it, he challenges Merlin the Magician, beats him, then sets his sights on King Amo and calls him out by defiantly eating the forbidden fruit.
After Amo defeats him, Alakazam is imprisoned in a cold cave on top of a snowy mountain until he learns the stupidity of conceit and selfishness. As monkey girl friend Dee Dee (Dodie Stevens) brings him food, the cold blizzard snow begins to drain her life. Alakazam begs that he’ll do anything to save her. Queen Amas agrees to help if he accompanies her son Amat on a pilgrimage. The ulterior mission is for Alakazam is to learn humility, mercy and wisdom.
Along their way, they run into a large pig named Sir Quigley Broken Bottom (Jonathan Winters) who is trying to force a beautiful maiden into marrying him, until Alakazam saves the day. Rather than killing Quigley, he befriends and hires him to be an extra bodyguard for Amat. They next meet a cannibal named Lulipopo (Arnold Stang); after he tries to eat them, Alakazam spares his life, too, and they now have a third bodyguard for Amat.
Meanwhile, the bratty impish Fister, who has a horn on top of his head, wears shorts, and has a red scarf around his neck, leaps onto screen. Fister wants to rule Majutsoland. His boss, Gruesome, a large raging bull, agrees to help Fister if Fister can kidnap Amat and bring him to Gruesome’s cave. Gruesome plans to collect ransom from King Amo so Gruesome can pay for his wife’s mink-stole habit. Prior to leaving the cave, Gruesome gives his witch-like wife a big fan (looks like a feather), which she uses to turn things into ice with a single swish.
The next thing you know, Fister almost kills the weakening Alakazam; Quigley and Amat are captured by Gruesome and dangled over a large vat of boiling soup, and there’s no ransom demands. Just as Gruesome is about to drop Quigley and Amat into the soup, Alakazam and Lulipopo arrive, rescue Quigley and Amat, and all hell breaks lose. Volcanoes erupt, lava flows, Gruesome and Alakazam are dueling to the death, Quigley steals the fan, and back home Dee Dee is dying.
Why so many details? By knowing the original Chinese story, we can see how easily things get totally lost in translation.
The Japanese anime version calls Alakazam “Saiyu-ki.” It was the third Japanese cartoon ever made in color and the first anime film to come to America (ASTROBOY was the fourth anime feature to hit stateside in 1964). In Chinese classic literature, he is the Monkey King, Swuin Wu-kung from the novel Xi Yo Ji (“Journey to the West”) written by Wu Cheng-an during the Ming Dynasty (1368-1644). Swuin is famous for riding around on a golden cloud and fighting with a pole magically made from a strand of his hair. Accompanied by his kung fu brothers Zhu Ba-jie (a rake-wielding pig) and Xia Wu-jing (a creature with a monk’s spade: long pole with a shovel at one end and a half-moon shaped blade at the other), Swuin sets out to protect Tang San-tsang, a Buddhist monk, while he travels to India to get sacred scriptures.
One of the famous chapters tells how Princess Iron Fan and Ox Demon King want to eat Monk Tang so they can live for 1,000 years, but Tang is protected by Swuin, Zhu, and Xia. However, their son, Red Boy (aka Hong Hai-er) has mastered the Three Types of True Fire in Flaming Mountain, and they order him to kill Swuin. Just as all hell breaks loose, Goddess of Mercy Guan Ying descends from heaven to make peace on Earth.
With this in mind, it’s now pretty obvious who each character in ALAKAZAM represents. The not-so-clear ones are Fister (who is Red Boy), King Ama (who is Buddha), Queen Amas (who is Quan Ying, and Merlin the Magician (who is probably Lao Zi or some other Taoist sage). There was never a plan for ransom; Gruesome wanted to eat Amat.
So how does one compare the first movie you ever saw as a five-year-old to how you see it 50 years later as a film critic? Especially when it’s Chinese story turned into Japanese film turned into a Westernized dubbed version? Beyond all that is wrong with ALAKAZAM – dialogue, plot, character names, added-in songs to make it Disney-appealing, some obvious re-editing, and illogic up to the wazoo – to me, it’s still magical.
Historically, ALAKAZAM is the first Chinese-Japanese martial arts film that got theatrical distribution for mainstream audiences in Europe and America. This alone is a worthy reason for anyone into Fant-Asian films to see the movie.
ALAKAZAM THE GREAT (1960). 94 mins. D: Lee Kresel, Daisaku Shirakawa, Osamu Tezuka, Taiji Yabushita. C: Sterling Holloway, Jackie Joseph, Kiyoshi Kawakubo, Arnold Stang, Dodie Stevens, Jonathan Winters, Peter Fernandez, Frankie Avalon.