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.
