Review: Evil Dead Trap

Text © Richard Gary / Indie Horror Films, 2021
Images from the Internet

Evil Dead Trap (aka Shiryô no wana)
Directed by Toshiharu Ikeda
Joy Pack Film; Unearthed Classics; MVD Entertainment
102 minutes, 1988 / 2021
www.Unearthedfilms.com/carronamovie/
www.mvdb2b.com

Japanese extreme cinema has thematically come a long way since this was originally released in 1988. There are still some tropes that are often repeated, such as women abused while wearing schoolgirl uniforms usually by middle aged men, adult stars, and especially torture porn. A good example of this is the infamous gore-spectacle Guinea Pig series, starting by predating this film by half a decade. In fact, a couple of the then-top Japanese adult actors were used in the filming of this movie (much as Marilyn Chambers appeared in 1977’s Rabid and Harry Reems in 1980's Demented).

It is pretty obvious where they lifted the title of this film back in the day, but it is arguable whether there is anything supernatural going on here. An insomnia-plagued late-night talk show host, Nami (Miyuki Ono), receives a VHS snuff tape in the mail, that we get to see in loving, grainy detail. Does she call the cops? Of course not, but rather goes out to investigate. You know how in 1980s films you can spot all the stupid decisions and actions that characters make (e.g., going upstairs instead of out the door)? This one sticks out like a knife in the eye. Oh, yeah, the snuff film…

Miyuki Ono

Nami takes off with the future body count: three other women who are her production team, and a goofy, sexist male assistant director, who calls his superiors “girls.” Gotta love the ‘80s. A slight sidebar here: it may sound like I am talking this movie down, but I am not; part of the fun of this period’s genre films is the sometimes sheer ridiculousness of some of the cultural and cinematic motifs, but it is said by me in a full-smile way. This hindsight really is part of the joy of these gruesome releases. If I have a real problem with something, I will certainly let you know, so in the meanwhile, please know the basis of the snark.

The video tape leads our intrepid-but-not-so-wise group to an abandoned military base (filmed at Camp Drake, a deserted since the 1970s US Army/Air Force quarters, in Saitama, Japan) from 1956 says a sign, which is not on the map (of course). And what’s our group to do once they get there? Why lift and separate into two groups of two, with Nami off on her own. They seem to repeatedly rejoin and cleave into individuals roaming around the expansive space, down long corridors or into booby-trapped rooms.

Yuji Honma

The base setting is actually superb, if you are fascinated by abandoned buildings as I am. It is incredibly atmospheric and creepy as hell with dusky rooms, boarded windows, old furniture and equipment. You can just feel the destitution practically reeking off the screen, and the anticipation for the violence to come. And come it does. A perfect setting for a torture abattoir. Dark shades mixed with flashes of color make it a labyrinth of decay and death.

While the kills are violent, I would not categorize it as torture porn. Most of the butchery is pretty quick (albeit explicit) and not lingering.

While all hell breaks loose in malevolent ways, there are also some interesting characters floating around the base that show up at unexpected times. such as a relatively stoic man, Daisuke (Yuji Honma), who is in search of his younger brother, a man who is being systematically tormented and ordered to kill to be free, and the mysterious masked and hooded parka-wearing killer himself.

This all sets up for a third act of mano e majer, or I guess, otoko tai on’na. Throughout the film, Nami shows an interest – if not attraction – to the mindset of the mentality that would cause such a wave of nasty behavior. This helps set up the final extended showdown that is both psychological and physical, and by far the most interesting part, even though it is pretty obvious early on who is the killer and certain aspects of his behavior. That is not to say this is the only segment that will keep the viewer riveted, but the build-up is worth the nail-biting wait.

Booby-traps abound, and one might wonder if this was possibly an inspiration for the Saw franchise, especially the first one, but as with most proto-films, the ideas are there, just not as detailed in their execution, though bloody enough. And by the end, you could easily sing, “I’ve seen fire and I’ve seen rain.”

Of course, I won’t give away the ending, but while I had a close approximation of where the story was going, it certainly took a left turn that could have been influenced by the likes of David Cronenberg or Frank Hennenlotter that I did not expect, I am happy to say.

I cannot emphasize how beautiful this film is shot by cinematographer Masaki Tamura and edited by Akimasa Kawashima. The visuals are stunning, with artistic (yet not heavy handed) elan, close-ups, and the occasional (and sped up) blue-filtered monochrome. It seems a bit ahead of its time, and is jaw-droppingly framed. The gore is plentiful, of course, and looks amazing, unsurprisingly, handled by Shin’ichi Wakasa (who has also done special effects for Godzilla and Mothra films since the 1990s). This is overlaid by a repetitive and eventually annoying electronic soundtrack that reminds me of the Italian giallo films of the period.

Extras on the 4K Blu-ray include three full-length commentaries. The first is by director Toshiharu Ikeda (d. 2010) and SPFX Manager Shinichi Wakasa (badly dubbed into English) from the mid-2000s, which is somewhat sparsely discussed, mostly innocuous anecdotes about the filming, rather than deep meanings. I jumped around a bit on this one after about 30 minutes. Next is by filmmaker Kurando Mitsutake, director of films like Gun Woman (2014). It is contemporary and in English, and much more in-depth and interesting than the previous one.  The last is with James Mudge (English), of the Website easternkicks.com. Mudge not only tells anecdotes about the film, but also places it in the context of Asian Cinema – especially Japanese – writ large.

There is also a contemporary featurette, “Trappings of the Dead: Reflecting on a Japanese Cult Classics” (19 min.; English), focusing on cinema academic and author Calum Waddell. He shows both the influences of other films that led to this one, and how Evil Dead Trap has influenced others that followed, dropping dozens of names and others such as some of the ones I mentioned above, and the likes of Dario Argento and Oliver Stone. Also, he puts the film in context of Japan’s relatively modern history, from its role in World War II and the post-atomic period. Then there is the Storyboards, Behind the Scene Stills, Promotional Artwork, and a few Unearthed Trailers, including for this film.

In 1992, there was a sequel of sorts to this release, Evil Dead Trap 2 (aka Shiryô no wana 2: Hideki) that perhaps will be a future Unearthed Films release. I would definitely watch it, though it was directed by Izô Hashimoto, rather than Ikeda.