Given the very nature of the sort of cinema I gravitate towards its an unavoidable fact that every now and again I stumble onto something that’s banned somewhere, but this may be the first time I’ve ever crossed paths with a banned episode of a television series. The now-infamous episode 12 of Tusburaya Productions’ excellent Ultra-sequel Ultra Seven ran afoul of the same cultural sensitivities that would land Toho’s Prophecies of Nostradamus: Catastrophe 1999 in the hot seat just a few years hence, the result being that it has not been seen (officially) in its native Japan in decades. Those of us elsewhere have proven luckier. While Tsuburaya Productions have pulled the episode domestically and now (according to the interwebs) refuse to so much as acknowledge its existence, Yusei yori Ai o Komete (From Another Planet With Love) was marketed in foreign territories none-the-less. Those fond of Cinar’s mid-80s English adaptation of the series may remember it as the modestly spelling-challenged Crystalized (sic) Corpuscles.
The fuss in this case is all to do with Cristalized Corpuscles‘ requisite villains, a race of chortling backroom baddies from the nuke-ravaged planet Spellia who are out to fill their irradiated veins with delicious Earth blood (“This planet gives good blood!”). For a television show produced in a nation in which A-bomb survivor lobbyists are still counterbalanced against lingering stigma and discrimination the concept of bomb-happy galaxy-trotting vampires gleefully bleeding Earth-men dry is already treading on very thin ice. While likely more than enough on its own to incite an uproar among victims’ rights groups, Crystalized Corpuscles takes the issue one step further in its physical depiction of the Spell Aliens in their native form:
In retrospect it’s easy to see why the appearance of the Spell Alien – a gargantuan pallid figure with a sinister, expressionless face, covered in glowing keloid scars (lingered upon in close-up, no less) and raving about his desire for the blood of children – proved offensive. Even with my Western sensibilities firmly intact I find the presentation a bit tasteless, though it’s done nothing to lessen my innate personal revulsion to censorship, self-inflicted or otherwise. To that end I’m not entirely positive that the word “banned” is even appropriate to this case. Tsuburaya Productions have certainly pulled the episode from domestic circulation, but that appears to have been of their own volition – an effort made, no doubt, to avoid or mitigate a possible scandal. Crystalized Corpuscles was still made available to foreign markets, and well after the domestic moratorium went into effect. And moratorium be damned, even the original Japanese version is but a few clicks away anymore.
With words like “infamous” and “banned” weighing so heavily upon it, it’s easy to neglect the episode itself, which is second to none as an example of the heady ambition and audacious absurdity that mark the best of classic tokusatsu television. The premise is as ludicrous as they come, concerning a nefarious alien scheme to harvest the blood of women and children with wrist watches, but director Akio Jissoji (Tokyo: The Last Megalopolis) delivers not just a rollicking pulp actioner, but an oddball satire of romantic cinematic convention as well! Even the compulsory episode-ending Ultra-fight is handled with unexpected artistry, the battle cast in rich sunset color and depicted in a bizarre freeze-frame style complete with audible shutter clicks. It’s as surprising a 24 minutes as has ever been produced for Japanese genre television, and with an intriguing cultural significance as well. One only wishes it were more officially available…