In the 1970s, South Korean director Shin Sang-ok and his actress wife Choi Eun-hee were celebrated as one of the premier couples in the industry, eventually reaching the eye of North Korean dictator Kim Jong-il. He eventually kidnapped the couple and brought them to North Korea to make them jump-start the country’s film industry with several propaganda pieces, including this particular effort which is towards the end of their kidnapped stay. It is generally known as the North Korean Godzilla not only in deference to the similar style of a giant monster but also because of the connection to the series as the special effects here were created by the same team.

Buy This

In the middle of a deadly drought, a group of poor villagers living in the mountains grows weary of the orders handed down to them by their controlling leader and set out to use a deadly monster under their control to push his armies back, only to then try to control the ravenous creature.

This is an incredibly involved and impressive storyline. The mix of a feudal setting with the monster action is a nice change of pace but also, managing to set the action in that time-period, makes for a rather fun series of setups throughout. The idea of the brutal, tyrannical ruler who hands out outrageous orders and expects for a clear-cut series of follow-ups to his orders gives a strong backdrop to the movie, what with the raid on the village in order to secure iron of all objects, to the imprisoning of the family for their decision to speak out on his rules. This thinly-veiled political commentary on the actual events going on in the country adds immensely to the film’s impact by making a reference to the way the real leader of the country was ruling over the people.

The second half of the film, where it focuses on the rampaging creature running loose on the general’s armies and throwing everything into chaos, also has plenty to like about. The feudal war setting allows for the battlefield style of action scenes to be included, rather than seeing more modern settings, given the fact that this one keeps us engaged with the fun manner of introductions done to bring up the monsters’ backstory. Showing plenty of humanity with its ability to follow his orders blindly, while also giving the trait of eating metal and iron. which is quite nicely woven throughout the film also tackling the social commentary, giving this a decent overall story arc.

Given that the special effects are the product of the Japanese crew, it’s no surprise they’re rather impressive. The Baby Pulgasari is seen first, played by the same actor who performed as Minilla back in the 1960s. The embarrassing antics are gone as the smaller creature is just shown to be doing what comes naturally to it which means that it eats iron any chance it can. Although the eyes are a touch too large even for a more naive and younger being, there’s some solid design work on the suit itself to make it look rather imposing and yet still being suitable for an infant of the species. The model-work to show it when it’s still as a toy-sized creature looks remarkably close to the suit he’s to perform in even though it’s quite stiff and looks like the model it really is.

As for the larger creature, this is a much more impressive and imposing design. Looking like a walking reptilian statue with a bulky, powerful body, large horns on the side of its face and an impenetrable shield around its neck like a shoulder pad, the creature looks appropriately folklorish from that part of the world while also maintaining the distinct edge of being created by the team responsible for the Godzilla series. Though slow and somewhat clumsy in its movements, the power of the creature is impressive as it survives several sure-fire traps which make the film out to be reminiscent of the Godzilla series where the military conduct a series of traps and encounters with the beast. He really scores well here and looks suitably imposing in his movements.

The miniature effects work here is outstanding, offering a new look with the feudal buildings and temples being a different atmosphere compared to the usual skyscrapers coming into play. The early scenes of it attacking the rampaging army are equally as effective, but the standout sequence of the monster at the palace exacting its final revenge is the most impressive one. Even the little miniature weaponry of the army that it picks up looks impressive, and it really only slows down slightly with the incredibly awful rear-screen projection used to show the creature interacting with the human army. It’s the only part of this that doesn’t hold up.

The few cast members here are quite decent. Chang Son Hui is quite fun as Ami, the lead girl who becomes connected to Pulgasari, being quite appealing with her intense desire for justice. She’s strong, resourceful and brave which appeals to the kind of female heroines created in the Godzilla series and makes her a truly standout entry in the genre. Her revolutionist brother Inde, played by Han Gi Sop, isn’t nearly as fun but he does have his moments. Also headstrong in his desire for freedom and justice but level-headed to not rush into anything foolishly, he displays plenty of tact leading the fellow villagers into battle with some ingenious plans even though he disappears from the film following the monsters’ giant-size appearance. The main villains are the prototypical cackling madman looking out for their own interests who do nothing else but march around with their own perceived superiority over the poorer peasants trying to rebel against them, but that doesn’t stop Riyonun Ri as General Fuan nor Pak Yong-hak as The King from doing solid work in the roles.

Although a lot of small issues pop up here and there with the films’ controversial backstory and some mild issues involved with this, yet on the whole, this is definitely a worthwhile and enjoyable giant monster effort.

This review was originally posted on Don’s World of Horror and Exploitation and is gratefully reprinted with their cooperation.