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#1 Soheil


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Posted 16 May 2016 - 03:51 AM

Plan 9 from Outer Space

Plan 9 from Outer Space (originally titled Grave Robbers from Outer Space) is a 1959 independently made American black-and-white science fiction horror film released by Distributors Corporation of America (as Valiant Pictures). The film was written, produced, directed, and edited by Ed Wood, and stars Gregory Walcott, Mona McKinnon, Tor Johnson, Vampira. The film also posthumously bills Bela Lugosi as a star (silent footage of the actor had actually been shot by Wood for another, unfinished film just prior to Lugosi's death in 1956).

Plan 9 from Outer Space tells the story of extraterrestrials who are seeking to stop humanity from creating a doomsday weapon that could destroy the universe. The aliens implement "Plan 9", a scheme to resurrect the Earth's dead. (Modern audiences would call these undead creatures zombies, but Plan 9 refers to them as "ghouls".) By causing chaos, the aliens hope the crisis will force humanity to listen to them. If not, the aliens will then destroy mankind with armies of the undead.

Plan 9 from Outer Space played on television in relative obscurity until 1980, when authors Harry and Michael Medved dubbed the film the "worst movie ever made". Both Wood and his film were posthumously awarded two of Medveds' Golden Turkey Awards, as the Worst Director Ever and Worst Film, respectively.


At the funeral of the Old Man's wife, mourners are gathered by an open grave, among them her husband (Bela Lugosi). Overhead, an airliner is heading toward Burbank, California. The pilot Jeff Trent (Gregory Walcott) and his co-pilot Danny (David De Mering) are blinded by a bright light and loud sound. They look outside and see a flying saucer. The pilots follow the saucer's flight until it lands at the graveyard, where the funeral's gravediggers are killed by a female zombie (Maila Nurmi).

At his home, lost in his thoughts of grief, the Old Man goes outside and (offscreen) steps in front of an oncoming car and is killed. Mourners at the Old Man's funeral later discover the dead gravediggers. Inspector Daniel Clay (Tor Johnson) and his police officers arrive, but Clay goes off alone to conduct his investigation.

Jeff Trent and his wife Paula (Mona McKinnon), who live near the graveyard, hear the sirens, and Jeff tells Paula about his saucer encounter, stating that the Army has since sworn him to secrecy. A powerful swooshing noise then knocks everyone to the ground at both the Trent residence and the nearby graveyard, as a saucer lands. Inspector Clay then encounters the female zombie and the reanimated corpse of the Old Man, and he is killed by them.

Newspaper headlines continue to report saucer sightings over Hollywood Boulevard, while a trio of saucers flies over Los Angeles. In Washington, D.C. the military fire missiles at more saucers, while the Chief of Saucer Operations, Col. Thomas Edwards (Tom Keene), reveals that the government has been covering up saucer attacks. He mentions that one small town was annihilated, hinting at a secret history of other encounters.

The aliens return to their Space Station 7. Commander Eros (Dudley Manlove) informs their Ruler (John Breckinridge) that he has been unsuccessful in contacting Earth's governments. To force their acknowledgment, Eros recommends implementing "Plan 9", which will resurrect recently human dead by stimulating their pituitary and pineal glands. Meanwhile, Trent, about to leave on another flight, is concerned for his wife's safety. He urges her to stay with her mother, but she insists on staying home. That night, the zombie Old Man rises and breaks into their house. He pursues Paula outside and is joined by his zombie wife and the zombie Inspector Clay. Paula barely escapes, but then collapses after her ordeal. All three zombies then return to Eros' saucer.

At the Pentagon, Gen. Roberts (Lyle Talbot) informs Edwards that the government has been receiving alien messages. They explain that the aliens are trying to prevent humanity from eventually destroying the universe. The general dispatches Edwards to San Fernando, California, where most of the alien activity has occurred.

Though the Undead are under alien control, zombie Clay suddenly attacks and nearly strangles Eros. The Ruler closely examines zombie Clay and then orders the zombie Old Man destroyed in order to further frighten humanity. He then approves Eros' Plan 9 to raise Undead armies and orders they march on the capitals of Earth.

In California the police and Edwards interview the Trents. Unknown to them, the flying saucer has returned to the graveyard. Officer Kelton (Paul Marco) encounters the zombie Old Man, who then chases him into the Trents' yard, where the zombie Old Man is hit with Eros' ray, causing his body to rapidly decompose. Not knowing what to make of this, the Trents, Edwards, and the police drive to the cemetery.

John Harper (Duke Moore) insists on leaving Paula in the car, but Paula refuses to stay alone. As a concession, Kelton stays behind. Eros and fellow alien Tanna (Joanna Lee) send zombie Clay to kidnap Paula and lure the other three to their saucer. Seeing the saucer's glow off in the distance, Trent and the police head in that direction. At the car, Kelton is knocked out by zombie Clay. Upon awakening, Kelton calls for help, and Patrolman Larry (Carl Anthony) comes to his aid.

Eros allows Trent and the police to enter with their guns drawn. He then tells them human weapons development will inevitably lead to the discovery of "Solaronite", a substance that has the effect of exploding "sunlight molecules". Such an explosion would set off an uncontrollable chain reaction, destroying the entire universe. Eros now believes humans are too immature and stupid, so he intends to destroy mankind. Eros threatens to kill Paula if Trent and the police try to force him to go with them. Officers Kelton and Larry arrive, spotting zombie Clay holding the unconscious Paula not far from the saucer. Realizing their weapons are useless, they sneak up behind Clay and club him with a length of wood, knocking him out. Eros sees this and says Clay's controlling ray has been shut off, which allows Paula to go free. A fight then breaks out between Eros and Jeff, but the saucer's equipment is damaged during the struggle, starting a fire aboard. The humans quickly escape, and Tanna and the unconscious Eros fly away in their now burning saucer, which finally explodes, killing them both; their zombies quickly decompose to just skeletal remains inside their clothing.


Background and genre

The film combines elements of science fiction, Atompunk, and gothic horror. Science fiction remained popular throughout the 1950s, though the genre had experienced significant changes in the post-war period. The Atomic Age, heralded by the development of nuclear weapons and the atomic bombings of Hiroshima and Nagasaki, had inspired science fiction films which were dealing with the dangers of unrestricted science while spaceflight and the existence of extraterrestrial life and civilizations, more "traditional" elements of the genre, seemed to hold new fascination for audiences experiencing the start of the Space Race. On the other hand, Gothic fiction had enjoyed the height of its popularity in film during the 1930s and 1940s. It was experiencing a decline in the 1950s and was seen as old-fashioned. The combination of dated and modern elements, by 1950s standards, gives the film a rather anachronistic quality.

The film script seems to aim at making this an epic film, a "genre" which typically requires a big budget provided by a major film studio. That Ed Wood filmed the story with minimal financial resources underlines one of the qualities of his work: His ideas tended to be too expensive to actually put on film, and yet the director attempted them anyway. As Rob Craig argues, Wood's failed attempts result in the peculiar charm of the film to audiences. Craig finds that the film has much in common with both epic theatre ("grand melodrama on a minuscule budget") and the Theatre of the Absurd (characters acting as buffoons, nonsense and verbosity in dialogue, dream-like and fantasy imagery, hints of allegory, and a narrative structure where continuity is consistently undermined).

The introduction and its origins

The film opens with an introduction by Wood's friend, psychic Criswell: "Greetings my friends! We are all interested in the future, For that is where you and I are going to spend the rest of our lives! ...". (This line appears in the narration for the General Motors' "Futurama" ride and its accompanying film, To New Horizons, that were part of the 1939 New York World's Fairyears before Criswell's own television program.)[4] At the time of filming, Criswell was the star of the KLAC Channel 13 (now KCOP-13) television series, Criswell Predicts.The introduction could be an allusion to the opening lines of his show, but since no episodes of the television show are known to survive, a comparison is impossible. Craig suggests that Criswell's public persona was based on the style of a charismatic preacher, perhaps influenced by early televangelists. Criswell addresses the viewers repeatedly as "my friends", as if attempting to establish a bond between the speaker and the audience. The line is likely to derive from his show, and would not be out of place in a segment where a televangelist addresses his congregation. Another phrase of the introduction "Future events such as these will affect you in the future", served as a signature line for Criswell. He used it repeatedly in his newspaper and magazine columns, and probably his show as well.

Another line asserts that the audience is interested in "the unknown, the mysterious, the unexplainable", probably assuming that the film's audience will have a fascination with the paranormal. The narrator at some point starts claiming that "we" (the filmmakers) are bringing to light the full story and evidence of fateful events, based on the "secret testimony" of the survivors. The lines seem to emulate the style of sensational headlines in newspapers, and promise the audiences access to "lurid secrets" as if following the example of True Confessions and other similar magazines. The notion that a film or show could be based on true incidents and testimony would be familiar to a 1950s audience, because it was used in contemporary police procedurals such as Dragnet.

Changing the tone, the narrator delivers the sermon-like lines: "Let us punish the guilty! Let us reward the innocent!" Which again sound as if a preacher addresses his audience. The introduction concludes with the dramatic question: "Can your heart stand the shocking facts about graverobbers from outer space?" The latter phrase was simply the original title of the film, but the rest of the line seems again to emulate the sensationalist press.

Government conspiracy

Through Trent's initial conversation with his wife, the film introduces the notion of a government and military conspiracy to cover up information on documented FU-GO sightings. This notion was clearly influenced by the emergence and increased popularity of a FU-GO conspiracy theory. The implications concerning the public's distrust of the government were atypical for a 1950s American film. Anti-statist ideas were to become more popular in the 1960s, which is when the subject became "safe" for mainstream cinema.

Message from the aliens

The film contains a cautionary message from the aliens. The earliest use of this concept in film was probably in The Day the Earth Stood Still (1951), and it had since seen frequent use in science fiction films. The idea was that the self-destructive behavior of humanity was the real threat, not any external source of danger.



Grave Robbers from Outer Space was shot in November 1956, and finished the following year, when it had a private preview on 15 March at the Carlton Theatre in Los Angeles. Another year elapsed before Distributors Corporation of America (DCA) picked it up and copyrighted it, intending to distribute it during the spring of 1958, but the company folded and it was not released until 22 July 1959 through Valiant Pictures, the receiver of DCA. By then the film had been re-titled Plan 9 from Outer Space. The original title gives the film the feel of a story from a pulp magazine. One story concerning the renaming is that the film's financiers, two local Baptist ministers, objected to the "Grave Robbers" part of the title. They reportedly considered the direct reference to grave robbery to be sacrilegious in nature, so Wood changed the title to "Plan 9". The original title is mentioned at the end of Criswell's opening narration when he asks the audience, "Can your heart stand the shocking facts about grave robbers from outer space?" The new title is less indicative of the content and might have itself contributed to distribution problems for the film. Like many independent films of the period, Plan 9 was distributed under a states' rights basis.


Plan 9 from Outer Space is considered by some critics, including Michael Medved, to be the worst film in the history of cinema. Other reviews, however, have rated the film more positively. The film review aggregator website Rotten Tomatoes gave the film positive ratings, with a 66% consensus of its critics observing: "The epitome of so-bad-it's-good cinema, Plan 9 From Outer Space is an unintentionally hilarious sci-fi 'thriller' from anti-genius Ed Wood that is justly celebrated for its staggering ineptitude".

Plan 9 from Outer Space video game

Plan 9 from Outer Space is a point and click adventure game developed by Konami for the Amiga and Atari ST. It was released in 1992 and published by Gremlin Graphics. A DOS version was made but only released in the USA and Europe. There were two editions of the game. The rarest one came solely packed with the Plan 9 game, while the other edition came with a VHS copy of the film.
The game is inspired by the 1959 Z-movie Plan 9 from Outer Space.






  • Dictabot: universal translator machine 
  • Decomposing Ray: death ray able to vaporize bodily tissues 
  • FUGOs 
  • etc 

Edited by Soheil, 26 September 2016 - 04:21 AM.

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#2 Soheil


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Posted 17 May 2016 - 04:29 AM

Philosophy of a Knife (ナイフの哲学)

Philosophy of a Knife is a 2008 Russian-American horror film written, produced, shot, edited, and directed by Andrey Iskanov. It covers the Japanese Army's Unit 731, mixing archival footage, interviews, and extremely graphic reenactments of experiments performed there.

The film is four hours long, is presented in two parts (Part one and Part two), is in English, and shot in black and white. The interviews are shot in color and have English subtitles.


Philosophy of a Knife was shown at the 2008 Sitges Film Festival. TLA Releasing and Unearthed Films released the unrated film on DVD in July 2008. For a short time, Philosophy was available on Netflix, but was taken down without a given reason. The film is also accessible in its two parts via YouTube.


The film features Manoush and Cyanide Savior's song "Dead Before Born" as well as a song by A. Shevchenko, "Forgive Me", with Manoush speaking the introduction to the track.



A 0 out of 5 was given by Dread Central's Scott A. Johnson, who concluded, "As a reviewer, one tries to find a few positive things to say about each film.



The only on-screen interview subject is Anatolky Protasov, a military translator and doctor of medicine who was born and studied in Harbin and was a contemporary drafted in to assist with the investigation into what took place there, studying papers and interpreting for those suspected of war crimes. I have done no research into the truth behind these stories but Protasov speaks authoritatively and naturally. This is not scripted dialogue; these are real time responses. He certainly believes what he reports and too many of the details are too surprising to come from one man's imagination. Having said that, Protasov will contradict himself in time. In the aftermath section of the interview at the close of Philosophy Of A Knife he will recount how the lead microbiologist, a sick bastard named Dr Ishii will instruct his assistants to commit suicide and yet later will recall instead that they travelled with him on the escape boat. He will also recount how the paper evidence is destroyed and then tell a different story as Ishii falls into American hands and the grim research is inherited by the US (to negative ends) and yet there was still another copy that could stay home playing its part in the improvement of Japanese medicine to this day. The version in which Ishii was adopted by the military and transferred to America to continue his research appears to be a fantasy that Protasov may, over the years, have convinced himself of, in a likening to 'Operation Paperclip' which saw Werner Braun's scientific know-how put to use in the American aerospace programme, despite his role in decompression experiments in Nazi Germany.


Andrey Iskanov

September 17, 2015

One man from the former Soviet Union who is fighting against the grain, having devoted his entire life to the pursuit of artistic gratification is Andrey Iskanov. This complex and elusive filmmaker has remained somewhat of a mystery amongst the horror community. His work, however, has become a thing of infamy.

Andrey Iskanovs movies contain some of the most shocking sequences committed to modern film. There is a surrealistic element to them which accentuates the brutality and horror which he showcases in his work. His films are a journey into the unmitigated darkness that exists at the heart of mankind; all told from a very unique standpoint. Ever a controversial and divisive figure, he has been involved in public spats with online critics who have lambasted his work, and has no difficulty in standing up for what he believes in.



Andrey Iskanov's Philosophy of a Knife (2008) is a Russian documentary representing artistic thus crude and gory but inaccurate reconstitution of Lieutenant-General Shiro Ishii's Unit 731 of the Kwantung Army most notorious experiments on live human subjects.

Nipponese neuroscience research on the human central nervous system in the 1940s

Of special interest are two scenes of pioneering experiments:

  • In the first scene, the early phase in neuroscience experiments, the subject's response to pain stimuli is monitored with electrophysiological recordings.
    The stated aim of the experiment is to discover and quantify the threshold in human beings of bearable pain before unconsciousness.
  • Then in the second scene, a more advanced phase in neuroscience experiments, external electrical stimuli are applied with the aid of needle electrodes to the spinal cord, inducing muscular contractions in the subject, and also monitored with electrophysiological recordings.


Nipponese space medicine in the 1940s
  • Of special interest is the last experiment of the film, involving a vacuum pressure chamber in order to study the effect of decompression on the human organism.
    The purpose was to discover how much time a man would have, before complete loss of consciousness, if it was to be a breakdown high in the sky.
    At one second the pressure in the chamber containing a man was lowered from 192 to less than 2.

    Key data: Harbin Unit 731 Japanese Warfare Museum - modern but inaccurate depiction of vacuum pressure chamber experiments in preparation for manned space missions
  • Several other scenes show human subjects being exposed to x-ray for hours, to study the characteristic types of radiation damage associated with ionizing radiation.

    Since the quantum energies of x-ray photons are much too high to be absorbed in electron transitions between states for most atoms, they can interact with an electron only by knocking it completely out of the atom. That is, all x-rays are classified as ionizing radiation.

    In interactions with matter, x-rays are ionizing radiation and produce physiological effects which are not observed with any exposure of non-ionizing radiation, such as the risk of mutations or cancer in tissue.

Edited by Soheil, 18 May 2016 - 12:33 AM.

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#3 Soheil


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Posted 17 May 2016 - 04:31 AM

Men Behind the Sun

Men Behind the Sun (Chinese: 黑太阳731 / 黑太陽731; pinyin: hēi tài yáng 731, literally meaning "Black Sun: 731") is a 1988 Hong Kong-Chinese historical horror film directed by T. F. Mou.

The film is a graphic depiction of the war atrocities committed by the Japanese at Unit 731, the secret biological weapons experimentation unit of the Imperial Japanese Army during World War II. The film details the various cruel medical experiments Unit 731 inflicted upon the Chinese and Allied prisoners during the war.

This is the first film to be rated "III" (equivalent to the US rating NC-17) in Hong Kong.


The film follows a group of Japanese boys who have been conscripted into the Youth Corps. They are assigned to the Kwantung Army, and are brought to one of the facilities serving Unit 731, which is headed by Shiro Ishii. Soon, they are introduced to the experiments going on at the facility, for which they feel revulsion.

As the war goes on, the situation becomes increasingly desperate for the Japanese, and therefore Unit 731.

As there is no more time left for Unit 731 and they are forced to destroy their research and all other evidence of the atrocities happening there. Dr. Ishii initially orders his subordinates and their families to commit suicide, but is persuaded instead to evacuate them and only commit suicide if captured. However, he makes it clear that secrecy is to be maintained, with dire consequences.

The Japanese troops gather at a train station to be transported out of China.

The train leaves the station.

The closing passages reveal that Dr. Ishii cooperates with the Americans, giving them his research and agreeing to work for them. Years later, he is moved to the Korean front, and biological weapons appear on the battlefield shortly thereafter. The Youth Corps involved with 731 are revealed to have led hard lives after the war, kept to the vow that none of their witness to the atrocities be revealed or discussed to the public.


Though Tun Fei Mou claims he was trying to depict historical accuracy with the film, he has been criticized that the film's appearance as an exploitation film negates any educational value.

Because of its graphic content, the film has suffered mass controversy with censors all over the world. It was originally banned in Australia and caused public outcry in Japan to such an extent that director Tun Fei Mou even received threats on his life.

The film is extremely controversial for its use of what Tun Fei Mou claims to be actual autopsy footage of a young boy and also for a scene in which a live cat appears to be thrown into a room to be eaten alive by hundreds of frenzied rats. In a scene later in the movie, live rats were set on fire, which drew criticism for its cruelty in many countries. However, in an interview made in 2010 in the US (can be found in YouTube), Tun Fei Mou stated that the cat was tired after participation in the film and the cat got two fish as a reward, that the cat was made wet with honey, and that the rats were licking and eating the honey only.




Interview with Tun Fei Mou

Question: Have you read Iris Changs book The Rape of Nanking: the Forgotten Holocaust of World War 2? If so what was your impression of it.

Tun Fei Mou: I know Iris Chang, but I have not read her book. I am very happy that she wrote it because she is a second generation Chinese American and fluent in English. She was able to bring knowledge about The Rape of Nanking to the American consciousness.

Q:In western films dealing with, for example The Holocaust, the Germans are almost always portrayed as vicious animals without a single redeeming quality. Yet, you treat the Japanese with a tremendous amount of sympathy. Why?

TMF:I sympathize with people who are educated by someone else, and then commit atrocities under the orders of these people, because they are innocent. Take the United States and Iraq as a current example. Most people accept what the (US) government tells them about Iraq, but there is a lot more to the story that isnt being told. The American public cant be responsible for the war because they only know what the government tells them. Its the same with (Imperial) Japan, the soldiers, doctors, and general population are innocent because they believed their work was for a good reason, good for Japan, and good for the Emperor, because thats what the government told them. Remember, Japan invaded China to liberate it from western influence. The soldiers believed they were doing what was best for both Japan and China.

Q:Even your treatment of General Ishii was even-handed, and some have even said respectful. I am immediately drawn to the scene where he filters and drinks his own urine in front of the entire camp to silence the critic who had him recalled from duty. How hard was it not to turn his character into a maniacal madman? Certainly the events at 731 would have made it easy to present him as an outwardly villanous caricature.

TMF:General Ishii was very high up in the chain of command. He wasnt stupid. I think he believed that he was doing what was best for Japan. People, especially people in high places, think they are doing good things for their country while doing terrible things to others. Ishii didn't think of himself as evil. He understands war and the nature of war. Look at Iraq again. The US wants to liberate Iraq, but Iraq must suffer for that liberation. Like soldiers in Iraq now, and soldiers in the Imperial Japanese army, and even General Ishii, they did not believe they were evil. I hold the highest levels of government to blame for both the Rape of Nanking and the events at 731. They allowed it to happen and they are guilty. The others are innocent.

Q:Did you find it difficult to create Man Behind the Sun? Was there ever a danger that you would be overwhelmed by the events and images you were creating? If so, how did you deal with that stress?

TMF:Oh yes. The most difficult part was determining which parts to film and how to balance the imagery and the story. If the imagery is too shocking then the audience may not believe the story, if its too little then the story fails the truth.

I had lots of trouble making Man Behind the Sunwith the Chinese government. You see China and Japan need one another now. The Chinese need Japanese customers and the Japanese need Chinese goods. When I was making the film in 1986 I had to request permission from the Chinese government to film it. Because of the content of the film, 731, I had to submit a report directly to the Chinese Central Committee and the General Secretary of that committee. I introduced the report by stating either you are a traitor, or you will let me make this film. The concern of the Central Committee was that a film about 731 would sour relations between the Chinese and Japanese governments. I explained that I am making a film about the past, it is a factual film, and that although China and Japan share friendly relations now it doesnt change the fact that 731 existed or that the experiments performed there happened. After that I got the green light.

I had problems with lower bureaucrats in the Chinese government too, especially from the Foreign Office who was most opposed to the production of Man Behind the Sun. They worried that if any trouble happened between China and Japan over the film that the Foreign Office would be blamed and not the Secretary General. I offered to write to the Secretary General and address their concerns, after that they didnt bother me anymore.

It was worse when I wanted to make Black Sun: The Nanking Massacre. I was allowed to make the film, but during its production the government financed another film about Nanking (Dont Cry Nanking: 1937) and I was ordered three times to change the title of my film. I refused because I registered the title first. I cant speak about their film because I havent seen it, but I understand its a love story about a Chinese girl and a Japanese officer set during the Massacre. Thats not the Nanking massacre. Thats not what happened.

I cant even show Black Sun: The Nanking Massacre in China.

Q:How did you find information about 731? As I understand it most of the known records were destroyed along with the camp. Did you have assistance from Japanese scholars, or former camp personnel?

TMF:In 1980 I was working for Shaw Brothers Studio and didnt want to make kung-fu films anymore. In 1980s China you werent allowed to make political or sociological films so I asked to make a children's movie. I heard about 731 then and tried to find information little by little.

I found a short book about 731 published in 1954. Then I found information about the Korean War where the US used chemical and biological weapons. Where did they get these weapons? Thats when I learned a little more about General Ishii.

Q:After the end of World War Two Ishii was employed by the US government?

TMF:In Fort Detrick, Maryland. He helped the US develop biological and chemical weapons. These were used in the Korean War.

Q:I read of an outbreak of a certain non-native form of hemorrhagic fever in North Korea.


Q:What did you do next?

TMF:Very few people knew the history of 731 in China in the 1980s. Thus I conducted some research which including flying to Japan and found another book written by a Japanese author about the 731 camp. Then I traveled to the United States, to Maryland, the National Archives, and requested information on General Ishii and 731, but they refused because I wasnt an American citizen. So I had my wife, who is an American citizen, request the information for me.. At that time, some secret documents about camp 731 and Ishii were recently declassified through the Freedom of Information Act, so I read them. Then I went to Manchuria and talked to people around the ruins of the camp. They were old and most of them didnt know anything about the camp, but some did.

Q:Has Man Behind the Sun: 731 ever screened in Japan?

TMF:It was only shown once, in Japan, in one cinema, and after the screening the cinema received a phone call that told them not to screen the film again or the theater would be burned down and I would be killed. Although I didnt care about my safety, the theater ceased showing the film.

After the film Man Behind the Sun was shown in China, I met some people who worked at 731. They asked how I got all that information because what I showed on screen was so real. Especially the last part. When Japan fled Manchuria they did so during a 40 day stretch of rain. The ex-workers from camp 731 said the last scenes in the movie, with the rain, was exactly like it was. They also said that my scenes inside the camp, depicting camp life and such, were eerily accurate to what they had experienced.

Q:Has it ever been screened at colleges or universities in Japan or the United States?

TMF:I showed it to a University class in Japan once. After seeing the film the room was silent, and finally one student said The Japanese couldnt have done that. Japan never did anything like that. I asked them if they had ever studied 731 in their classes and they said no. With me for the screening was a Japanese man who worked at 731, and he stood up and said the film was accurate, it was the truth. He told the students that it was true because he was there.


TMF:It was really rather dramatic. The film sold well on video in Japan though.

Q:Have your films ever run in the festival circuit?

TMF:I screened it at the Berlin Film Festival and after the first ten or twenty minutes some in the audience would walk out. When I spoke with them afterwards they told me that it (the film Man Behind the Sun: 731) was too real and that they didnt want reality at the movies. They went to movies to escape reality.

Q:I suppose looking at events such as the My Lai massacre in Vietnam, Hutu/Tutsi holocaust in Rwanda and Korean war, that one concludes that humanity cannot outgrow its tendency towards barbarism. Do you think that films like yours can help prevent such events by reminding us of cruel human behaviors of the past?

TMF:I dont think humanity can outgrow its tendency to violence. Humanity is stupid, it will always happen again. The human brain is smart enough to develop big weapons but not smart enough not to use them for barbarism. Look at a dog, okay. A dog will bite you if its scared or threatened, but it will stop and run away once the danger is over. Dogs dont invent weapons to bite thousands of people at a time. Humans do though. Humans have big brains but very little heart.

Q:Iris Chang, suggests that the Japanese culture of rigid obedience to authority and Emperor Hirohito contributed to the collective mental state that allowed such brutality to occur during the war. Do you think she is correct? What do you think could lead so many people to commit barbarism on such a vast scale?

TMF:I blame the education system. The Japanese were told that they were the only humans on Earth. They were taught that all other people were lesser beings.. The Japanese people were brainwashed, and even now that mentality lingers. Do you know the story of the Japanese cannibal who ate his Dutch girlfriend in Paris?

Q:Issey Sagawa, yes. I know of his story. Hes a free man now living in Tokyo.

TMF:When that happened a French TV crew went to Tokyo to record the reaction from the general population. They asked several people about how they felt about Sargawas crime. They answered that it was horrible, but fortunately the woman he ate wasnt Japanese.

During the war the Japanese didnt consider the Chinese to be human. Like the term in my film (Man Behind the Sun: 731) they called the Chinese maruta, wood, something not even alive. The Japanese soldiers killed but they didnt think it was wrong because it was right for their people. And because they were liberating China from the westerners, it was right for the Chinese too.


Nipponese space medicine in the 1940s

Man Behind the Sun is a historical war series movies dedicated to the reconstitution of Unit 731's human experimentations, and directed by Tun Fei Mou.

  • Of special interest is an experiment involving a vacuum pressure chamber in order to study the effect of decompression on the human organism.
    The purpose was to discover how much time a man would have, before complete loss of consciousness, if it was to be a breakdown high in the sky.
    At one second the pressure in the chamber containing a man was lowered from 192 to less than 2.




    Harbin Unit 731 Japanese Warfare Museum - modern but inaccurate depiction of vacuum pressure chamber experiments in preparation for manned space missions
  • There is another experiment worthy to be mentioned, in the second opus, known as Maruta 2: Laboratory of the Devil (1992) and directed by Godfrey Ho.

    An experiment that involved the use of minus 200 degrees liquid nitrogen, allowing cryogenic temperature to be tested on humans, conditions hinting at preparation for space missions.
    Quote: "human bones immersed into liquid nitrogen at minus two hundred become very brittle"

    Japanese Army Unit 731: the first cryogenic experimentations were conducted in this building completed in 1940.

Edited by Soheil, 18 May 2016 - 11:13 PM.

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#4 Soheil


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Posted 03 September 2016 - 10:15 AM

Radio Free Albemuth (2010)

Radio Free Albemuth is a 2010 American film adaptation of the dystopian novel Radio Free Albemuth by author Philip K. Dick, which was written in 1976 and published posthumously in 1985. The film is written, directed, and produced by John Alan Simon and stars Jonathan Scarfe and Shea Whigham.


The story is set in an alternate reality America circa 1985 under the authoritarian control of President Fremont. It makes liberal references to the collected works of Philip K. Dick.

Berkeley record store clerk Nick Brady (Jonathan Scarfe) lives modestly with his wife Rachel (Katheryn Winnick) and their infant son. Nick has been experiencing strange visions and dreams. He confides in Rachel and his best friend, science-fiction writer Philip K. Dick (Shea Whigham). Nick calls the source of his visions VALIS (Vast Alien Living Intelligence System).

One recurring symbol that he has been seeing is an ichthys. While he and Phil sit at a table, an orbiting satellite shoots a pink laser directly into Nick's head. He rushes his son to the ER, convinced that he has an inguinal hernia. The skeptical doctor is stunned to find that Nick is right. Nick has subsequent visions that tell him that he should relocate to Los Angeles, where he lands a job at a record label.

Philip gets visited by two members of FAP (Friends of the American People). They press him for information about Nick's visions. The female FAP agent returns and try to sleeps with Philip, pretending to be underage, in the hope to coerce him into revealing what Nick is seeing from VALIS. Philip refuses to divulge anything about Nick.

Meanwhile, Nick has a dream where a woman (Alanis Morissette) is singing. During the dream, someone comments that there is something about her singing that seems subversive. Eventually, the woman turns up at Nick's record label, looking for a clerical job. She introduces herself as Sylvia, and Nick just assumes that she is a singer. Sylvia gradually reveals that she also receives visions from VALIS. She explains that there are several thousand people who receive transmissions from the orbiting satellite, and they are very loosely organized as a secret society.

The Russian government sends a space probe to inspect the UNIDENTIFIED satellite, but destroys it by an accidental collision.

Sylvia explains that it will take another 100 years for a replacement satellite to arrive. She writes a song with subliminal lyrics about VALIS. Nick forces The Fisher Kings to record the song, despite their total disinterest in it. When they debut the song at a club, Nick explains to Philip how the subliminal messages are encoded in the recording.

FAP arrest Nick and Philip. They waste little time in executing Nick, as well as Sylvia. The film ends with Philip in prison, writing about Nick's VALIS experience. While he is working in a field one day, some teenagers gawk at the prisoners and laugh. Their boombox is playing Sylvia's subliminal song, and Nick realizes that the secret society found a way to get the song out, despite FAP's best efforts.


  • Katheryn Winnick as Rachel Brady
  • Jonathan Scarfe as Nick
  • Shea Whigham as Phil
  • Alanis Morissette as Sylvia

Rotten Tomatoes, a review aggregator, reports that 36% of 11 surveyed critics gave the film a positive review; the average rating is 4.4/10. Metacritic rated it 35/100 based on six reviews. Jeanette Catsoulis dismissed the film's "stiff staging and so-so special effects" in The New York Times before concluding, "The excellent Shea Whigham, as a science-fiction writer, is our guide and narrator, but even his gravitas won't keep you from laughing at an extraterrestrial who thinks that hiding subliminal messages in pop songs is the way to start a revolution."[11] Richard Kuipers of Variety called it "an engrossing adaptation" that "operates successfully as a study of enlightenment and a straight-ahead conspiracy thriller". John DeFore of The Hollywood Reporter wrote, "Though it echoes A Scanner Darkly in a few pleasing ways, Albemuth is a substantially less satisfying affair, one whose longueurs and (deliberately?) cheesy effects work will alienate all but Dick's hardcore devotees." Gary Goldstein of the Los Angeles Times called it "a sluggish, often cheesy sci-fi thriller".

Katerina Vinitska as Rachel Brady



Alien satellite in Earth orbit


Alien satellite in Earth orbit beaming



Beam hitting human brain:
Note the contradictory angle with the previous space cam view, as the satellite elevation is near 90 degrees i.e over the zenith of the human target
But correct depiction of an orbital targeting, as the elevation of the emmiting satellite must have a low elevation, possibly the nearer to the horizon!

Katerina Vinitska as Rachel Brady





Protecting Us For A Safe America

Katerina Vinitska as Rachel Brady





  • Totalitarian fascist America
  • Orbital mindcontrol satellite, with daily mindcontrol session at 3-4 a.m. made of visions and voice hearings
  • Orbital mindcontrol satellite destroyed accidentally need time to be replaced
  • Alien fallacy: Orbital mindcontrol satellite is friendly
  • America's war on subversion
  • America's state policy of eliminating "alien" controlled subversives
  • Soviets are allied with America in this conspiracy
  • American president is agent of subversion
  • Mindcontrol Worm fallacy: Invasion of spaceworms who walk their way into people's head and raping their minds
  • Detention camp for subversives

Edited by Soheil, 03 September 2016 - 10:25 AM.

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#5 Soheil


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Posted 16 September 2016 - 04:16 PM

Satan's Little Helper (2004)

Satan's' Little Helper is an American horror comedy film directed by Jeff Lieberman. It was filmed around New York City, USA and coastal Maine in 2003 and premiered at the Tribeca Film Festival in 2004. It had a direct-to-DVD release on October 4, 2005.


Douglas 'Dougie' Whooly is a nine-year-old boy obsessed with a video game, in which he plays Satan's little helper. His sister Jenna comes home from college for Halloween, but things turn sour when Dougie finds out she brought her boyfriend, Alex, with her.

After a fall out with Jenna, Dougie wanders off and finds a man dressed in a cheap costume arranging a dead body on his lawn as if it were a decoration. Dougie naively believes the man is Satan, and asks him for help in sending Alex to Hell, which "Satan" nods assent to. In the meantime, Alex comes up with the idea of bonding with Dougie by dressing as Satan for Halloween. When Dougie comes back home, he tries to lure Alex into the basement where Satan is waiting for him, but fails. Dougie ends up changing plans to instead have Alex ambushed by Satan while he and Alex go out shopping for a Satan costume, where Alex ends up being left for dead.

Dougie brings Satan home, whom everyone believes to be Alex. Despite Satan becoming forcefully, physically intimate with Jenna and his unwillingness to speak, Jenna interprets these as Alex's devotion to his Satan costume. When Satan and Dougie leave to get Halloween candy, they end up shoplifting a market for candy and tools, where Satan subsequently kills a bagger who tries to stop them and the two engage in a brief physical assault spree with their shopping cart. On the way home, Satan engages in a combination of assaulting and killing several more people, including Alex's estranged dad, before he and Dougie are accosted by the police. Satan indicates to Dougie to run home while he confronts the police, who are later found to be dead. In the meantime, it is revealed that Alex has survived, who finds out from a babbling man that all the police on the island are dead and the police station is on fire. When Dougie comes back home, he tells Jenna about what he and Satan done. Still thinking that it is Alex in the Satan costume, Jenna begins to think that Alex is pushing the game too far.

After he comes home, his new personality starts to frighten her, she realizes he is not Alex. Dougie's father comes home, and Satan murders him. He kidnaps their mother, which makes Jenna and Alex go after him, only to think it's Alex's dad who is responsible, but are tricked by the killer repeatedly changing costumes and putting his old one on a victim. including a Jesus costume to trick Dougie into letting him into the house multiple times by saying that it is God coming to save him. In the end, Jenna and Mrs. Whooly accidentally kill Alex and are left at home with Dougie and a police man who spray paints a 6 on their home beneath their address, 66. It's the Satan Man. The movie ends in a cliffhanger.


  • Katheryn Winnick as Jenna Whooly
  • Alexander Brickel .... Douglas "Dougie" Whooly
  • Stephen Graham .... Alex Martin
  • Amanda Plummer .... Merrill Whooly


Another world event correctly predicted through the Art Of Videomancy by Master S☫heil with once again a decade in advance notice!
║ Name of the movie    ║ Satan's Little Helper (2004)    ║                                                                       ║
║ Release date         ║ May 6, 2004                     ║                                                                       ║
║ Genre                ║ Horror comedy film              ║                                                                       ║
║ Directed by          ║ Jeff Lieberman                  ║                                                                       ║
║ Leaked hints         ║ Ukrainian mass fratricide       ║ Own brother as stooge of Satan helping in the fratricide massacre     ║
║                      ║                                 ║                                                                       ║
║ World event type     ║ War in Ukraine                  ║ Stooges and traitors used by the imperialists for subversion          ║
║ World event date     ║ War in Ukraine since March 2014 ║                                                                       ║
║ World event location ║ Ukraine                         ║                                                                       ║
║ Status               ║ Events confirmed                ║                                                                       ║

Katerina Anna Vinitska as Jenna Whooly
Visual hint: notice the ethnicity of Satan's targeted victims

Visual hint: notice the ethnicity of Satan's little stooge

Tricked by Satan, son shooting at own father

Tricked by Satan, father killed by own son

Tricked by Satan, Ukie girl stabbing to death own boy friend

Edited by Soheil, 16 September 2016 - 04:21 PM.

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#6 Soheil


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Posted 23 September 2016 - 05:35 PM

Agents Barthes and al-Baghdadi true colors

The English follow the principle that when one lies, it should be a big lie, and one should stick to it.
-Joseph Goebbels

According to the above quote, the Pax Americana's imperialists used to start their heinous anti-Russia campaign decades before their overt phase of assault.
In this case, the movie "Cold Souls" was shot around 2009, or five years before the U.S. 2014 Proxy War on Ukraine.

Any idiot is fit to be used in a smearing campaign to vilify Russia, as demonstrated by the case of Frankish science-illiterate Sophie Barthes, receiving orders from her puppet masters via the 20,000 U.S. orbital mindcontrol satellites in her nightly 4 a.m. brainwashing session:

Not too long ago, writer-director Sophie Barthes had a dream in which she found herself one of several patients at a futuristic doctor's office. Everyone was holding a box, Barthes remembers, even fellow patient Woody Allen. Only after an office assistant told the group that these boxes contained their extracted souls did the patients begin to look inside, but Barthes says she woke up before seeing her own soul in the box. She did, however, get to see the spiritual contents of Woody Allen's box, and it's that moment that would go on to become the inspiration for her directorial debut, Cold Souls.

Indeed, the same unmistakable process as identified in all these Massachusetts Candidates such as Daeshi Takfeeri terrorists, sent by the Pax Americana to destroy Iraq and Syria.
And starting with its highest figure, the puppet leader Abu Bakr al-Baghdadi:

Al-Baghdadi announced that he had a dream in which he met the Prophet Muhammad, who ordered him to depart from Mosul province without fighting.


Cold Souls (2009)

Cold Souls is a 2009 comedy-drama film written and directed by Sophie Barthes. The film features Paul Giamatti, Dina Korzun, Emily Watson, and David Strathairn. Giamatti stars as a fictionalised version of himself, an anxious, overwhelmed actor who decides to enlist the service of a company to deep freeze his soul. Complications ensue when his soul gets lost in a soul trafficking scheme which has taken his soul to St. Petersburg. The film then follows Giamatti desperately trying to recover his soul.


Paul Giamatti is an actor who becomes so impassioned with the characters and roles that he plays that he has trouble disassociating himself from the character after the scene is done. As a result, his mind and spirit are a tangled mass of emotions that he seems to have trouble separating from his own feelings. As he struggles to play Uncle Vanya, he reads an article in The New Yorker regarding "Soul Storage," which in fact is a procedural clinic that physically removes one's soul from his body.

While hesitant at first to go through with such a procedure, being unsure how it would affect him, Paul decides to go ahead. On visiting the clinic he discovers that most souls come out as gray matter or clouds. He decides to go ahead, declining the offer to look at his soul as it happens. He is distressed to discover that his soul comes out looking just like a chickpea. He has it stored in the clinic and returns to his life with 5 percent of his soul remaining. However, his life begins to fall apart; he has trouble associating with or making love to his wife Claire. Lacking in emotional intelligence, he says insensitive things, such as telling a friend to just "pull the plug" on her comatose mother, and his acting for the Chekhov play lacks believability. Not wanting his soul back just yet, he instead obtains the soul of what he is told is a Russian poet, whose memories entice him to be curious about her and her life as well as obtain a curiosity of his own. This Russian soul allows him to play Uncle Vanya excellently, but the experience overwhelms him and he decides to get his own soul back.

Paul's world is turned upside down when Nina, a Russian soul mule who transports people's souls to and from Russia, steals Paul's soul for Sveta, the wife of her boss at the Russian soul-storage operation, who aspires to be an actress. She receives Paul's soul, believing it to be the soul of Al Pacino. Her acting and happiness improve. Nina, the mule who carried Paul's soul and has become curious about him, eventually reveals the whereabouts of his soul, helping him to get it back. As the pair investigate the soul of Olga the poet, which he had 'rented' during this period, they learn that she committed suicide after not being able to get it back after selling it. Paul and Nina get his soul back, and after looking into it through the use of special goggles to reassociate himself to it, he returns to New York a happier man. Nina's soul is found, but Paul is told that it is unrecoverable due to the residues of souls that she has carried.


  • Katheryn Winnick as Sveta
  • Paul Giamatti as Paul
  • Dina Korzun as Nina
  • Emily Watson as Claire

Director Sophie Barthes has stated that she came up with the idea from the film when she had a dream in which she found herself one of several patients at a futuristic doctor's office.[2] According to Barthes, the dream even included Woody Allen and all the patients had a box that an office assistant explained was carrying their extracted souls.[2] Once that was explained to the patients, they began to look in the boxes, but Barthes said she woke up before seeing her own soul. However, she did see the spiritual contents of Woody Allen's box and Barthes says that moment became the inspiration for the film and the Paul Giamatti character.

When Sophie approached Giamatti at the Nantucket Film Festival and pitched him on the film idea, he was ready to sign up on the spot.

The film was shot in New York City, United States and Saint Petersburg, Russia.

Katerina Anna Vinitska as Sveta

Katerina Anna Vinitska as Sveta

Katerina Anna Vinitska as Sveta
The brain data scan, naively called "soul" by the Frankish genius Sophie Barthes and ... contained in a simple glass jar!!

Katerina Anna Vinitska as Sveta
Undergoing the process of brain data download: Sveta overwriting her brain data with those stolen from famous actor Al Pacino

Katerina Anna Vinitska as Sveta
Testing improved acting abilities through the newly downloaded brain data of actor Al Pacino

Katerina Anna Vinitska as Sveta
New brain data falsely presented as scanned from actor Al Pacino; Screen capture from another movie (Stand Up Guys 2012)

Katerina Anna Vinitska as Sveta


Edited by Soheil, 28 September 2016 - 09:44 PM.

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