THE FINAL CHAIYO VERDICT: TSUBURAYA WINS! Mr. Sampote's Most Bitter Tea Has Gone Cold...

円谷プロ、米国のウルトラマン海外権利訴訟で勝訴！

Ultraman and Seabozu celebrate Tsuburaya's victory over Chaiyo!

ULTRA SCOOP: Almost as if it were some kind of "Ultra Kismet," after this past weekend's Shout! Factory TV/Twitch marathon of the 1974 ULTRAMAN LEO series, in association with Tsuburaya Productions, whose business manager, Ryota Takahashi, staged a press conference on April 24th, in which the Tokyo-based company announced the final verdict in the recent legal showdown over the on-going "Ultraman" franchise licensing dispute had been rendered by a California Federal Court declaring an alleged contract held by a Thai businessman as null and void (read more from TPC's US attorney, here). Tsuburaya Productions summarily published an English press release on their own website at 10:00 pm PDT:


Corporate attorney Masanobu Hara at the press conference.

NOTICE OF WINNING JUDGEMENT IN U.S. LAWSUIT REGARDING “ULTRAMAN” RIGHTS

In the copyright-related lawsuit that took place in the United States between Tsuburaya Productions Co., Ltd. (“TPC”) and UM Corporation (“UMC”), the United States District Court, Central District of California, entered a final judgment on April 18, 2018 affirming the entire claim of TPC, including that the supposed agreement dated March 4, 1976, claimed by UMC as the basis for its alleged rights in “Ultraman,” was not an authentic contract.

In addition to confirming that TPC possesses all the rights to develop and expand any audio-visual or other creative works or products based on “Ultraman” characters or stories, the judgment required UMC to pay damages for its infringement of TPC’s rights.

1. Court and Date of Judgment Given
U.S. District Court, Central District of California
April 18, 2018 (local time)

2. Developments Thus Far
On May 18, 2015, UMC filed a lawsuit against TPC in the above court, seeking confirmation of its alleged rights to use the “Ultraman” series and characters created by TPC.  On September 11, 2015, TPC filed a countersuit against UMC and its licensees to confirm TPC’s exclusive worldwide rights in “Ultraman” and to recover damages from UMC and its licensees for their infringements.

In support of its assertion of rights, UMC claimed that there was an agreement signed in 1976 (the “Document”) by Noboru Tsuburaya, who was the representative of TPC, which gave Mr. Sompote Saengduenchai, a Thai businessman, rights to use and exploit “Ultraman” worldwide, excluding Japan, and that UMC had succeeded to Mr. Sompote’s alleged rights.

TPC asserted that the Document was a forgery, such that UMC had no rights to use “Ultraman,” and that UMC infringed TPC’s copyrights by doing so. Therefore, the principal point of dispute in this lawsuit was whether the Document was an authentic contract signed and sealed by Noboru Tsuburaya, or whether it was forged.

The dispute between TPC, UMC and Mr. Sompote has continued for more than 20 years.  The background of the dispute is as follows.

In 1996, the year after Noboru Tsuburaya passed away, Mr. Sompote suddenly presented to TPC a copy of the Document that was supposedly signed by Noboru Tsuburaya in 1976, and claimed that he possessed in perpetuity the right to use the “Ultraman” series worldwide excluding Japan. The Document presented by Mr. Sompote was a mere one-page document, and the original was not disclosed.

There were many misstatements in the Document regarding basic matters that would never have been made, had Noboru Tsuburaya actually prepared the Document, such as errors in TPC’s company name and the names and episode numbers of the works of the “Ultraman” series. In addition, specific licensing fees were not provided, and there were no provisions for matters that would certainly be provided in genuine licensing agreements.

Additionally, during the 20-year period between 1976, when the Document was supposedly prepared, and 1996, the year after Noboru Tsuburaya died when it was first presented to TPC, Mr. Sompote had not exercised his alleged rights based on the Document, nor referenced the existence of the Document even once. 

During this 20-year period, Mr. Sompote never developed a global business for the “Ultraman” series, as he later asserted he was entitled to do.

On the other hand, even after 1976, including while Noboru Tsuburaya was the representative of TPC, TPC made considerable investments to produce and globally distribute the “Ultraman” series and build an international brand. In response to those activities, neither Mr. Sompote nor anyone affiliated with him ever claimed the existence of the Document or Mr. Sompote’s alleged rights.

Based on such facts and others, TPC firmly believed that the Document was a forgery, and it has therefore been in dispute with Mr. Sompote and UMC. Whether or not the Document was forged has been disputed in the courts of Japan, Thailand and China in the past.

In Japan, TPC requested a handwriting analysis by the court regarding the Document, but an analysis was not conducted, and a decision that the Document was an authentic document was therefore rendered without a confirmation of the original Document being made.

In Thailand, handwriting analysis procedures were conducted, and, as a result thereof, the TPC’s claim of forgery was recognized and TPC won the lawsuit. In Thailand, the forgery of the Document was not only decided in a civil case, but also became a criminal case, and Mr. Sompote was convicted of forgery.

In China, while TPC won the lawsuit in the first instance, the judgment was reversed at the higher court so it would be consistent with the judgment from Japan.

In the Chinese and Japanese judgments, it was recognized that the Document, even if not a forgery, granted only limited rights to use “Ultraman” works from the early-Showa era series (mid 1960s to mid 1970s).  In the judgments of all of the countries, it has been recognized that, regardless of the outcome of the lawsuits, the copyrights in “Ultraman” belong to TPC.

3. U.S. Judgment
In the lawsuit in the U.S., enormous amounts of documents, materials and communications that both parties had in their possession were disclosed and analyzed over a long period of time through a procedure called “discovery,” which was not available to the parties in any of the other lawsuits.

As a result thereof, new facts and evidence, which had not become apparent in the lawsuits in each of the other countries, were revealed.In addition, depositions (testimonies conducted under oath before trial) and witness examinations of numerous witnesses from both parties and of handwriting analysis expert witnesses were conducted.

Furthermore, Mr. Sompote, who is the alleged recipient of, and the only living alleged witness to the creation of, the Document, refused to accept service of the complaint for the U.S. lawsuit without reason, and refused to appear in court as a witness.

In November 2017, a trial was held before a jury of 8 members of the community.  On November 20, 2017, the jury returned a unanimous verdict in favor of TPC on its claim that the Document was not an authentic or valid contract that had been signed and sealed by Noboru Tsuburaya.

After the jury reached its verdict, UMC filed motions to try to overturn the verdict on the grounds that it had been reached through error and was not supported by evidence.  On March 28, 2018, the district court denied UMC’s motions and maintained the jury’s verdict.

On April 18, 2018, the district court entered a Final Judgment which, consistent with the jury’s verdict, states that the Document is not an authentic agreement that was signed and sealed by Noboru Tsuburaya, and that the Document is invalid, and which prohibits UMC and its licensees from using “Ultraman.”

We believe this victory in the U.S. lawsuit solidifies TPC’s decades-long efforts to fully and finally resolve this dispute and confirm its worldwide rights in “Ultraman.”

4. TPC Comments
The above judgment recognizes TPC’s claim in its entirety.

This complete winning judgment was rendered after numerous witness testimonies and analytical opinions of handwriting analysis experts, in addition to the detailed evidentiary disclosure proceedings that lasted a long period of time and required enormous efforts. We believe that the credibility of such judgment is extremely strong. Based on this judgment, TPC intends to actively proceed with the further overseas expansion of the “Ultraman” works.

We are grateful for the continuous supports of all our customers, stakeholders, and fans of the “Ultraman” series.

-End Quote-

And so, our saga comes to an end... Finally, the first six of Tsuburaya Productions' "Ultra Series," ULTRA Q, ULTRAMAN, ULTRA SEVEN, RETURN OF ULTRAMAN, ULTRAMAN ACE, and ULTRAMAN TARO, are truly free to be distributed in North America and beyond!

So, while we might want to shout from the rooftops, perhaps we should cross our fingers, not hold our collective breath, and hope that we don't hear much from Sampote "Sands" Saengduenchai, TIGA International, or UM Corporation ever again.

BANDAI UNLEASHES THE "GREEN GARGANTUA"! Vinyl Display Figure Breaks Loose in September

日本特撮の「サンダ対ガイラ」からガイラをバンダイソフビで発売。


Bandai issues it's first vinyl figure of Gaira, the Green Gargantua!

COLOSSAL GARGANTUAN BREAKING NEWS! Announced earlier today via the Twitter feed of the journal, Tokusatsu Hi-Ho (Special Effects Treasures), the online-only Bandai Premium service of the eponymous global toy juggernaut, will be issuing a 18 cm (7.08") soft vinyl figure of the fan favorite Green Gargantua, Gaira, from the popular Toho spectacle THE WAR OF THE GARGANTUAS (1966).


Iconic aggressive pose developed by suit actor Haruo Nakajima!

Coinciding with this announcement, Tokusatsu Hi-Ho’s latest issue will feature an article on the upcoming figure as well as an interview with legendary monster suit maker Eizo Kaimai, who had created the very man-eating mutant this sofubi (soft vinyl figure) is based on – so, we can imagine that this has passed his snuff. Tokusatsu Hi-Ho Vol. 6 is available from bibliopolists in Japan, starting tomorrow.


Run to the hills... Run for your lives... Gaira's looking for dinner!

The Bandai Premium website followed suit with four very important, key, details, and lots of images; which have transposed to this report (Bandai states that the actual product will differ from these intended for illustrative purposes). Most of the text on Bandai’s page for this figure is nothing more than a stream of colorfully hyperbolic points, such as “Beware! Run from this man-eating monster!”


My Green Gargantua's back... and you're gonna be in trouble!

But, as mentioned above, there are four key pieces of information, the first being the size of the figure, which is 18 cm - which fits in with the original Bandai "Godzilla Series", to better appeal to adult collectors (relative movie sizes notwithstanding) - and the ad copy exclaiming, "This is the figure [we] always wanted to see in stores - now, at last, it's available via the Web!"


Sideview of the unpainted prototype for the upcoming release!

While, we've got the size of this thing nailed down, there's the matter of release date and - most importantly to all of you hyperventilating, nail-bitting, vinyl-sniffers out there - price. Each unit will be retailing for ¥3,999 JPY or $36.00 USD. Preorders through Bandai Premium's website go live at 11:00 am, June 16th (Japan Time). Scheduled for shipment this September, Gaira will be ready to  eat  meet you...


Kenji Seki's details pop in this shot of the unpainted prototype!

Last, but not least, the graphics and press features what appears to be a series line moniker, "Kaiju Bangaichi" (which can/may be roughly translated as "Monster No-Man's Land" or transliterated as "Monsters of Unknown Realms"). Even though we haven't stopped breathing into our paper bags, yet, could we soon see the Brown Gargantua, Sanda? And... Other giant monsters Bandai had previously passed over?


Monstrous angled view of the popular bad guy from the 1966 movie!

Stay tuned for more gargantuan information as it comes up from the darkest depths to devour you! Or will you devour it?

"GREAT MONSTER WAR" HAPPY NEW YEAR: 1967 Godzilla & Rodan Footprint New Year's Cards

怪獣賀年状、週刊少年サンデー 昭和42年1月28日号 付録！


Page from Shonen Sunday's New Year's Kaiju Special, January 1967.

RAGONE HOSTS "ULTRAMAN" 50TH ANNIVERSARY A 12-Episode Marathon Streaming on July 31st!

「ウルトラマン50周年記念マラソン」ストリーミングイベント！


Shout! Factory TV’s ad for this upcoming 50th marathon event.

Celebrate the 50th Anniversary of ULTRAMAN this Sunday! On July 31st at Noon Pacific, I'll be hosting "The Ultraman 50th Anniversary Marathon" on Shout Factory TV. I've hand-picked 12 of my favorite episodes for this live, streaming tribute for my favorite teleseries of all time. In addition to an informative intro on the series, at the top of each episode, I'll share anecdotes, factoids, on the specific stories, and a whole lot more!

This only happens once every 50 years, so be sure to watch all the Ultra action on Shout Factory TV and on Pluto TV (Channel 515) or get the Pluto TV app for tablet and TV devices (Roku, Amazon Fire, Fire TV Stick, Android, Chromecast, and Apple Airplay), mobile (iOS, Android and Amazon), and on the web via your Desktops or Laptops, Macs and PCs. And don't forget to join us in the Ultra Twitter convo with the hashtag #Ultraman — SHUWATCH!

Schedule of Episodes*
12:00 pm – Ultraman 101 with host August Ragone 
12:15 pm – Episode 01: "Ultra Operation No. 1"
12:45 pm – Episode 03: "Science Patrol, Move Out!"
01:10 pm – Episode 07: "The Blue Stone of Villarge"
01:40 pm – Episode 15: "Terror of the Cosmic Rays"
02:10 pm – Episode 16: "Science Patrol Into Space" 
02:40 pm – Episode 17: "Passport to Infinity" 
03:10 pm – Episode 25: "Cyphon, the Mysterious Comet" 
03:40 pm – Episode 27: "Monster Majesty"
04:00 pm – Episode 28: "Human Specimens 5 & 6"
04:30 pm – Episode 33: "The Forbidden Words"
05:00 pm – Episode 36: "Arashi, Don’t Shoot!" 
05:30 pm – Episode 39: "Farewell, Ultraman!"

*Times listed are Pacific time, approximate and subject to change.

REST IN PEACE: YUMI ITO OF "THE PEANUTS" APRIL 1, 1941 - MAY 18, 2016

ザ•ピーナッツの伊藤ユミさん死去


Yumi (right) and Emi from the Weekly Yomiuri, September 9, 1972.

The sad news was just released that the former singer has now been reunited with her twin sister Emi, who passed away four years ago. Japanese media traditionally respects the privacy of the families of celebrities when it comes to their passing, so the media withheld this from the public until the family agreed to make a formal statement, and was issued by a representative of Watanabe Productions, their former management company.


One of their first magazine covers, Mainichi Graphic (June 28, 1959).

Yumi Ito (born Tsukiko Ito) was the melodic vocalist of The Peanuts, while Emi, held down the harmonies. When they started out, the sisters sang the melodies together, until they signed with Watanabe Productions. Even though they were technically identical, the twins could be readily told apart as Emi had distinctive, trademark moles by her eyes. During their early career, Yumi would have false moles applied, so they would appear more identical.


Their debut 45 Single, "Kawaii Hana", released April 1959.

From the years 1959 through 1975, they were known as the world-famous pop duo, "The Peanuts". Discovered as "The Ito Sisters" in a Nagoya restaurant, they released their first hit single, "Kawaii Hana" (Pretty Flower) in April 1959, a lyrical version of Sidney Bechet's "Petite Fleur". Between that July and December, they appeared in five films for as many studios, debuting in THE WONDERFUL AGE OF 19 for Shochiku and BASTARDS IN A CAGE for Toho.


The original Single for "The Daughters of Infant", issued in 1961.

While they are perhaps best known in the States for Toho's spectacle, MOTHRA (1961), by the time Ishiro Honda's film went into production, The Peanuts were already veterans of seventeen feature films, two weekly television variety shows, and a weekly radio show. They would reprise their role as the "Little Beauties" for MOTHRA VS. GODZILLA and THE GREATEST BATTLE ON EARTH, both released in 1964. Further appearances of the "Little Beauties" employed pale substitutes.


First issue of "The Song of Mothra"/"The Daughters of Infant", 1978.

While the song, "The Daughters of Infant", was the first Single release in conjunction with MOTHRA, back in late 1961, it wasn't the original recording from the movie. The Single was arranged and conducted by Hiroshi Miyagawa, their constant collaborator, who went on to world fame for his music to the Space Battleship Yamato franchise. Both of the songs from the film, by Yuji Koseki, weren't issued on any release until 1978 — three years after The Peanuts retired.


With the cast of "Rawhide" (Brinegar, Fleming, and Eastwood), 1962.

The Peanuts were my first introduction to Japanese pop music, which was only reinforced by my Aunt Camille, who gifted me a big stack of colored wax of early '60s J-Pop, bought while she and her husband were stationed in Japan. She saw my obsession with Japan and made it grow with these 45 Singles. But, The Peanuts are magic, their vocal harmonies during the final curtain in MOTHRA, still raises goosebumps on me to this day. Now, I can't believe they're gone.


Yumi (left) and Emi in Daiei's musical LEAPING LADY DAIMYO, 1961.

After retiring from singing in 1975, Yumi turned her career towards another passion: fashion design. And while the women whose voices sang, beautiful, wondrous melodies and harmonies, have left us to be joined together in the next world, those of us left behind still hold now the incredible gift of their lovely voices recorded for all and our posterity to come. Yumi Ito was 75 years old.

"THE BIRTH OF ULTRAMAN": JULY 10, 1966 The Episode of ULTRAMAN You Never Saw!

お祝いウルトラマン前夜祭『ウルトラマン誕生』とは


The completed final draft script for the half-hour preview special.

Before the scheduled premiere of ULTRAMAN on July 17, 1966, the TBS network proposed to bump up the broadcast date of the first episode ("Ultra Operation: No. 1") a week early, since the rival Fuji Television network were debuting their own color kaiju series on July 4th: AMBASSADOR MAGMA (which would beat Tsuburaya Productions’ show to the airwaves by nearly two weeks).

Eiji Tsuburaya told TBS that there would be no way to get the first episode on-air by the 10th, since the episodes were being shot out of sequential order and ULTRA Q was set to air its final episode on July 10th. Unfortunately, since it featured nary a monster, TBS already decided to pull the final episode of ULTRA Q, "Open Up!" (eventually broadcast in rerun on December 14, 1967).

So, at the beginning of June, TBS began considering options to cover the gap and give the Tsuburaya Productions the time needed to finish the premiere episode of ULTRAMAN. Then, after meetings between the network, Tsuburaya, and the sponsor, Takeda Pharmaceuticals, it was decided to produce a live, nationwide relay broadcast on July 10th and introduce Ultraman to the Japanese public.

Tentatively titled the "Ultraman Eve Festival", TBS Producer Takashi Kakoi, director Akio Jissoji (of "Modern Leaders"-fame), and writer Yuzo Higuchi (who was in charge of production on Ultraman from the TBS side), were appointed to supervise this live television special. The producers chose Tokyo’s Suginami Public Hall to host this television event.

Through a number of brainstorming sessions, Kinjo completed a preliminary teleplay, in which the three characters from ULTRA Q would appear on stage to bid their farewells to the audience. They planned to have actor Koji Ishizaka (Ultra Q's narrator) and popular singer Judy Ong appear as hosts, with the vocal group, The Bony Jacks, as the chorus singers for the special.

Tetsuo Kinjo wrote a revised second draft from the first, entitled "Ultraman: A Children’s Jamboree". Finally, after a third draft, dropping most of the early ideas (due to scheduling conflicts), the script was completed with the final title, "The Birth of Ultraman: An Ultraman Premiere Celebration". This new version, however, was more akin to a strange, high school production.

"Doctor Monster" devises a machine to bring back the monsters from ULTRA Q. kaiju are shuttled back and forth, then revolt, and joined by creatures appearing in ULTRAMAN. Anarchy ensues and Doctor Monster calls in the Science Investigation Agency. Even Eiji Tsuburaya was on hand, sitting in the audience like everyone else, before making his on-stage appearance with the cast of the new show.

While this was something of a mess, it served its purpose. The first episode of ULTRAMAN was delivered to TBS on July 13th, only four days before the initial broadcast, so it can be said that the decision to produce "The Birth of Ultraman" was a success, promoting the start of the series and introducing the characters of ULTRAMAN to the Japanese public, and striking back at Fuji Television.

ULTRAMAN's premiere the following Sunday, was a colossal success, and 50 years later, Ultraman kith and kin are still going strong as Japan’s foremost superhero — here's to another 50 years!

Now, watch the entire kinescope-captured special (no subtitles):


(By the way, Fuji Television's Ambassador Magma was later exported and broadcast in the US as The Space Giants.)

HAPPY BIRTHDAY, EIJI TSUBURAYA! JULY 10, 1901 - JANUARY 25, 1970

お誕生日おめでとう、円谷英二様！


Eiji Tsuburaya, the Father of Ultraman was born 115 years ago!

The "Father of Japanese Special Visual Effects" was born on July 10, 1901 as Eiichi Tsumuraya in Sukagawa, Fukushima (according to the family register). As with his life, even his date of birth is steeped in legend — official sources have often listed that Eiji Tsuburaya was born on July 7th — a date of fortune in the tradition of Tanabata (meaning "Seven Evenings"), a Japanese star festival derived from the celebration of ancestors, know as Obon. Celebrated on July 7th or August 7th, Tanabata commemorates the meeting of Orihime (Vega) and Hikoboshi (Altair).

Tanabata originated from the Chinese Festival to Plead for Skills (Oi Xi), which came to Japan in the Heian Period (795-1192), and spread to the public during the Edo Period (1603-1867), where it was then combined with Obon traditions. From the Edo Period, girls wished for better sewing and craftsmanship skills, while boys wished for better calligraphy skills, by writing wishes on strips of tanzaku paper, which were hung on bamboo trees. This tradition is still practiced today.

A Japanese claiming they were born on the Tanabata, was akin to an American saying they were born on Independence Day. So, even if Eiji Tsuburaya was not born on July 7th, the myth of being born on the Tanabata certainly was apt, because Tsuburaya would become famous for his multiple artistic and practical skills, which he had in spades — and eventually, the name Tsuburaya would become world-renown with the production of GODZILLA (1954).

For more on the Old Man, order your copy of "Eiji Tsuburaya: Master of Monsters" (Chronicle Books), today!

CELEBRATING A HALF CENTURY OF "ULTRAMAN"! "Junior TBS News Extra" Newsletter, June 1966

お祝い『ウルトラマン』放送50周年記念

Tokyo Broadcasting System's supplement on the July 17th premiere!

HAPPY BIRTHDAY, SATOSHI "ULTRAMAN" FURUYA! JULY 5, 1943

お誕生日おめでとう、古谷敏！ウルトラマンとアマギ隊員よ永遠に！


At a fit 73, Satoshi "Bin" Furuya still has the right "Ultra Stuff"!

On the eve of the 50th Anniversary of the seminal ULTRAMAN series, read more about the man who played the red and silver hero from the stars, here! This July 15th-17th, Mr. Furuya will be appearing at G-Fest XXIII in Chicago, along with his co-star Hiroko Sakurai, who played Akiko Fuji. If you're a fan, its your duty to come by and wish Mr. Ultraman a very happy ultra birthday!

Read about my thoughts on Mr. Furuya, here.

"ULTRAMAN" TURNS 50 THIS MONTH: JULY 2016! From "Weekly TV Guide" #199, June 24, 1966

お祝い『ウルトラマン』放送50周年記念


"TV Guide" full-page color preview (Tokyo News Service, Ltd.).

Bowing on Japan's TBS television network on July 17, 1966, Tsuburaya Productions' ULTRAMAN was not only an instant and colossal success at home, but also abroad, as it was syndicated to North America and Latin American countries through United Artists Television. Creating generations of fans across the globe, with new incarnations appearing on television and cinema screens, as well as the originals, thrilling both old and new, alike.

As a five year old, I was captivated by those daily doses of ultra kaiju action which flooded into my living room every weekday, and left an permanent mark upon my young psyche. A malady from which I never recovered. Despite vanishing from local airwaves, this wondrous sci-fi action series remained in my mind. In those days, there was little or no merchandise to be found in the US, until a fateful school field trip to San Francisco's Japantown changed everything.

Toys, books, magazines, records, and more were laid before me in now-defunct shops such as Goshado, Nichibei Bussan, and Mikado. Not only was there an entire Ultra Family, an entirely new world superheroes and monsters flooded into my consciousness, and so my fate was sealed. It was not long afterwards that ULTRAMAN returned to Northern California television, and this time, we would not be separated ever again.

While I live and breathe the vast pantheon of Japanese superheroes and kaiju, both great and small, my favorite series and my eternally favorite savior from the stars will always be the original Ultraman — protector of the world! In honor of this anniversary,  I will be posting a number of Ultraman-related pieces all month, so happy anniversary to ULTRAMAN, one of the greatest television series of all time! And remember, it's all your fault (just kidding).

You can stream all 39 episodes of the original, uncut ULTRAMAN, with English Subtitles, for free at Shout Factory TV!

"KING KONG VS. GODZILLA" 4K REMASTER SHOTS Teaser Compares Old Master & New Restoration!

4Kリマスター完全版『キングコング対ゴジラ』の比較ショット！


Chirashi (handbill) heralding the premiere broadcast of the 4K Scan!

On October 1st of 2015, I reported on the then-upcoming Nihon Eiga Senmon Channel's satellite cable broadcast of a newly-completed and restored version of KING KONG VS. GODZILLA (read more here), which was followed up this past May 1st's breaking story on the 4k remaster of the film, which has been in sore need of a proper restoration for more than forty years (read more here).

Here are screenshots from a teaser trailer that just began running, comparing the 2015 restoration with the 2016 4k Remaster bowing on the satellite cable provider this coming July. The full teaser trailer was unavailable at press time but will be featured in a future update once it has been uploaded by NESC. For now, there are eight images for you to compare.




Stay tuned to this blog for more updates on this story as they break!

4K REMASTERING OF "KING KONG VS. GODZILLA" Premiering During Satellite Cable Retrospective

4Kデジタルリマスター完全版『キングコング対ゴジラ』！


Toho's original Japanese Theatrical Program Booklet from 1962.

STOP THE PRESSES: Yes, you heard that right! Just two years after a satellite cable broadcast of the 1962 monster mash, KING KONG VS. GODZILLA, boasting it as the "complete version" (read more here), it was announced to the media last night, that a 4k restoration scan of the film was recently completed in Japan. Toho's extensive 4k digital "remaster" will premiere this July — but wait, that's not all!


The on-screen announcement (photo courtesy Kazuki Kishimoto).

Between June and August, 2016, the satellite cable outfit, Nihon Eiga Senmon Channel (Japanese Movie Speciality Channel), will be running "Godzilla: First Impact"; a retrospective hosted by several celebrities, who introduce the first Godzilla movie they saw, and what that film means to them. The retrospective commemorates the July 29th bow of Anno Hideaki and Shin Higuchi's GODZILLA RESURGENCE.


Nihon Eiga Senmon will rebroadcast the 4k restoration of GODZILLA.

In June, the 4k digital remaster of Ishiro Honda's GODZILLA (1954) will be hosted by actor and musician Ryudo Uzaki, who starred in Shusuke Kaneko's GIANT MONSTERS ALL-OUT ATTACK (2001). Also that month, Kazuki Omori's GODZILLA VS MOTHRA (1992) will be hosted by gravure model-turned-actress, Manami Hashimoto (Onechanbara).


Pin-up model Hashimoto will host GODZILLA VS MOTHRA (1992).

Honda's 1954 original will repeat in July, this time hosted by Hiroki Hasegawa and Satomi Ishihara, the stars of the upcoming GODZILLA RESURGENCE. Film producer Toshimichi Otsuki (Evangelion: 3.0) will introduce Jun Fukuda's SON OF GODZILLA (1967), while actor Shiro Sano (Godzilla 2000) will host the premiere of the "complete digital restoration" of KING KONG VS. GODZILLA — very exciting news!


The kaiju family that stays together... SON OF GODZILLA (1967).

Judoka Silver Medalist, Shinichi Shinohara, will host Omori's GODZILLA VS KING GHIDORAH (1991). Nihon Eiga Senmon has stated that there will be a total of ten celebrities, meaning that more titles and hosts are to be revealed. In the meantime, they have also announced a 24-hour Marathon of Big G movies on the eve of GODZILLA RESURGENCE, including broadcasts of five features and shorts by Anno.

Those screening during the marathon are LOVE & POP (1998), RITUAL DAY (2000), METEOR MANAGER (2002), CUTIE HONEY (2004), and THE GIANT GOD WARRIOR APPEARS IN TOKYO (2012).


GODZILLA VS. KING GHIDORAH (1991) will get an Olympic treatment.

Additionally, the celebration of Godzilla movies will also be extended to broadcasts of both Emmerich and Edwards' 1998 and 2014 feature films on Nihon Eiga Senmon's "Sunday Movie Theater". While all of this Godzilla Goodness is going to be fantastic for those in Japan to enjoy — by far, I'm the most excited by this 4k restoration of KING KONG VS. GODZILLA, naturally. And so should we all.


VHS cover for the original Toho Video release from June 1985.

When I saw the first restoration (stitched together with a worn 16mm anamorphic print) on Toho Video's VHS/Beta release way back in '85, the film was only 23 years old — now, it's 54 years old! So, you could say that this 4k digital remaster of the "complete version" has been a very, very long time coming.

(Special thanks to master kaiju artist, Yuji Kaida, for the heads up!)

APRIL 27, 1956: "GODZILLA" UNLEASHED IN U.S. The Big G's American Bow 60 Years Ago Today!

60年後のアメリカ版『ゴジラ』!


The original one-sheet that greeted moviegoers on this date.

"This is Tokyo… a smoldering memorial to the unknown… an unknown which at this very moment still prevails, and could at any time, can lash out with its terrible destruction anywhere else in the world."


The State's huge marquee trumpeting the "King of the Monsters"!

Today marks the sixth decade in which moviegoers at Loew's State Theater in New York City first heard that great opening narration by Raymond Burr and GODZILLA, KING OF THE MONSTERS! was loosed upon an unsuspecting public... But, how did it happen? How did this Japanese-made kaiju creature feature come to our shores on that 27th day of April in 1956?


Richard Kay and Harold Ross' 1953 cheapie wasn't a jewel at all.

In 1955, producers Richard Kay, Harry Rybnick, and Harold Ross of Jewell Enterprises (Untamed Women), purchased the international rights to GODZILLA from Edmund Goldman of Manson Distributing Corporation (later known as Manson International), who discovered it via Toho's then-US attorney, Paul B. Schreibman (who was also in the distribution business with Topaz Films). Okay, my head is spinning... Anyone need a scorecard?


Producer Joseph E. Levine (1905-1987), Getty/Jack Mitchell photo.

With a potential big hit on their hands, they foresaw a problem in moviegoers accepting an all-Asian cast film. Additional investment from distribution maverick Joseph E. Levine (Walk Into Hell), Terry Turner (Should a Girl Marry?), and Ed Barison (The Golden Mistress), for a cut of the action, they decided to produce new scenes, helmed by veteran film editor Terry O. Morse (Fog Island) and written by Al C. Ward (Perry Mason), featuring an American foreign correspondent, recounting the narrative in flashback.


Morse's 1945 debut with former Universal stars Zucco and Atwill!

Kay and Rybnick brought in actor Raymond Burr, featured as the killer in Alfred Hitchcock's REAR WINDOW (1954), to play the starring role of "Steve Martin" (this was long before public heard of the comedian of the same name), and for just stepping in for insert scenes, Burr turned in a solid and somber performance — reportedly shot in five days. Japanese-American real estate agent and character actor, Frank Iwanaga (The Frogmen), played the part of Burr's interpreter, security officer "Tomo Iwanaga".


The one and only... Raymond William Stacey Burr (1917-1993).

Counter to what some critics have written recently, Morse's footage (shot by Guy Roe) was cleverly inserted into the original — although moviegoers weren't completely fooled. In retrospect, it's obvious that when Burr speaks to Dr. Yamane, it's not actor Takashi Shimura, but a double. In order to accommodate the new footage, the picture was extensively cut, rendering all the characters (save for Dr. Serizawa) less dimensional than in Honda's original.


Turner's 1960 doc-spoiltation symptomatic of his promotional style.  

While much attention was paid to what was going on in a particular scene, not that much attention was given to what was being said in Japanese (several scenes feature characters speaking out of context). Morse was probably thinking, "Who is ever going to notice?", and at the time, he was right. Dubbing only minimal footage seemed wise, since this was one of the early attempts at this technique used to prepare a foreign film for American audiences.


Lurid fare post-GODZILLA from Rybnick, Kay and Barison, 1958.

The voice dubbing talent was led by the loquacious character actor, James Hong (Big Trouble In Little China), Sammee Tong (Bachelor Father), and an as yet-to-be-identified female Asian-American actor, recording all of their dialogue over three long days, and according to Hong, without the actors ever seeing any of the footage.


You really see nothing in this 1958 Kay-Rybnick monsterless movie.

Despite the seemingly rushed schedule for Morse's inserts (and toning down the original's nuclear theme), they still manage to maintain a gritty, moody, near Film Noir feel, lending this adaptation a life all its own. In fact, Toho was compliant and well aware of the steps taken in making this adaptation — from the changes to the original, as well as approving Ward's English-language screenplay (Schreibman was Toho's LA attorney, after all).


Turner and Thompson's ballyhoo was as big as the monster, itself. (From the April 4, 1956 issue of "Variety"; owned by the author.)

Considering the producers' résumés, it was no small feat Morse had created a miracle, unlike the amateurish butcher jobs that would kill films like GODZILLA RAIDS AGAIN (1955) and KING KONG VS. GODZILLA (1962). The work of Honda, Tsuburaya and Ifukube still shines through in GODZILLA, KING OF THE MONSTERS! (and pretty potent stuff for US audiences in 1956), not diminishing its status as the greatest of the "Monster-on-the-Loose" spectacles of the period.


Newspaper ad for Loew's Poli Palace in Bridgeport, Connecticut.

Based on those strengths, the film went on to huge international box-office success — which is why, 60 years after GODZILLA was unleashed in the US — not only has the world never been the same again, we're still talking about both Honda's and the version with that newspaper man who went onto a successful career as a lawyer.

With new films being produced by both Toho and Legendary pictures, Godzilla is still the undisputed King of the Monsters, as he stomps towards his centenary.

THE MAN WHO CONTINUES TO DRAW RAY BEAMS The First Book on Optical Animator Sadao Iizuka

光線を描き続けてきた男 飯塚定雄


"Treasured Photobook" follow-up featuring animator Sadao Iizuka.

In the monstrous footsteps of Yonsensha Publishing's previous heavily-illustrated "Treasured Photobooks" on important figures of the golden age of Japanese visual effects films at Toho Studios (monster suit actor Haruo "Mr. Godzilla" Nakajima, visual effects director, Koichi Kawakita, and monster-maker Keizo Murase), comes this biography, focusing on legendary optical animator Sadao Iizuka.

In 1954, while still in high school, IIzuka was studying art under Seiji Tojo at the Nikaikai Institute of Art, when he started a part time job at Toho Studios. Chief of the Special Technical Department, Eiji Tsuburaya, put Iizuka to work in his Art Department, where the young artist worked on GODZILLA (1954), GODZILLA RAIDS AGAIN (1955), MADAME WHITESNAKE (1956), and RODAN (1956), among others.

Noticing Iizuka's artistic abilities, Tsuburaya transferred him to the optical animation department in 1957, with his first job being the ray-filled orgy, THE MYSTERIANS. His talents were seen in such films as VARAN (1958), BATTLE IN OUTER SPACE (1959), SECRET OF THE TELEGIAN (1960), MOTHRA (1961), THE LAST WAR (1961), GORATH (1962), KING KONG VS. GODZILLA (1962), MOTHRA VS. GODZILLA, DOGORA, and GHIDRAH (all in 1964), and even Daiei's GAMERA (1965).

Iizuka was not only responsible for the rays emitted by the Maser Cannons in THE WAR OF THE GARGANTUAS (1966), but he also went on to creating the optical animation for ULTRA Q and ULTRAMAN, the same year, not to mention ULTRA SEVEN (1967). And after leaving Toho, he formed Den Film Effects with his other student, Minoru Nakano, and they worked on MESSAGE FROM SPACE (1978), the latter Heisei Godzilla films, and the recent, ULTRAMAN X (2015).

From the book's obi (paper band): "Godzilla's radioactive heat ray, King Ghidorah's gravity rays, Ultraman's Spacium Beam and Shredding Halo! These cool ray beam techniques are absolutely essential to Japanese visual effects! For more than 60 years, Sadao Iizuka continues to emit beams of light as one of the true heroes of the visual effects industry!"

This all-new, illustrated book, clocking in at a whopping 303 pages, was compiled by Iizuka and his protégé Hajime Matsumoto (Zeiram, Heisei Godzilla series, et. al.), featuring an interview (in Japanese) between master and disciple, and includes a foreword by Hideaki Anno and Shinji Higuchi (currently making the upcoming Godzilla Resurgence). Together, they illustrate the "Iizuka Method", and his indelible impact on anime and visual effects creators.

If you've ever been fascinated by the myriad of beam weapons and deadly rays in the Japanese fantasy film — this publication comes highly recommended, despite the language barrier for non-Japanese readers, with is wealth of incredible llustrations and production stills. This one now sits proudly among the best books in my own reference library.

Click on the link below to order from Amazon Japan:
SADAO IIZUKA: THE MAN WHO CONTINUES TO DRAW RAY BEAMS
Format: 8.2 x 5.9 inches
ISBN-10: 4800308518
ISBN-13: 978-4800308511
Release Date: January 8, 2016
MSRP: ¥2916 ($24.86 USD)