H-MEN, MOTHRAS & SPACE BATTLES, OH MY! Sony Home Video issuing Toho classics to DVD

Should you shelve your Toho Video R2 DVDs or keep them? Read on.

To quote Dr. Immelman from THE MYSTERIANS, "Good news! Good news!" The intrepid Ian Freidman of the HK Film News DVD blog has scored another exclusive interview with Michael Schlesinger of Sony Home Pictures Entertainment, called Return of the Classics. And while they discuss a lot of exciting news about upcoming releases (please check out the site for the complete interview), there is some exciting official news regarding the Columbia-held titles, THE H-MAN (1958), BATTLE IN OUTER SPACE (1959) and MOTHRA (1961). Here are some excerpts:

IF: "So what is the word on releases of dual US/Japanese versions of MOTHRA, THE H-MAN, and the BATTLE IN OUTER SPACE? The grey market has been filled with wide and subbed copies of the Japanese versions, but the English language version has only appeared on badly duped copies from 16MM, making them a desired inclusion."

MS: "The set is penciled in for ’09. It will contain those three plus REBIRTH OF MOTHRA 3 (1998), which somehow got overlooked for DVD. The intent is to have the uncut versions with Japanese tracks as well as the English dubs. MOTHRA and BATTLE IN OUTER SPACE are done; THE H-MAN is proving to be a bit trickier, but it should be completed in time."

IF: "Many fans have hoped that the actual US versions (in terms of credits and US version has opposed to the dub being placed over the Japanese version) will be released; do you think this will be possible?"

MS: "Probably not, since it would require twice as many discs. Besides, why would anyone want the cut-up versions? You don’t see people buying ONCE UPON A TIME IN AMERICA and then saying, “Aw, crap, I wanted the version that was 90 minutes shorter and re-edited in chronological order by some studio hack.” That’s a rather extreme analogy, but you get my point."

IF: "The reason I ask about the US versions is that Classic Media, put both the US and Japanese versions on one disc, if that's not possible, will the US credit sequences be included perhaps as an extra."

MS: "I'm sure some method will be worked out. We certainly don't expect people to try and read Japanese credits!"

IF: "Since some of the US versions were sequenced different and had different music, how will the dubs sync up with the Japanese tracks (do you have separate music, sound effects, and dialog tracks?"

MS: "That is an issue, and one that's holding up THE H-MAN. Again, much of the Toho business might be better posed to Grover [Crisp Head of Sony’s Restoration]."

While this is really exciting news, and it's about time that these films received a DVD release in North America, I'm a bit hesitant about making "hybrid" versions of the films. If Sony's Godzilla releases are any indication, we are not going to get the original Japanese credit sequences. For example, the original Japanese credit sequence for THE H-MAN is far superior than the US version — and longer — with the credits over a montage of a derelict fishing trawler, ending on the ship's wheel, which eerily seems to be steering without a pilot...

Additionally, again going by their earlier Godzilla releases, we will also not see the original Japanese Toho Scope logos at the start of each film — which will be replaced by a modern English version of the logo. This would be akin to cutting out the Shaw Brothers logo and replacing it with one in CGI. No one complained that the Classic Media DVDs contained the Toho logos or the original Japanese credit sequences (although the did drop the pre-logo "Thanks to the Maritime Safety Agency" card from GODZILLA) — nor has anyone complained of such for any other Toho releases by Media Blasters, Animeigo, Criterion, etc.

Actually, we want to have the original Japanese versions. Complete and uncut. Including logos and credits. Personally, I don't understand the need for creating these hybrids (except for possible television airings). While it may be too early to call foul at this point, we've been waiting for a decent release of these films for so long, that perhaps we're being a a little too nitpicky. For now, we're just going to have to wait and see if this is the case, or it's all much to do about nothing.

In meantime, keep checking back when more news breaks on either this blog or HK Film News DVD. Ian says that he's working on a follow-up interview with the man in charge of these restorations.

Thanks go out to Ian Freidman and Brad Thompson for passing this along to me, and Michael Schlesinger for pushing these releases through — salute!

UPDATE 07/09/08: When the major differences in the U.S. and the Japanese versions were brought to his attention, Michael Schlesinger responded thusly: "After the interview was published, I was informed that THE H-MAN and MOTHRA were not merely shortened but had scenes rearranged and some alternate footage. So yes, it would be best if both versions were included on those two. I'll be bringing this up when the time comes."

Monster of the Month GOMORA: The Ancient Monster

古代怪獣ゴモラ 「ウルトラマン」より


©1967 Tsuburaya Productions

Height: 40 meters • Weight: 20,000 tonnes • Origin: Johnson Islands, South Pacific • Original appearance: ULTRAMAN (1966-67) Episode 26 & 27 "The Monster Prince"

One of the mightiest creatures to ever live, Gomora possessed massive strength, and while generally docile, could be provoked into extreme, unstoppable rage. With powerful arms and claws, and enormous horns crowning its head, Gomora could burrow into the earth and traverse long distances underground at incredible speeds. Besides using its horns as defensive and offensive weapons (based on the dinosaur, Triceratops), Gomora could also wield his tremendous 40 meter-long tail to stun or kill his enemies. A true prince among monsters!

Gomora is not only my favorite of all the Ultra Monsters, but also one of my favorite Japanese monsters of all time (and I still treasure my Bullmark figure of him I bought as a kid). Gomora was the creation of screenwriter Tetsuo Kinjo, who conceived the creature, art director Tohru "Tohl" Narita, who realized him, sculptor Ryosaku Takayama, who built the monster suit, and suit actor Kunio Suzuki, who brought him to life. Gomora has remained popular for over 40 years and has returned several times, including the recent mini-series ULTRA GALAXY: GIANT MONSTER BATTLE.

Simply put, Gomora rules!

•Link Wikipedia: Gomora

MY DINNER WITH GODZILLA! Haruo "Mr. Godzilla" Nakajima Returns to G-Fest

初代ゴジラ＝中島春雄はシカゴにこの週末来ている!


"I'm not as afraid of Godzilla as I am the Editor; he's meaner."

This week I will be heading to Chicago as a guest of the only kaiju eiga (Japanese monster movie) convention in North America, G-Fest XV, taking place July 4th-7th, at the Crown Plaza O’Hare. I’ve only attended two of the previous events held in Southern California (for which I put together video programming and co-hosted several presentations), mostly because the event is ostensibly held in Chicago — and how does one choose between Chicago and Tokyo? Other times, I’ve been so caught up with things at home, I space on attending G-Fest (I do the same thing with Comic Con, too). But, things are different this year.

First off, my book on the father of Japanese Visual Effects was released this past November, and as the author, I am compelled to make the rounds to press flesh and forge my name on tomes — otherwise known as book signings. Secondly, the organizers of G-Fest XV have invited Haruo Nakajima, the actor-cum-stuntman who played a plethora of monsters for Eiji Tsuburaya and was the primary man in the Godzilla suit from the original GODZILLA (1954) through GODZILLA VS. GIGAN (1972). With Nakajima there, whom I haven’t seen in eight years, how could I not go?

And so, writer Brett Hommenick and I will have the great honor of conducting the on-stage interview with Mr. Nakajima at G-Fest XV on Saturday from 10:00 am-12:00 pm. We will cover his career from Godzilla to Ultraman, and ask for the behind-the-scenes stories on making these classics, including his near death experiences on the set. Mr. Nakajima will be attending the event all weekend, and this is going to be a special, once-in-a-lifetime opportunity for fans, who haven’t already had the pleasure, to meet with the man they call Godzilla.

Other guests attending G-Fest XV include UFC fighter-cum-actor Don Frye who appeared as “Captain Gordon Douglas” in Ryuhei Kitamura’s awful GODZILLA FINAL WARS (2004). Who knew that the German filmmaker Jörg Buttgereit, who made the notorious NEKROMANTIK (1987), was a Godzilla fan? Jörg, who has put together extras for Deutsch DVD releases of kaiju eiga (including interviews with folks such as Mr. Nakajima), will be at G-Fest XV to shoot footage and interviews for his new documentary, Monsterland! Returning to G-Fest XV will be noted writer Donald F. Glut and actor Robert Scott Field.

At G-Fest XV I will also be hosting two special presentations: The Genesis of Ultraman (Friday from 2:00pm-3:00pm) which will explore the origins of the classic 1966 series produced by Eiji Tsuburaya, how it was produced, and the cultural impact the series continues to have today, around the world, through continued rebroadcasts and spinoffs. On Saturday from 1:00 pm to 3:00 pm, I have selected over 150 behind-the-scenes photos for Eiji Tsuburaya: Master of Monsters, which will take us through all the major fantasy films from GODZILLA to LATITUDE ZERO. If you are attending G-Fest XV, you won’t want to miss this show.

Over the weekend, I will also be participating on these philosophical panels about Japanese Monster Movies, which should prove to be a lot of fun: What is a Kaiju? on Friday from 3:00-4:00 pm, will try to search for what makes Japanese monsters Japanese, and DESTROY ALL MONSTERS 40th Anniversary on Sunday from 2:30-3:00 pm, celebrating one of the most beloved Godzilla films of the 1960s. Of course, there are other great presentations and events at G-Fest XV (and bad-ass lowbrow artist David Durrett will be there, too), but they don’t want me to spoil the fun for you!

Dammit, Jet Jaguar! I almost forgot about the book signing! Over the weekend, I will be scribbling rude comments into copies of my book, EIJI TSUBURAYA: MASTER OF MONSTERS at the Clawmark Toys booth in the Dealer’s Room. I will be signing from 6:00 pm-8:00 pm on Friday, 3:30 pm-5:30 pm on Saturday, and 10:00 am-12:00 pm on Sunday (all times approximate and subject to change, unless you buy me dinner). I hope to see you there!

For more information about G-Fest XV, please go to their official website at G-Fan.com.

"EIJI AND THE EIGHT-HEADED SERPENT" From THE THREE TREASURES (1959)

「日本誕生」より


Tsuburaya poses with the Yamata-no-Orochi prop.

「美女と液体人間」THE H-MAN (1958)

Shirakawa's Beauty is threatened by Tsuburaya's Beast.

THE H-MAN

Bijo to Ekitai Ningen, Toho, 1958, 87 minutes
Director ISHIRO HONDA • Visual Effects Director EIJI TSUBURAYA



Often woefully mistaken for a rip-off of Irving S. Yeaworth Jr.’s THE BLOB (1958), "The Beauty and the Liquefied Man" (the film’s Japanese title) was in production long before the infamous creature feature ever hit American screens. According to official records, a former Shochiku Studios actor who was hired by Toho, under his new stage name, Hideo Unagami, submitted the story treatment that became THE H-MAN (the film’s U.S. title). His story caught the eye of producer Tomoyuki Tanaka, and was pushed through for development under the supervision of genre specialists, Ishiro Honda and Eiji Tsuburaya — thus launching Toho's "Mutant Series," incorporating Honda's THE HUMAN VAPOR (1960) and MATANGO (1963).

As with the original GODZILLA (1954), the premise of THE H-MAN was based on the real-life "Lucky Dragon" incident, where a Japanese fishing trawler wandered into the waters of the H-Bomb test site at Bikini Atoll. The crew and their catch became radioactive, and death came to several of the crewmembers as a result of poisoning from radioactive fallout. In November 1957, Tanaka, Honda and Tsuburaya finalized the story with writer Takeshi Kimura, who penned the screenplays for RODAN (1956) and THE MYSTERIANS (1957). The pessimistic Kimura was put in charge of fleshing out Unagami’s treatment, and created a world where the law is only a thin veil that differentiates the police from organized crime.

This mixture of detective story and science fiction was not new to the Japanese; "Tantei Shosetsu Henkaku" (or Irregular Detective Fiction) took root in the 1920s with the rise in popularity of such pulp magazines such as Shinseinen (New Youth) and Kagaku Gaho (Science Pictorial), where this sub-genre originated. The first movies in this vein were Daiei Studio's THE RAINBOW MAN and ENTER THE INVISIBLE MAN (both 1949), the latter with inspired effects work created by Tsuburaya. While Toei made Rampo Edogawa’s juvenile stories, Boys Detective Gang, into a series of films between 1954-1958, THE H-MAN was far more adult; with its mixture of seedy nightclubs, lurid characters and drug smuggling — akin to similar "Anokokugai" (Underworld) pictures pouring out of post-war Japanese studios, such as Seijun Suzuki's UNDERWORLD BEAUTY (1958).

Honda paired Kenji Sahara and Yumi Shirakawa for the third, and last, time in THE H-MAN. Playing the young theoretical scientist, Sahara would continue to appear in many films for Honda, as well as star in Tsuburaya's classic television series ULTRA Q (1966). Shirakawa plays a Cabaret Chanteuse, and shortly thereafter was cast in such films as Yasujiro Ozu's EARLY AUTUMN (1961). She only made a handful of fantasy films after THE H-MAN, Jun Fukuda’s THE SECRET OF THE TELEGIAN (1960), Shuei Matsubayashi’s THE LAST WAR (1961) and Honda’s GORATH (1962), and then married Nikkatsu Studios star Hideaki Nitani (TOKYO DRIFTER). Cutting an imposing figure as the vile "Uchida," Makoto Sato was launched into a long career as heavies and heroes alike, despite his brutish features, and recently appeared in Takayoshi Watanabe’s DEAR HINAGON (2005).

Although there are no colossal beasts in THE H-MAN, Tsuburaya managed to conjure up some very special effects for this picture; especially eerie is the hydrogen ooze that dissolves the human victims — and when the shapeless mutants manifest into humanoid forms (most notably, during the flashback set aboard the "haunted" fishing trawler). Another remarkable visual effect is the death of Detective Sakata (Yoshifumi Tajima), when the liquefied creatures dissolve him in the cabaret. While these effects were considered somewhat shocking in 1958, even more shocking were the scantily-clad cabaret dancers, who were a little racier than allowed in mainstream American cinemas at the time. (While Columbia Pictures' trims for the U.S. release resulted in more than five minutes of footage hitting the cutting room floor, most was comprised of police exposition, the aforementioned saucy bits, and some of the shots in the sewers featuring Shirakawa in nothing more than a slip.)

To achieve the effect of the dissolving human beings, Tsuburaya had life-sized latex dummies of the actors made, and dressed them up as their flesh-and-blood counterparts. Shooting with high speed cameras, Tsuburaya’s crew literally let the air out of these dummies, and when combined with optical effects in post-production, they appear to be dissolved by the gelatinous monsters. Then, there’s the creeping ooze itself (cooked up from a special silicon compound), which was manipulated on special sets constructed to roll 60%, thus allowing the deadly miasma to threaten the cast. Tsuburaya also created some atmospheric miniature photography of the ghost ship for the title sequence and the creepy flashback, as well as the spooky lattice of sewers under Tokyo — transformed into a raging inferno, as they are engulfed in the conflagration created to incinerate the H-Men in the fiery climax.

Executive Producer TOMOYUKI TANAKA Screenplay TAKESHI KIMURA Original Story HIDEO UNAGAMI Production Design TAKEO KITA Cinematography HAJIME KOIZUMI Lighting TSURUZO NISHIKAWA Film Editor KAZUJI TAIRA Sound Recording CHOSHICHIRO MIKAMI and MASANOBU MIYAZAKI Music MASARU SATO Visual Effects Production Design AKIRA WATANABE Visual Effects Photography HIDESABURO ARAKI and SADAMASA ARIKAWA

Starring KENJI SAHARA (Dr. Masada) AKIHIKO HIRATA (Detective Tominaga) YUMI SHIRAKAWA (Chikako Arai) EITARO OZAWA (Chief Detective Miyashita) MAKOTO SATO (Uchida) YOSHIO TSUCHIYA (Detective Taguchi) YOSHIFUMI TAJIMA (Detective Sakata) TETSU NAKAMURA (Chen) NIDAO KIRINO (Shimazaki) AYUMI SONODA (Emi) NAOMI SHIRAISHI (Mineko) MACHIKO KITAGAWA (Hanae) TADAO NAKAMARU (Detective Seki) HISAYA ITO (Masaki) and KOREYA SENDA (Professor Maki)

"FRANKENSTEIN CONQUERS TSUBURAYA"! From FRANKENSTEIN VS. BARAGON (1965)

「フランケンシュタイン対地底怪獣バラゴン」より


"What!? Me worry?" Gag shot of Tsuburaya and actor Koji Furuhata.

NOW, WE CAN SAY "MISSION ACCOMPLISHED": "Eiji Tsuburaya" Conquers the World!

円谷英二様、バンザイ！


The Father of Japanese Visual Effects: Eiji Tsuburaya!

Alright, that might be overdoing it, but as an old friend of mine, Spencer Coppens, used to punctuate his hysterical nightclub managing accounts, "Who knew?" When I was researching and writing EIJI TSUBURAYA: MASTER OF MONSTERS, I knew that it would be immediately embraced by fans of Japanese Monster Movies, Asian Cinema and Classic Fantasy/Horror/Science Fiction Films, a voracious, but very niche, demographic. Even a year ago, I would have never imagined the volume of mainstream attention — and accolades — that the book has generated outside of the unfortunately labeled, "Fandom Ghetto," in the wake of its release.

Positive notices have been pouring in since last fall, from The Library Journal and Locus Online to Barnes & Noble and Time Magazine. (Time Magazine? Somebody pinch me!) Most of them unanimous in their praise for the book itself and it's mission — to bring Eiji Tsuburaya into the international spotlight. I was also taken aback that it was nominated for a coveted "Rondo Award," and all of the book signings (so far) have surprised not only me, but the managers of the venues as well. It's all about timing, and it has been extremely fortuitous — right now, people are interested in reading (and hearing) about Tsuburaya's films, as well as his life, achievements and innovations.

The door has finally been opened — and the reviews keep coming in. Chelsea Bauch, in the June 2008 issue of Boldtype ("The Monthly Review of Books Worth Reading"), has kindly written:

"Ragone's account is an insightful look at the innovation and technology behind one of the industry's pioneering craftsmen. Tsuburaya is still widely honored in Japan, but his international recognition is often eclipsed by his iconic creatures... And yet, as Ragone tells it, the story behind their construction is as engrossing as their infamous acts of destruction... MASTER OF MONSTERS is part biography, part coffee-table art book... balancing Ragone's absorbingly detailed account with stunning images of the man in action... Although the subject matter may seem esoteric, Tsuburaya's story is as much about the evolution of Japanese cinema as it is about one of its most pivotal practitioners."

That has been my mission — to shine a beacon onto Eiji Tsuburaya and let people be drawn to that light (no Mothra puns intended or implied). It didn't have to be me, but somebody had to do it. This is the first major step in a long journey and has been a culmination of years of dedication on my part. After decades of reading mostly snide, dismissive and condescending comments in English-language publications on Visual Effects and Science Fiction Films (some bordering on racist), with others being erroneous (because of the language barrier or lazy research), or passing him over altogether (some out of ignorance or distain), Eiji Tsuburaya can no longer be swept under the rug, and is now getting his due outside of the confines of his birthplace (where he is still widely respected and revered by filmmakers and fans, alike).

His was the first name that stuck to my pre-adolescent grey matter, when I read the TV Guide listing for the sadly-titled ATTACK OF THE MUSHROOM PEOPLE (1963), which ended with, "Special Effects by Eiji Tsuburaya." This was the start of my lifelong obsession to discover more about the reality outside of the narrative of the movies themselves — the people behind the cameras and how the films were made — and put them into context. After that initial epiphany (in a long succession of them), the next boot in my arse came from an article on Tsuburaya in #110 of Famous Monsters of Filmland magazine, featuring some amazing behind-the-scenes production stills (one of which I made sure got into the book). My fate was sealed.

But, this is not about me. It never has been; I'm merely the vessel — it's all about Eiji... and it's about damned time.

For a sample of more reviews, as well as announcements of upcoming book signings and film screenings, please visit the official MySpace page for Eiji Tsuburaya: Master of Monsters

「空の大怪獣 ラドン」RODAN (1956)

The titular monster amidst the detailed miniature set of Fukuoka.

RODAN, THE FLYING MONSTER
Sora-no Daikaiju Radon, Toho, 1956, 82 minutes
Director ISHIRO HONDA • Visual Effects Director EIJI TSUBURAYA

With the success of the first two Godzilla films under his belt, Producer Tomoyuki Tanaka looked to create a new style of monster movie to be shot in color, and solicited a treatment from mystery writer, Ken Kuronuma, who was the one of the translators for the Japanese edition of Amazing Stories magazine. Kuronuma based the core of his treatment on the unexplained, real-life "Mantell Case" of 1948, in which veteran WW2 pilot, Captain Thomas F. Mantell of the Kentucky Air National Guard, died when his aircraft crashed during the pursuit of an Unidentified Flying Object. Such a scene figures prominently in the completed film, and is cited as one of the most memorable in RODAN — one of Toho's finest genre films.

Set on Japan’s southern island of Kyushu (but mostly shot on location in western Japan), RODAN was Toho's first color kaiju eiga featuring a screenplay, written by Takeshi Kimura and Takeo Murata, which centers on two lovers whom are mirrored with the Rodan. While not appearing in Kuronuma's treatment, the murderous super-sized dragonfly larvae, or Meganuron, were inspired by gargantuan ants in Gordon Douglas' THEM! (1954), and became another memorable element of the film. Honda's direction is solid and dramatic, and much less documentarian than GODZILLA (1954), with truly creepy scenes in the dark and claustrophobic coal mine sets, and beautiful panoramic photography of the breathtaking countryside vistas. Heading up the 2nd Unit was Jun Fukuda (1923-2000), who was promoted to director in 1960 with THE SECRET OF THE TELEGIAN, and later became well-known for his stylish gangster movies and outrageous fantasy films.

Toho trumpeted that RODAN starred the "Hopes for 1957," newcomers Kenji Sahara (b.1932) and Yumi Shirakawa (b.1936), who would be paired in several pictures together after RODAN, including THE MYSTERIANS (1957). After placing second in a Toho talent contest in 1953, Sahara was a bit player until RODAN, and summarily became one of the busiest actors at the studio, appearing in over twenty science fiction films. Still active, Sahara recently appeared in the Tsuburaya Productions television series ULTRAMAN NEXUS (2004). Joining Toho in 1956, the beautiful Shirakawa appeared in several of Honda's pictures, and is still acting today. A favorite of Hiroshi Inagaki and Akira Kurosawa, the late Akihiko Hirata (1927-1984) played "Dr. Kashiwagi" and many memorable roles in Toho fantasy films, starting with "Dr. Serizawa" in GODZILLA. Even today, Hirata continues to be one of the most recognizable faces in the history of the genre.

Tsuburaya's elaborate and spectacular visual effects took up 60% of the film's entire production budget, and it's all up there on screen — from beautiful matte paintings to highly detailed miniature sets — and is still quite effective a half-century later. One of his outstanding sequences is the destruction of the Saikai Bridge, a scene that could only be shot once. A matter of precise timing, his wire operators had to pull the Rodan prop over the 1/20 scale bridge, while other crew members pulled another series of wires to collapse the bridge. Shot with several cameras in tandem (a Tsuburaya technique shared by Kurosawa), it all went off perfectly in one take. The finely detailed miniature of the Iwata-ya department store in Fukuoka City (changed to Sasebo City in the U.S. version) was built with real reinforced steel beams, in order to support the weight of monster actor Haruo Nakajima and the 150-pound Rodan costume. Scenes featuring animation of the flying Rodan being pursued by the fighter plane, or streaking through the skies, are still staggeringly realistic.

Because of the international success of GODZILLA in 1956, the U.S. rights for RODAN were immediately acquired by the King Brothers (Maurice, Frank and Herman), who are today best remembered for RODAN (as well as Eugene Lourie's kaiju eiga-styled GORGO, 1961). Starting with a complete work print, several shots excised in the Japanese version were utilized, while the H-Bomb tests seen at the top of the film came from newsreel footage. The English dialogue was written and directed by David Duncan (1913-1999), best known for THE TIME MACHINE (1960). Voice talent included the venerable Keye Luke (KUNG FU) as "Shigeru" and Paul Frees (THE THING FROM ANOTHER WORLD) as "Nishimura," while a young George Takei, who took RODAN as a summer job — his first acting gig — provided the voice for "Professor Kashiwagi" ("…and at least ten other characters — I lost count!" he recalled). Upon its release in the U.S. in July 1957, RODAN became the highest-grossing science fiction film of that year.

Despite the extensive re-editing of the film (approximately ten minutes shorter than the Japanese, and the removal of some of Ifukube's score), the U.S. version benefits from Duncan's surprisingly poetic narration, especially as the Rodans are consumed in the fiery climax: "Like moths in those rivers of fire, they seemed almost to welcome the agonies of death. The last of their kind, masters of the air and earth, the strongest, swiftest creatures that ever breathed… now, they sank against the earth like weary children. Each had refused to live without the other. And so, they were dying together… I realize now, that by the narrowest of margins, man had proved himself the stronger. But, will it always be so? May not other and more terrible monsters, even now, be stirring in the darkness? And when, at last, they spring upon us, can we be certain to beat them back a second time? That answer lies in the future. Our fears, for now, have gone up in flame and smoke."

Executive Producer TOMOYUKI TANAKA Original Story KEN KURONUMA Screenplay TAKESHI KIMURA and TAKEO MURATA Production Design TATSUO KITA Cinematography ISAMU ASHIDA Film Editor KOICHI IWASHITA Music AKIRA IFUKUBE Visual Effects Production Design AKIRA WATANABE Visual Effects Photography SADAMASA ARIKAWA [US Version] Producers THE KING BROTHERS Film Editor ROBERT EISEN English Dialogue and Director DAVID DUNCAN

Starring KENJI SAHARA (Shigeru Kamura) YUMI SHIRAKAWA (Kiyo) AKIHIKO HIRATA (Professor Kyuichiro Kashiwagi) AKIO KOBORI (Police Chief Nishimura) YOSHIFUMI TAJIMA (Iseki, Seibu News) MINOSUKE YAMADA (Constable Ozaki) RINSAKU OGATA (Goro) and HIDEO MIHARA (Japan Air Self-Defense Forces Commander)

ARRIVEDERCI, DIABOLIK John Phillip Law (1937-2008)

Actor John Philip Law made a strong impression on me as a kid — and little did I know it at the time that he was the very same actor in three memorable films of my youth. I wasn't even in grammar school at the time, but one of my older sisters, who swore me to silence, took me with her and he husband to see Roger Vadim's BARBARELLA (1968) at a drive-in. I didn't really understand anything in the film — but three images were burned into my little mind: The frightening Man-Eating Dolls, Anita Pallenberg as the Black Queen and John Philip Law as the Blind Angel. I doubt that these were healthy images for an impressionable child, but I'm still creeped out by dolls (I'm sure that these memories would make intriguing fodder for some Shrink out there.)

Several years later, I saw Mario Bava's delirious and colorful DANGER: DIABOLIK (1968) in a second-run theater on some double or triple feature, and again, the imagery was scorched into my psyche — Diabolik's sinister costume, Law's intense eyes, and Marisa Mell's incredible, stunning beauty. While I only saw the film once, and it was years before I saw it again (when DANGER: DIABOLIK was released by Paramount Home Video on VHS in the early 1990s), those images were very deeply ingrained.

Somewhere around that time, I rushed to see Gordon Hessler's THE GOLDEN VOYAGE OF SINBAD (1974) upon its first release, and while I had no idea that the star was the very same actor in both DANGER: DIABOLIK and BARBARELLA, the film made a strong impression on me (and still remains my favorite Ray Harryhausen production). Again, as typical with Harryhausen, there were numerous visual wonders in the film — such as the beguiling and murderous Kali — as well as the villainous Koura, played by Tom Baker (DOCTOR WHO), and the most special effect of all, you guessed it, the mesmerizing Caroline Munro (CAPTAIN KRONOS: VAMPIRE HUNTER).

By the time I was in High School, I knew John Philip Law as my favorite screen Sinbad, and connected his name to his other films, including BARBARELLA and DANGER: DIABOLIK; and now I am at a loss in expressing how much these films he appeared in fascinated and entertained me over the years. There were many fans who were fortunate to know Mr. Law and were privileged to interview him in recent years. While I was not one of them, I was — and still am — in awe of an actor who truly was larger than life and cooler than thou.

Sleep well, Mr. Law, you will not be forgotten.


Trailer for THE SWINGING LUST WORLD OF JOHN PHILIP LAW.

Related stories:
Tim Lucas' Video Watchblog
The Telegraph obituary
The LA Times obituary

TONIGHT ONLY! "CREATURE FEATURES" RETURNS Don't You Dare Miss This Event Tonight in Oakland!

Classic Bob Wilkins in the mid-1970s. Has it really been that long?

WATCH HORROR FILMS—KEEP AMERICA STRONG is the new feature-length documentary all about San Francisco's fondly remembered program CREATURE FEATURES (1971-1984) is having it's world premiere — TONIGHT ONLY — at the amazing Grand Lake Theater in Oakland, CA (right across the Bay from San Francisco). This premiere event is a benefit for the "Bob Wilkins Alzheimer's Fund" to help our much beloved Horror Host with the care he needs. This man was my hero as a kid, and if you remember the show, please try to make it out — but if you can't make it, you may send in donations directly to the fund via the official Bob Wilkins website.

See last month's related story "The CREATURE FEATURES Documentary!" for more details!

フランケンシュタインの怪獣 サンダ対ガイラ THE WAR OF THE GARGANTUAS (1966)

Tsuburaya directs Haruo Nakajima as Gaira, 1966.

THE WAR OF THE GARGANTUAS
Furankenshutain-no Kaiju Sanda tai Gaira (Toho, 1966), 88 minutes
Director ISHIRO HONDA • Director of Visual Effects EIJI TSUBURAYA

One of the most beloved of Toho's non-Godzilla kaiju eiga, THE WAR OF THE GARGANTUAS (Japanese title "Frankenstein's Monsters: Sanda vs. Gaira") was produced as a direct sequel to FRANKENSTEIN CONQUERS THE WORLD (1965), but this connection was obscured in the US version by co-producer Henry G. Saperstein. His reasoning was that the characters did not look enough like the Giant Frankenstein from the previous film — the four-year gap between the release of FRANKENSTEIN CONQUERS THE WORLD and THE WAR OF THE GARGANTUAS in the States, may be a better (and more logical) explanation.

The first draft of Mabuchi's screenplay featured the same trio of characters from the previous film, "James Bowen" (Nick Adams) "Sueko Togami" (Kumi Mizuno) and "Yuzo Kawaji" (Tadao Takashima), but for unknown reasons, Nick Adams was not available, and so the characters' names were changed and the parts recast, with Kumi Mizuno (MATANGO) being the holdover (as "Akemi Togawa"). Kenji Sahara, the star of RODAN (1956) and THE MYSTERIANS (1957) replaced Takashima (as "Yuzo Mamiya") and Adams was supplanted by Russ Tamblyn (THE HAUNTING) as "Paul Stewart." The rest of the cast is rounded out with the usual stable of character actors, including Jun Tazaki (ATRAGON), Yoshifumi Tajima (MOTHRA VS. GODZILLA), and Ren Yamamoto (GODZILLA).

Prominently featured in the film are the Self-Defense Forces' mobile Maser Cannons, one of the more evocative and iconic creations in the genre — a tradition that started with the Katusha Rocket Tanks in GODZILLA RAIDS AGAIN (1955), the Markalites in THE MYSTERIANS, and the Atomic Heat Ray Cannons in BATTLE IN OUTER SPACE (1959) and MOTHRA (1961). The principal behind the weapon was a concentrated microwave beam, used to disrupt the cellular structure of its targets. Designed by Mutsumi Toyoshima (the unsung genius behind some of Toho's famous "mecha"), the Maser Cannons were built upon the A-Cycle Light Ray Cannons previously featured in MONSTER ZERO (1965). The Maser Cannons were also featured in GODZILLA VS. GIGAN (1972), GODZILLA VS. MEGALON (1973), and while offshoots and variants appeared in the Godzilla films of the 1990s, the originals were revived for GODZILLA AGAINST MECHAGODZILLA (2002) and GODZILLA: TOKYO SOS (2003).

Another element that has made the film memorable was the Gargantuas themselves and the striking use of the monster suit actors' own eyes, emphasizing the physical performances of Haruo Nakajima (as Gaira, the Green Gargantua) and Hiroshi Sekita (as Sanda, the Brown Gargantua), and allowing for a realistic and unsettling effect. This element of realism is one of the contributing factors in the film's rabid cult following on both sides of the Pacific, coupled with Tsuburaya's highly detailed studio and outdoor miniature sets (roughly 1/10 scale) which achieve a greater illusion of reality — and the furious fight to the death between the monsters — making this one of Tsuburaya's best monster films. Unfortunately, Honda's original concepts concerning the Gargantuas' growth from another's cells (adding a threat of more such creatures), and the original ending, having the undersea volcano engulfing and destroying Tokyo in flaming magma (an ironic twist that Honda wanted to punctuate the ending with), were cut from the final script. Honda later stated that shooting these destruction scenes would have run the film well over budget.

There were a number of editorial changes made between the Japanese and American versions of the film that are worthy of spotlighting: Tamblyn was given more scenes for the US version, including those only featuring Japanese cast members in the original, emphasizing his central importance in the narrative (Tamblyn was also asked to loop his dialogue to remove any references to "Frankenstein"). S. Richard Krown replaced Ifukube's repetitious military march with more suspenseful stock library music cues (including cues cribbed from MONSTER ZERO), which actually help the scenes in question. And there are additional visual effects scenes, unused in the Japanese version, which were employed to great effect, and help to make the US version four minutes longer than the Japanese. Honda told the late Guy Tucker (in his 1996 book, "Age of the Gods"), "Actually, I find [the film] a little boring. I'm glad it's popular, but [I feel that it] doesn't really have much heart."

Executive Producer TOMOYUKI TANAKA and KENICHIRO TSUNODA Screenplay KAORU MABUCHI and ISHIRO HONDA Production Design TAKEO KITA Cinematography HAJIME KOIZUMI Film Editor RYOHEI FUJII Music AKIRA IFUKUBE Visual Effects Production Design YASUYUKI INOUE Monster Design TOHRU NARITA Visual Effects Photography SADAMASA ARIKAWA and SOKEI TOMIOKA [US Version]: Producers HENRY G. SAPERSTEIN and REUBEN BERCOVITCH Original Story RUBEN BERCOVITCH Dialogue Supervisor RILEY JACKSON Film Editor FREDERIC KNUDTSON Production Supervisor S. RICHARD KROWN

Starring RUSS TAMBLYN (Dr. Paul Stewart) KENJI SAHARA (Dr. Yuzo Mamiya) KUMI MIZUNO (Dr. Akemi Togawa) JUN TAZAKI (Colonel Hashimoto) NOBUO NAKAMURA (Professor Kita) YOSHIFUMI TAJIMA (Hirai, Maritime Safety Agency)) NIDAO KIRINO (Lieutenant Kazama) REN YAMAMOTO (Saburo Kameda) and KIP HAMILTON (Nightclub Singer)

HAPPY BIRTHDAY, DIRECTOR ISHIRO HONDA! May 7, 1911 - February 28, 1993

誕生日おめでとう、本多猪四郎監督!


Honda (left) with Tsuburaya on the set of GODZILLA in 1954.

I KNOW LOWBROW ARTISTS IN HIGHBROW PLACES Damn, I Really Love Monsters & Lowbrow Art!

"Bad Ass." Acrylic on canvas 16" x 20." © David Durrett

A few months back, I was "knocked for a ghoul" (to paraphrase Toho's English language brochure for VARAN), when I saw one of David Durrett's pieces based on Ishiro Honda's much beloved THE WAR OF THE GARGANTUAS on a message board. I was especially struck by David's use of texture, color and caricature, which felt as if they were painted in the 1960s during the height of the Kustom Kulture boom — when Ed "Big Daddy" Roth reigned supreme with his knight errant, Rat Fink. The so-called "Lowbrow" art flooded children's hearts with monstrous glee with exaggerated bug-eyed creatures emblazoned on t-shits, trading cards, stickers and model kits. It's a style and sensibility that's been often imitated, but rarely captured.

Then came David Durrett. Born April 1964 in New Orleans, Louisiana, David is the Vice President of Client Service for the Dalton Agency, a full service ad agency in Jacksonville, Florida. A Graduate of Jacksonville University, summa cum laude in Commercial Art, he said "Right after I got out of school, all the hands-on graphics techniques I had learned gave way to computerized approaches, which was great for the industry and for clients, but didn’t appeal to me as an artist." When asked about his influences, he quickly stated, "I’ve been a lifelong fan of Al Hirschfeld, Mort Drucker (who hasn’t), and Ronald Searle. Among current popular artists I really like are Gary Baseman, Tim Biskup, Amanda Visell, and David Horvath—I have many of their toys to prove it."


The Mad Monster Artist hard at work!

After seeing his amazing art, I had to ask why he had been "hiding" all of these years, "I’ve decided to get back into art for a number of reasons. Mainly, I’ve come to realize that my creative side is the part that’s really me, and it’s been dormant for too long. Also, the Lowbrow movement is perfect for artists with my personal history and sensibilities… suddenly, you can merge your art with the pop culture icons you’ve loved since childhood. I also am an avid toy collector, primarily of figures that render two-dimensional cartoon characters into three dimensions. That’s always fascinated me. With Lowbrow, and its offshoot Urban Vinyl, artists themselves are controlling how their characters are transformed into the third dimension, and I’m really into that."

When asked why he has started with the Gargantuas, David replied, "To so many of us, Japanese movie monsters are the stuff of our fondest Saturday morning memories, and Lowbrow gives us a chance to pay tribute as well as offer our own perspective on these characters that we view simultaneously with awe and amusement. (They’re also a lot of fun to render in acrylic.) I remember seeing THE WAR OF THE GARGANTUAS as one of the summer matinees my mother took me to at the old San Marco Theatre here in Jacksonville. GARGANTUAS was particularly memorable because what I knew as 'the Green one' was so frighteningly and excessively evil, and the fighting between the two was so relentless. Years later I got hold of a DVD and found that my 30-year-old memories were still spot-on."



"The Brown & the Green." Acrylic on canvas 24" x 30". © David Durrett

Asked to comment on "The Brown and the Green," he said, "The brother-against-brother theme suggested one of those tragic stories you read about families torn apart by the Civil War (in fact the script includes such a reference), and I just had to put them into a Matthew-Brady-style portrait complete with full regalia and weaponry. It was a lot of fun to research the uniforms and rifles, and to render such varied surfaces as leather, brass, wood, cloth, gunmetal, and, of course, fur. Following August Ragone’s very encouraging comment that the painting was 'bad ass,' I realized that Gaira perfectly epitomizes the term and was worthy of a follow-up portrait."

"Simultaneously, I have begun pieces with titles ranging from 'Candid Gamera' to 'Toho Presents The Mikado.' I plan to have at least six paintings completed by G-Fest, where I will be offering prints and posters (maybe 'Bad Ass' T-shirts?) as a member of Artists’ Alley. I’ve launched a simple website, daviddurrett.com, where I plan to both show and offer my work. In addition to paying tribute to existing characters, I’d like to develop some of my own, which is a natural progression of subject matter among Lowbrow artists."

Check out David's site at daviddurrett.com and visit him this July 4th-6th at G-Fest in Chicago — his dynamic work redefines the term "Bad Ass" for the Monster Kid in everyone. I'm sure that we'll be hearing a lot more from David and his wonderful Lowbrow creations in the near future — I just hope he remembers me when he's famous!

TRAILER FOR "MONSTER X STRIKES BACK" First Teaser Trailer Now Posted Online!

出た!「ギララの逆襲」予告編!!

It's "Guilalamania"! The first teaser trailer was posted last night on Cinemacafe's official MONSTER X STRIKES BACK webpage — Go! Go! Guilala!!