「ゴジラ • エビラ • モスラ 南海の大決闘」 GODZILLA VS. THE SEA MONSTER (1966)

Sadamasa Arikawa (center) directing Haruo Nakajima (as Godzilla) and Hiroshi Sekita (as Ebirah).

GODZILLA VS. THE SEA MONSTER
Gojira-Ebira-Mosura Nankai-no Daiketto, 1966, 87 minutes
Director JUN FUKUDA • Visual Effects SADAMASA ARIKAWA • Visual Effects Supervisor EIJI TSUBURAYA

In 1965, there was a big change in the Visual Effects Department at Toho, with contracts ending and Tsuburaya pulling people and resources over to his own effects company, Tsuburaya Productions. Since he was spending so much time at his own studio, Tsuburaya chose his cinematographer, Sadamasa Arikawa, to divide chores as Visual Effects supervisors. Since Honda and Tsuburaya were busy with international co-productions (such as THE WAR OF THE GARGANTUAS), Tanaka handed the next Godzilla project over to popular action film director Jun Fukuda, who previously helmed the sci-fi thriller SECRET OF THE TELEGIAN (1960) and the colorful action-comedy 100 SHOT/100 KILLED (1965).

America's Rankin/Bass Productions, famous for its puppet animated television specials produced in Japan (such as "Rudolph the Red-Nosed Reindeer"), was shopping studios to take on a live-action feature film, based on their KING KONG cartoon series, produced by Toei Animation. The first screenplay, penned by Shinichi Sekizawa ("King Kong vs. Ebirah: Operation Robinson-Crusoe"), was rejected, but as negotiations continued, writers were put to work to submit further treatments which were offered to Rankin/Bass (eventually becoming KING KONG ESCAPES in 1967). While Toho was busy creating new monster films, such as THE WAR OF THE GARGANTUAS, there were no Godzilla projects on the boards for 1966,

The general consensus was that the Godzilla series needed a fresh direction, the relatively new medium of television was also keeping people away from theaters, so Tanaka thought that it was time to go after the teenage market with the same very same formula that made films such as the YOUNG GUY (starring Yuzo Kayama) so popular. There was also a very trendy interest in the exotic tropics, Hawaii and the South Seas, reflected in Japanese pop songs and movies of the early-to-mid-1960s. Tanaka thought that this could be exploited with the rejected screenplay for "King Kong vs. Ebirah," which incorporated these elements perfectly. Tanaka ordered the project into production, substituting Godzilla for King Kong, in a slightly revised screenplay entitled "Godzilla-Ebirah-Mothra: Big Duel in the South Seas."

The cast was top-lined by leading man Akira Takarada, the biggest box-office draw at the studio, playing the is-he-isn't-he master thief, who adds a worldly presence to the mostly youth cast. As the beautiful escapee, 29 year-old Mizuno was a last-minute marquee-value replacement for 19 year-old Starlet Noriko Takahashi (the dancing girl in FRANKENSTEIN CONQUERS THE WORLD), who originally was cast in the part, but fell ill due to acute appendicitis during principal photography. The driving electric guitar and jazz-infused soundtrack was composed by Masaru Sato (YOJIMBO) scoring his second Godzilla film (the first was GODZILLA RAIDS AGAIN in 1955) was quite a departure from Akira Ifukube’s bombastic marches. The lush photography was in the hands of Kazuo Yamada, who shot the majority of Hiroshi Inagaki’s memorable films, including CHUNSHINGURA (1962).

Fukuda approached this as pure escapism, with a fast-paced story that also weaves in Youth Movie elements with James Bondian histrionics — Takarada's hot-headed safecracker, a sinister organization bent on world domination through nuclear proliferation, and a band of teenagers swept up into the action, with whom the target audience could indentify. It is quite apparent that little was revised in the changing of the central monster from Kong to Godzilla, because of the odd Kong-like ticks adopted by Godzilla — his attention directed at a beautiful woman, his battles with a Giant Condor and a Jet Squadron, his boulder-throwing antics, and the rubbing of his nose (ala Kayama's character in the aforementioned YOUNG GUY series). The colorful film is an unusual, but highly enjoyable, adventure — despite its relatively lower budget — and is one of the most underrated of the 1960s entries.

(It's also the only Godzilla film to open with a Go-Go Contest!)


Executive Producer TOMOYUKI TANAKA Screenplay SHINICHI SEKIZAWA Production Design TAKEO KITA Cinematographer KAZUO YAMADA Film Editor RYOHEI FUJII Music MASARU SATO Visual Effects Production Design YOSHIYUKI INOUE Visual Effects Photography SOKEI TOMIOKA and YOICHI MANODA

AKIRA TAKARADA (Yoshimura) KUMI MIZUNO (Dayo) TORU WATANABE (Ryota) TORU IBUKI (Yatta) CHOTARO TOGIN (Ichino) HIDEO TSUNAZUKA (Niita) JUN TAZAKI (Outpost Commander) AKIHIKO HIRATA (Captain Dragonpatch) HISAYA ITO (Nuclear Physicist) HIDEYO AMAMOTO (Ship Captain) CHIEKO NAKAKITA (Kane, Ryota and Yatta's Mother) FUMIKO HONMA (Shinto Medium) IKIO SAWAMURA (Old Infant Islander) and THE BAMBI PAIR (The Little Beauties)

Monster of the Month Doruge Demon: OKOZERUGE

深海魔人オコゼルゲ 「超人バロム・１」より


©Saito Productions/Toei

Height: 2.2 meters • Weight: 100 kilos • Origin: Japanese Coast • Original Appearance: SUPERHUMAN BAROM-1 (1972) Episode 1 “The Devil’s Envoy: Deepsea Amphibian Okozeruge" • Design: Norio Maezawa • Fabricator: Keizo Murase • Voice Actor: Eiji Maruyama

The first of Doruge’s “Agents of Evil,” created to corrupt and enslave mankind. When infected with the “Dorgue Bacillus,” crossed with the cells of a poisonous Okoze (or Scorpionfish), the hapless Takaichiro Suzaki is transformed into Okozeruge. The monstrous mutant is able to spit a highly toxic liquid from its mouth which kills on contact, as well as infrared eyes allowing it night vision up to 1 km. Physically stronger than any mortal, this Dorugeman's only weakness is — besides Barom-1 — natural sunlight.

SUPERHUMAN BAROM-1 featured some of the most off-the-wall mutant creatures ever, who have recently created waves among Japanese toy collectors around the world, through a line of retro-styled vinyl figures from Rainbow Zoukei Kikaku. While Okozeruge is one of the more bizarre concepts for — ostensibly — a children’s television series, it is typical of the creative latitude prevalent in Japanese productions at the time (although complaints were lodged by the Japan PTA). Outwardly garish, Okozeruge is also suitably nightmarish.

I wouldn’t want to run into him in a dark alley. Would you?

ROCKET TO LA JOLLA! The San Diego Comic-Con International or Bust!

"Excuse me, Miss... is there booze on this crazy moon flight?"

This weekend, I will be attending the massive and monstrous Comic-Con International aka the San Diego Comic Con, to sign copies of EIJI TSUBURAYA: MASTER OF MONSTERS. This year's event is going to be the biggest in their history with the show sold out in advance for the first time, and record attendance estimated to be in excess of 150,000. So, to paraphrase Charlton Heston in PLANET OF THE APES, "This is a going to be a Madhouse!"

So, where will be you be able to find me in all of the chaos and madness? I will be at the Chronicle Books booth in the Exhibitors Hall (where, if you look from one side of the hall to the other, you can almost see the curvature of the Earth) from 3:30 pm on Saturday July 26th and from 2:00 pm on Sunday July 27th. If you don't already have a copy, we will be selling them throughout the show — if you already have a previously-purchased copy, don't fret, because I'll sign them, too (although that may devalue it). In the Comic-Con Exhibitors Hall, Chronicle Books can be found at Booth #1637.

So, we hope to see you there — stop by and say "hey"!

"EIJI AND THE TALE OF TWO GODZILLAS" GHIDRAH, THE THREE-HEADED MONSTER (1964)

「三大怪獣・地球最大の決戦」より


Tsuburaya takes a break to pose with a Godzilla costume and prop during the shooting of Seiji Maruyama's RETREAT FROM KISKA (1965).

EATING STEAKS WITH GODZILLA! And Other Great Memories of G-FEST XV

ゴジラは私達が付いているステキを食べた!


Haruo Nakajima entertained us with stories during the private dinner.
Photo: Clawmark Toys

It’s kind of a blur right now. As I get ready to head out to the San Diego Comic Con, memories of G-Fest XV two weeks ago are still swimming in my head. I can’t tell you how much of a great time I had in Chicago — or rather Rosemont — I met some really cool folks, signed a lot of books (we sold out on Saturday morning, and Tom from Clawmark Toys had to buy out another dealer so we could have more to sign!). People were really receptive to my presentations, and it was great to be in on some other sessions, notably having the honor of interviewing Haruo Nakajima on stage — with Brett Homenick and Robert Scott Field — who was really amused by the slides we projected of him on set and in cameo roles. The closing panel celebrating the DESTROY ALL MONSTERS 40th Anniversary on Sunday afternoon was great fun, too — and even special effects wizard Greg Nicotero came to G-Fest as an attendee with his son (a rabid Godzilla fan)!


Danny Tokarz talks with the man they called... Godzilla!
Photo: Armand Vaquer

There were a lot of laughs in hanging out with some folks whom I’ve communicated with for years, but never got the chance to meet in person — above and beyond was Danny Tokarz, who is like my Siamese Twin separated at birth (or as Danny said, “You know, the BASKET CASE Siamese Twin”). Danny and his old buddy, Joey, treated me to some serious Chicago-style pizza (“Not that thick crust shit that the Chicago Tourism Board wants you to believe is Chicago Style!") and some serious baked clams, which were awesome — garlic never tasted so good. Needless to say, those guys killed me, and we were all in hysterics, with everyone constantly being ripped on by former UFC fighter Don Frye (star of GODZILLA FINAL WARS) — and he liked it being dished right back at him, too. Don had me in stitches during the long autograph sessions, and was extremely down-to-earth with no pretense — he ripped on himself, too — and hung out with fans all weekend, holding court in the hotel bar. Over the course of the weekend, all of the guests seemed to be having an awesome time, and so were we.


Danny and Brett share some laughs with Don "Fire Missiles!" Frye.
Photo: Brett Homenick

A fantastic and unexpected capper to the weekend was being invited by the unrivaled Tom and Diane Dougherty of Clawmark Toys to attend a private Sunday night dinner with Haruo Nakajima at a local stake house. In attendance was Mr. Nakajima’s charming daughter, Sonoe, Tom, Diane, Robert Scott Field, G-Fest organizer Brett Homenick, and Silent Charity Auction Winners Chris Eddings and Matt Harris (who were in visible awe at being in Mr. Nakajima’s presence). For three hours we ate, laughed, asked questions and listened to amazing stories, poor Robert was hardly able to eat his steak, as Mr. Nakajima really kept him on his toes (I helped a little, too). I also finally got to ask Mr. Nakajima: Which scene could he be spotted in Kurosawa’s SEVEN SAMURAI? And he related, in great detail, that it was the scene where Kikuchiyo (Toshiro Mifune) and Kyuzo (Seiji Miyaguchi) ambush the three bandit scouts at the tree — Mr. Nakajima was the proverbial monkey in the middle, who is chased and cut down in the panning shot by Kyuzo. Needless to say, it was a great night, and special thanks go out to David Nunes for setting it up.


Signing books in the hotel lobby. Photo: Armand Vaquer

It’s funny; when you travel a long way, you expect to hook up with people and see the sights, or get in contact with local friends of friends, but there just aren't enough hours in the day. I was in the Chicago area for five (the first was mostly crashing out after checking into my room, then stumbling down to the bar and having drinks with Don, Mr. Nakajima and the gang), and it still wasn't enough time. Between my sessions at the event, pressing flesh and signing my books, I hardly left the hotel. I feel bad that I didn't get to meet — or even call — some Chicagoans I had promised to catch up with. I still had a great time in spite of that because of the hospitality of Danny, Joey and Brett (and many others at the show). It was also humbling and touching when kids stopped me to ask me questions, especially when they kept apologizing for taking up my time, to which I replied, “I came here to meet you. So please, ask away!” It all flew by so fast. But, there’s always next year, right? (I didn't even get into Chicago proper until the day after the convention ended, where I had the worst spaghetti, ever. But, that's another story.)


Karlos Borloff meets Godzilla! Photo: Armand Vaquer

A big surprise was getting to meet D.C. area horror host, Karlos Borloff of Monster Madhouse-fame — and he was thrilled to meet Mr. Nakajima (what Monster Kid wouldn't want to meet the man who was Godzilla?) — and I met lots of other great people all weekend. Far too many to mention (you know who you are!). I do have to stop and thank Jay Johnson for breaking the two year hiatus of the annual "Godzilla Blood Party" — that stuff'll kill ya! More thanks and shout outs must also go out to event producer J.D. Lees, his right-hand man Armand Vaquer, the diligent Brett Homenick, the omnipresent Robert Scott Field for the warm welcome, and anyone else I may have left out (including A.V. wizards Andy Steele and Jeff Horne — you, too, Butch! Did you get enough autographs from Mr.Nakajima?) I'm still kind of drained, but I hope that I will be invited back to G-Fest as a guest next year (although I’d still attend as a fan)!

Maybe we'll see you there next year, too?

HAPPY BIRTHDAY, EIJI TSUBURAYA! July 10, 1901-January 25, 1970

円谷英二への誕生日おめでとう!


Tsuburaya at the official press junket for ULTRAMAN, 1966.

The “Father of Japanese Special Visual Effects” was born on July 10, 1901 as Eiichi Tsuburaya in the town of Sukagawa, Fukushima. 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 celebration of Tanabata (meaning “Seven Evenings”), a Japanese star festival derived from the Obon (a celebration of ancestors). Tanabata is usually celebrated on July 7th or August 7th, to commemorate 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 in Japan.

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).

"MECHAGODZILLA, DESTROY THEM UTTERLY" Bandai's Amazing RC-Operated Titan of Terror!

RCメカゴジラがやってきた!


Bandai's amazing RC Mechagodzilla! Photo: CScout Japan

The iconic Mechagodzilla, the bionic double of the King of the Monsters, was created in 1974 for the 20th Anniversary Godzilla film, Jun Fukuda's GODZILLA VS. MECHAGODZILLA, and proved so popular, he was brought back the next year for Ishiro Honda's TERROR OF MECHAGODZILLA. Since then, as a character, Mechagodzilla has endured in popularity for more than three decades, and has been re-envisioned in several more recent Toho films, such as GODZILLA AGAINST MECHAGODZILLA (2002) and GODZILLA: TOKYO SOS (2003). Despite the updates, the first version of the character still captures the imagination of fans everywhere.


"Cross Attack Beam, fire!" Photo: GA Graphics

While the original version of the alien super robot has been rendered in various forms of vinyl, resin, diecast and injection mold plastic, kaiju fans and Japanese toy collectors, alike, thought that they saw the zenith figure of their favorite space titanium-alloy monster issued in spectacular — and ultimate — form as part of Bandai's best-selling "Soul of Chogokin" line a couple of years ago. Released in both 1974 and 1975 versions, this diecast figure was one of the many releases in the popular revival of their "Chogokin" brand (or "Super Alloy," a term coined from Go Nagai and Toei Animation's MAZINGER Z). No one could have imagined that it could get any better. Until now.


"Initiate, Defense Neo-Barrier!" Photo: GA Graphics

At the 2008 Tokyo Toy Show on June 21st and 22nd, produced by the Japan Toy Association, the largest toymaker in Japan, Bandai, previewed a prototype of their latest, and arguably, greatest idea. Ever. Bandai unveiled their upcoming 20" Radio Controlled 1974-type Mechagodzilla! This ultimate in robot toy decadence is radio operated via a remote control box, ala Gigantor, and promises full walking action (forward, reverse, right and left), flashing lights to simulate weapons firing (spinning hands for the Finger Missiles, opening chest plate for Cross Attack Beam, etc.) and defensive capabilities (spinning head to simulate Neo Barrier generation) — replete with corresponding sound effects.


"His power is in your hands!" Photo: GA Graphics

According to the Japanese website, GA Graphics, who were in attendance at the Tokyo Toy Show, the prototype "RC Mechagodzilla 1974" (tentative name) was on display in a glass case at the Bandai booth, and while it demonstrated several of its special features (including lights that flash to simulate missile firing and eyes that change from amber to blue), the walking function was not demoed for either the buyers or the public at the show. With this being a prototype, it is likely that Bandai is still busy working on getting this ultimate toy for big boys ready for its scheduled December release date.

Because of the declining birtrate in Japan, toy manufacturers have been refocusing their marketing squarely at adults with highly detailed items that were previously the realm of the so-called niche "Garage Kit" market, spawned by independent, Cottage Industry manufacturers. One recent example is Bandai's full-scale, and functional, Kamen Rider Henshin Belt, which surpassed all expectations in sales to this new — and growing — demographic.

While manufacturer's suggested retail price was not announced at the Tokyo Toy Show, those interested in picking this badass piece up will have to expect it to be in the triple digits — so start saving your pennies, now. This is truly a toy that is guaranteed to be worth its weight in Space Titanium.

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