THE LAST SHOWAKAN PICTURE SHOW Requiem For A Departed Tokyo Cinema

さらば、新宿昭和館よ!


The final marquee on April 30, 2002.

You could call it progress or you could call it an atrocity, but time and money march on, and as a result, we have now lost a treasure for Tokyo movie fans. Early in 2002, an announcement was made that the historic, infamous and largely ignored Shinjuku Showakan theater was to be closed after fifty-one years of unbroken screenings.

The reason for the closure? The theater could no longer support its operating costs, so the controlling members of the family-run business decided to go into a more lucrative venture with the property. Pachinko Parlor, anyone? Seven Eleven? Time marches on, destroying valuable institutions like the Shinjuku Showakan in the process.

One of the last of the old-time postwar cinemas in metropolitan Tokyo, the Showakan originally opened in 1932 and featured screenings of foreign films from Europe and America (when Japan later allied itself with Germany, all foreign films were banned). During the closing days of World War 2, the theater was flattened, along with the entire city, in the incendiary waves of fire bombing raids by United States Army Air Force B-29s.

Miraculously, the Showakan was rebuilt during the American Occupation and reopened for business in 1951 (about twelve months before the seven-year occupation ended), and began exclusively screening Japanese-produced motion pictures; mostly period chambara (swordplay) and ninkyo eiga, films made about heroic and honorable Yakuza at the turn of the century.

The new Showakan featured two screens; the main screen in the street-level theater, which had a capacity of 451 (including balcony seats), and the Chika Gekijo or "Underground Theater" (literally, not figuratively) was built under the main theater and was accessible through a separate entrance on the side of the main building.

After the Occupation, the Showakan began screening more daring and racy films — later to evolve into the pink eiga (soft-core porno films) — in their Underground Theater. The smut continued for decades to come, becoming a tradition that hung to the end as well (no pun intended). For at least twenty years, three new triple-bills of these 60 to 70 minute films were screened weekly.

This was also true for the Showakan proper — three new film programs, each and every week. During the late 1960s and 1970s, when the Showakan started specializing in yakuza eiga, it was the yakuza themselves who kept the theater going by patronizing the screenings in droves. As a side-effect, things would get hairy when they demanded free entry or brawls would break out in the auditorium! So authentic was the yakuza atmosphere of the theater that Toei Studios shot scenes for their films inside the Showakan.


The lights come up after the climatic screening.

A wealth of Japanese cinema history on and off screen — a place that should have been made into a shrine, if not declared a national landmark — was about to come to an end. The closure of the Shinjuku Showakan was coming, ironically, 13 years after the death of its namesake, Hirohito: The Showa Emperor, who reigned from 1925 to 1989.

Upon hearing the news of the closure, I made sure to attended the last two weeks of screenings at the Shinjuku Showakan theater on my most recent trip to Tokyo. After all, it was my obligation. I had been attending screenings at the theater since the mid-1980s, when I first lived in Japan. At first I was not sure if I'd like Yakuza movies, the now-defunct Kokusai Theater in San Francisco's Japantown never screened them — sticking to mostly to chambara and jidaigeki (fedual period) films.

But, I was seduced into the Showakan by the inclusion of the Sonny Chiba vehicle GANGSTER COP (Yakuza Deka, directed by Yukio Noda) on the bill. I was ill-prepared for Sadao Nakajima's THE IDIOT, THE UNTAMED AND THE THUG (Bakamasa Horamasa Toppamasa, 1976) — starring Bunta Sugawara — which blew me away. I wasn't the same person who entered the Showakan — that damned theater changed me.

Fast forward to the April 23, 2002: When I arrived in Tokyo, I was both excited to be a witness to the end, yet almost too sad to actually go through with it. It was like visiting a terminal relative on their deathbed and arriving in time only to see them as they draw their last breath.

Well, I bucked up and went by the theater the second day I was in town just to look at it. To just stare at Showakan to ready myself and see what films were playing on the second-to-last triple-feature before the end. Shinichi "Sonny" Chiba, Junko Fuji and Bunta Sugawara — a great lineup of stars graced the marquee and posters — their stern faces stared back at me, daring me to enter. Tatsuichi Takamori's YAKUZA WOLF: I BRING YOU DEATH (Okami Yakuza Koroshi-wa Ore-ga Yaru, 1972) — interestingly, a more FEMALE CONVICT SCORPION film than Chiba's usual actioners — Kosaku Yamashita's RED PEONY: FEMALE GAMBLER (Hibotan Bakuto, 1968) — the first in a long-running series — and Kinji Fukasaku's first entry in the seminal (can we use that word too much?) BATTLES WITHOUT HONOR AND HUMANITY (Jingi-naki Tatakai, 1972) series. Taking a deep breath, I made up my mind to attend the following night — the screening before the next (and last) change.

The next evening, I stood outside the Showakan for a long time just watching, just drinking in what was soon to be gone. The gomoku ramen settling in my stomach made me feel relaxed. One, two, three cigarettes. The last screening was about to begin. I snuffed out my Lucky Strike and walked over to purchase a ticket. After handing my ticket for resident illustrator Happy Ujihashi to tear, I entered the auditorium like it was Midnight Mass at the Vatican.

Soon, the films began to unspool as if the Showakan's impending doom was not coming. As for attendance, it was three-quarters full (I didn't check the balcony), and featured the usual suspects: salarymen, oyaji (old guys), some winos and a smattering of young hipsters. Strange. Young people in Japan hate old Japanese films, don't they? Meanwhile, the old coot who sat nosily behind me during Chiba's big finale, soon began snoring — but, it wouldn't be the Showakan without it. It somehow felt... right.


The balcony filters out at curtain call.

At curtain call, I stood in the lobby for a couple of minutes just drinking it all in, savoring each sight and sound. The walls, the floors and the tiles of the Showakan. Outside of the theater, I gulped down a Pocari Sweat, and then lit up a Lucky Strike. One cigarette, followed by another — just soaking up the atmosphere and the glare of the bulbs of the condemned Showakan. Finally, I walked away, but kept looking back.

Taking the Yamanote Line back to my ryokan (Japanese Inn) I was somehow elated... But, soon I started to realize that tomorrow would herald the beginning of the end. Melancholy began growing inside me. I somehow had to prepare myself for the inevitable, so I avoided going to see any other films before the Showakan's closure, and satisfied myself by rummaging through Tokyo's movie memorabilia shops — dwelling deep in the nostalgia for Japan's postwar Golden Age of Motion Pictures. You can smell the musty movie posters, can't you?

The night of nights finally came. The Showakan closed Tuesday, April 30 — the final triple-bill was Teruo Ishii's ABASHIRI PRISON (Abarashi Banchigaichi, 1965), the first entry in the 18-film series starring Ken Takakura and Tetsuro Tamba, One of Norifumi Suzuki's early efforts, BROTHERHOOD CODE: OPPOSITE SIDE OF THE SAKAZUKI CUP (Kyodai Jingi Gyakuen-no Sakazuki, 1968; 7th entry in the 9-film series) starring Saburo Kitajima, Tomisaburo Wakayama and Bunta Sugawara — and Tai Kato's monumental BLOOD OF HONOR (Meiji Kyokyakuden Sandaime Shume, 1965) with Koji Tsuruta and Junko Fuji. All were beautiful prints, for their age, and the audience was enthusiastic — there were more hipsters of all ages, who seemed out-of-place among the salarymen and oyaji.

Hey, there was even another whitey there as well: The Unknown Clown. Well, at any rate, that's what I always called him — a wacky gaijin expat who can be seen riding his bike through Shinjuku in full clown regalia (apparently, he's been doing this at least since the 1980s, when I first spotted him)! He came to the last show dressed for the occasion replete with a feathered mane fanning out from a plastic Tiger Mask matsuri mask! Oh, he brought beers, too, and sat right in front of me. "Hey, pass the Asahi Dry, please! One sip for me and one for my Homey — the Showakan."

Eventually, Shusuke Kikuchi's ending cue for BLOOD OF HONOR came to a reverberating crescendo and Showakan's curtain came down — and the house lights went up — for a final time. The capacity crowd rose to its feet in a standing ovation. It was then, through the applauding capacity crowd, that I spotted another gaijin in attendance, John Robinson (aka DJ Gnosis), who couldn't believe that the Showakan was now slipping into history.

As we stood whispering in the darkened auditorium, brilliant camera flashes combined with stunned silence and streaming tears for several minutes. Conversation began as the staff ushered everyone into the lobby, where we were sent off with sincere volleys of honto domo arigato (thank you very much) and gymnastic-like repetitions of deep bows as we left the Showakan for the last time.

About forty or more attendees, stood outside in the funeral-like drizzle, as if we were waiting for a Buddhist Priest to arrive and give the Showakan it's last rites. After a few minutes, the staff came out and thanked everyone for our support and performed another deep bow. Camera flashes. More tears. The doors were then shut for the last time. Hold on, August, hold on...


The last moviegoers leave the Showakan in silence.

Gradually, the flashes died down, and the crowd slowly and quietly departed one-by-one, or in small groups. At the very end, several people stood around talking about Old Skool Japanese films or the Showakan. Soon, I was the only person standing and staring at the end of an era — another chapter of Japanese cinema history now closed. Forever. I am grateful that I was there, and thankful for all the years of entertainment the Showakan has provided die-hard Japanese Cinemaniacs like myself — we were truly lucky.

Now, it was all over.

There are still two theaters left in Tokyo that specialize in screening Old Skool Japanese films. But, it is ironic that the Showakan closes as the younger Japanese movie fans are just starting to check out their own cinema history. "Since the Showakan closing was announced, attendance had gone up. Lots of the hip and trendy started coming... Too little, too late," observed John Robinson.

There may be some hope for the future — during my visit, there were ongoing tributes to Masamura Yasuzo, Japanese silent films, and other Old Skool Japanese pictures going on during Golden Week. A theater in the Nakano Ward was doing a series tribute to Toei's ninkyo yakuza films, while the Toho Asakusa Theater was screening an All-Night tribute to the films of Ishiro Honda: DOGORA THE SPACE MONSTER (1964), FRANKENSTEIN VS. BARAGON (1965), THE WAR OF THE GARGANTUAS (1966), GORATH (1963) and KING KONG ESCAPES (1967). These were pretty cool events and helped to ease the pain in the wake of the Showakan.

Perhaps these hipsters who starting turning out for the Showakan's Swan Songs, are also patronizing the others theaters still holding on. Hopefully, they will bear the torch for the coming generations of film fans, so that these wonderful gems of Japan's Golden Age of Cinema will not go silently into the night.

But still, the Showakan is gone. I am grateful that I was there to help honor and send her off into history. Long live the Shinjuku Showakan!


The doors of the Shinjuku Showakan being locked forever.

Orignally written and published on my former website, Henshin! Online, in August of 2002. All photos by the author.

"Eiji and the King" From KING KONG VS. GODZILLA (1962)

『キングコング対ゴジラ』より


Tsuburaya inspects the suit before shooting a fight sequence.

BOB WILKINS RECEIVES A RONDO! Inducted Into the "Monster Kid Hall of Fame"!

Classic publicity photo of Bob during his KTVU years.

Fellow Bob Wilkins & "Creature Features" Fans, it is my pleasure to proudly announce that our late, and much beloved, horror host, Bob Wilkins, has been inducted by the Rondo Awards this year, into the "Monster Kid Hall of Fame"! Bob joins this year's fellow inductees: Famous Monsters artist Ken Kelly, the late, great Lux Interior of The Cramps, legendary Spanish Horror star Paul Naschy, Jim and Marian Clatterbaugh, publishers of Monsters from the Vault magazine, and the late publisher of Castle of Frankenstein magazine, Calvin Beck.

For those who aren't familiar with him, Bob hosted horror films on KRCA-3 and KTXL-40 in Sacramento, and also in Oakland/San Francisco on KTVU-2 for more than twenty years, combined. Even though he left the airwaves more than twenty five years ago, he remains a legend to legions of fans in Northern California (including George Lucas and Tom Hanks), who grew up watching this mild-mannered, cigar-smoking host, introduce turkeys like The Vulture and Horror of Party Beach, as well as classics such as The Curse of Frankenstein and Kwaidan, with a sly, dry wit, and a wink to the viewer.

Bob was an inspiration to many, and helped those with whom he felt had talent—which doesn't explain me—but as someone who personally knew him during his peak years as a guest on his various shows, he not only gave me moral and financial support in producing some events (and my "Godzilla Fan Club"), but also inspired me that I could do anything. My story isn't special, really, because Bob showed that side of himself to many, many others. Most of whom, have gone on to successful careers in television, motion pictures, and other mediums—because Bob opened doors for them. He loved to give talent a boost, and for that, I thank him.

And now, I'd like to thank all of Bob's fans who lobbied for him to be recognized with this year's Rondo—and remember, "Watch Horror Films, Keep America Strong"!


For a complete list of this year's recipients of the 2008 "Rondo Hatton Award for Excellence in Classic Horror", please visit their official website at Rondo Awards.

For more on Bob Wilkins, and a fan celebration taking place this weekend in Sacramento, please visit the Official Bob Wilkins Website.

GREAT HAIRY BEAST! Shinji Higuchi Unleashes GEHARA!!

樋口真嗣が製作総指揮『長髪大怪獣ゲハラ』新登場!


Mock movie poster for GEHARA in Old Skool-style. ©NHK 2009

Cult writer/Artist/Painter Master Jun Miura has teamed up with visual effects wizard Shinji Higuchi to create a 15-minute monster short for the NHK network's late-night series PLAY TV: PERFORM! (Tereasobi Pafoo!). The mini-movie, entitled GEHARA: THE LONG-HAIRED GIANT MONSTER (Chohatsu Daikaiju Gehara), will be broadcast as part of a 50-minute special on February 24th at 12:10 AM (Japan time). Over 325 entries were submitted to the producers when the project was announced last year.

Miura's plot features the monster-beleaguered nation of Japan being invaded by a bizarre colossal beast, with flowing black locks, and a newspaper reporter following the unfolding story. What makes this creature unique among Godzilla kith and kin, is that Gehara’s origins are rooted in traditional Japanese ghost stories, such as “The Black Hair” (Kurogami) featured in Masaki Kobayashi’s KWAIDAN (1964) and Sion Sono’s EXTE (2007).

But, this will not be a straight monster movie, rather, this mini-movie is yet another parody of the genre — on the heels of Minoru Kawasaki’s MONSTER X STRIKES BACK (2008) — in fact, one of the Self Defense Force plans to stop Gehara is called "Operation: Perm" (!), which features a Maser Cannon-like mobile weapon, looking suspiciously like a giant hair dryer on tank treads. Even though this is not being played straight, the involvement of Miura, who created and wrote the film, and Higuchi, who was the visual effects wizard behind the 1990s Gamera trilogy, should prove for interesting viewing.


Gehara raises it's shaggy head. ©NHK 2009

Directing his first professional feature is visual effects designer Kiyotaka Taguchi, whose low-budget indie kaiju eiga, simply titled “G”, has been wowing Youtube viewers with several clips and trailers, and is now on its way to make rounds at film festivals, starting next week at the world-renown Yubari International Fantastic Film Festival in Hokkaido, Japan. While the jury hasn't come in on the relative directorial talents of Taguchi, apparently, Higuchi, Miura and NHK are banking on him with GEHARA, which will also be screening at Yubari.

In the original treatment, the mysterious creature Gehara (the name is an anagram from the Japanese word “hige” or “beard” and “Ra” from “Gojira”) comes ashore during a monstrous typhoon, and begins to wreck havoc upon Tokyo. Eventually, the hairy beast is seemingly stopped by the Self Defense Forces’ Operation: Tokyo Drain. As a result, the beast is sucked into the city’s sewer system, but it begins to clog the works with its long hair, and ends up in a culvert. Left for dead, Gehara begins to revive, absorbing massive amounts of water beneath the streets of Tokyo’s fashionable Shibuya Ward, and it's long hair begins to grow… In the film, the monster attacks the city of Kanezawa.


Gehara tangles up Tokyo's usually reliable train system. ©NHK 2009

Higuchi and Miura have assembled an impressive cast for GEHARA: Ken Osawa (SAMURAI FICTION) as Newspaper Reporter Hideo Akihara, San Diego-born Mina Fujii as Momoko Akihara, Mitsuko Oka (VIRUS) as Tsuruko Akihara, Shiro Sano (GODZILLA 2000) as Professor Mikami, Tomorowo Taguchi (BULLET BALLET) as the Shrine Priest, Kanji Tsuda (GAMERA THE BRAVE) as Kubo the Fisherman, Hiroyuki Watanabe (ULTRAMAN GAIA) as JSDF Commander, Pierre Taki (ALWAYS: SUNSET ON THIRD STREET) as the Tank Commander and producer/commentator Terry Ito. While the film's score is credited to Akira Ifukube!

Will GEHARA: THE LONG-HAIRED GIANT MONSTER grow to become a fan favorite, or will it be cut to ribbons by critics?

• UPDATE 03/06/09: Watch the first eight minutes of GEHARA here! Then watch the last thee minutes (plus previews for the "next episode") here!

Link: NHK’s Official GEHARA Website
Link: Clip from NHK's 『テレ遊び　パフォー！』(Play TV: Perform!)

WILKINS, TSUBURAYA & RAGONE @ WONDERCON February 27th-March 1st • San Francisco

Commemorative Bob Wilkins poster by Mr. Lobo.

WonderCon returns to the Moscone Center in San Francisco, brought to you by the madmen behind the massive San Diego Comic Con International! This year, I will be hosting my usual Japanese Superheroes Now! presentation, as well as a behind-the-scenes journey to the Golden Age of Toho's kaiju eiga with Godzilla and the Master of Monsters. I also will be sitting in on a presentation on the late Horror Host Bob Wilkins, and there will be a special screening of the documentary Watch Horror Films, Keep America Strong. Hopefully I can squeeze a book signing in, too!

• Friday, February 27th
5:30-7:00 WATCH HORROR FILMS, KEEP AMERICA STRONG
For 14 years (1971-1984) Creature Features was one of the most popular programs in San Francisco Bay Area television history, hosted by the late Bob Wilkins for eight years (followed by John Stanley for another six). Wilkins' sharp wit and unusually droll humor and Stanley's celebrity interviews and encyclopedic knowledge are all part of Watch Horror Films, Keep America Strong, a feature-length documentary illuminating a bygone era of local television. Watch Horror Films also features interviews with Wilkins, Stanley, and other key figures — not to mention classic clips from the show! Room 220

• Saturday, February 28th
2:30-3:30 JAPANESE SUPERHEROES NOW: 2009!
Author August Ragone (Eiji Tsuburaya: Master of Monsters) returns for his 15th anniversary roundup of the latest superhero and kaiju productions from Japan: Kamen Rider Decade, Samurai Task Force: Shinkenger, Superior 8 Ultra Brothers and Ultra Galaxy: Giant Monster Battle Neo. Plus, see clips from recent stateside DVD releases, including Gamera the Brave, Inazuman, Super Robot: Red Baron, Kitaro, and more! Room 236/238

• Sunday, March 1st
3:00-4:00 A TRIBUTE TO BOB WILKINS
Join John Stanley, Bob Shaw, Rob Wilkins, Mr. Lobo, Ernie Fosselius, Tom Wyrsch and August Ragone for an information-packed journey through the life and career of the late Bob Wilkins, host of the Bay Area's mega-popular Creature Features horror movie show (1971-1979). The panel will share personal memories about Wilkins and show rare video clips and photos, as well as introduce scenes from the newly released DVD documentary, Watch Horror Films, Keep America Strong, which examines the history of one of the Bay Area's most beloved television legends. Room 220

4:00-5:00 GODZILLA AND THE MASTER OF MONSTERS
Author August Ragone (Eiji Tsuburaya: Master of Monsters) presents a visual tribute to Japan's Master of Monsters, Eiji Tsuburaya, the man who created the special effects for Godzilla and invented the kaiju eiga (giant monster movie) genre. See over a hundred rare, behind-the-scenes photographs from some of his major films, such as Godzilla, Rodan and Mothra, all in one big presentation! Room 220

Check out the WonderCon link for a full listing of their guests, events and programs.

Monster of the Month Doruge Demon: FRANKERUGE

ドルゲ魔人 フランケルゲ 「超人バロム・１」より


©Saito Productions/Toei Company

Height: 2.2 meters • Weight: 150 kilos • Origin: Abashiri, Hokkaido • Original Appearance: SUPERHUMAN BAROM-1 (1972) Episode 2 “Cursed Mutant: Frankeruge" • Design: Norio Maezawa • Fabricator: Keizo Murase • Voice Actor: Teiji Omiya

The evil Doruge facilitates the escape of a convicted murderer, Tetsu Kurosato, en route to prison, to convert him into a Dorugeman No. 2. Infected with the sinister Doruge Virus, spliced with the DNA of a Ligia oceanica (or Sea Slater), Kursato is mutated into the insidious Frankeruge. Carrying a police revolver stolen from Detective Kido in his escape, and his left arm alive with a one million-volt current, this grotesque agent of evil goes on a murderous rampage. Only Kentaro Shiratori and Takashi Kido, transforming into Barom-1, can stop the fiendish Frakeruge, whose only weakness is water.

Another of the bizarre "Agents of Evil" from BAROM-1, Frankeruge garnered his moniker from Mary Shelly's "Modern Prometheus"—the Frankenstein Monster—but save for their alchemic creation, the similarities end there. What really sells this monster for me is, not only Norio Maezawa's insane design, but also his human host, played by heavy Kyoichi Sato. A veteran of Toei's Yakuza eiga, Sato began his career as a bit player in several Toho films, including THE H-MAN (1958), but made his first notable appearance as a villain in Hideo Gosha's SWORD OF THE BEAST (1965).

But, at the end of the day, I don't know who's scarier, Frankeruge or Sato.

BOB WILKINS (1932-2009) Popular Host of KTVU's "Creature Features"

Bob on the set of "Creature Features" at KTVU TV-2, circa 1971.

Bob Wilkins, the legendary and beloved host of KTVU's "Creature Features" has been suffering from advanced Alzheimer's for several years and saddled with rapidly declining health. Now, I am afraid to report that only four hours after I received word that his wife Sally, and Bob’s doctors, said that we should prepare for his passing, Robert Gene Wilkins, has left us. He's gone.

This is indeed sad, but inevitable news... His state was advanced and there was no hope to save him. Bob means a lot to me, not only as a legendary horror host I grew up with, but as a mentor. Man, Bob Wilkins was our hero — everyone at school talked about "Creature Features"! It was the greatest thing at the time — it's hard to explain the impact the show had on Bay Area viewers in the '70s. Especially the impact the show and its host, had on me — he was a personal friend, and like a father to me.

As a kid, I met Bob in the early '70s, and a few years later, was invited to be on his show to talk about Godzilla... I was only a kid, but Bob treated me like an adult, which was unlike most grown-ups. In fact, as nervous as I was (my leg was shaking the entire time), Bob asked me to come back to the show, to provide information on Japanese monster movies for "Creature Features." What a thrill, it seems so surreal now. In fact, I think it felt surreal back then, too. This too, is similarly, surreal.

When Bob launched the "Captain Cosmic" show in 1977, he invited me to come on the show to talk about THE SPACE GIANTS, and asked — a clueless teenager — for suggestions for other programs to run on "Cosmic." This was the kind of guy that Bob was. After the death of my Mom in early 1979 (my Dad was already deceased), Bob became like a surrogate family member, kept me in his thoughts, called me when he found opportunities for me, and put up the money to launch my short-lived "Godzilla Fan Club."

Bob phoned me one day, and told me to call a woman at Bill Graham Presents, who was looking for recordings of "monster sounds" to play before a Day on the Green concert. "The Monsters of Rock" (featuring AC/DC and Ted Nugent). So, I dubbed some sound effects from a couple of Japanese LPs, and was paid in cash and four backstage passes. Bob also offered an interview at KTVU to intern for a Cameraman position — which I turned down for fear of somehow blowing it and disappointing him.

Looking back on it now, Bob Wilkins was more than a surrogate family member, like an uncle, he was more like a father (well, a cool Step Dad, really). He means the world to me, and always will. Not for the shows he did, or being my favorite Horror Host of all time, but for the kind and generous man that he was, and will continue to be in my heart, for as long as I live.

Bob also meant a lot to so many others, more that you can imagine. So, if you were a fan of Bob Wikins and grew up with "Creature Features" and "Captain Cosmic" or were lucky enough to know him as a friend, please send your respects at his Official MySpace page or at the Official Bob Wilkins website — thank you.

Rest in Peace, Bob!
August Ragone
Your #1 Fan

Here's a classic Bob Wilkins Creature Features clip from the mid-'70s.

BOB WILKINS UPDATES: OBITUARIES & TRIBUTES

UPDATES (01/25/2008): The memorial service for Bob Wilkins on Saturday, January 24th at the Montclair Presbyterian Church in Oakland was very touching and also filled with much laugher and warm remembrances of Bob. One of them was that he begrudgingly attended Sunday Services with his wife and kids, and every week, he would fill out one of the comment cards found on the pews with "Get me out of here!" Another was that Bob would clip out interesting stories from the newspaper for his kids, and add his own one-line commentaries on them; one was a crime report about a Piedmont woman whose house was egged two nights in a row. Below the story, Bob wrote, "I guess Piedmont isn't all what it's cracked up to be."

Bob's children, Nancy and Rob, gave touching and funny eulogies, as did his widow, Sally. Nancy also sang "Unforgettable" with Rob on trumpet, and there was an excellent slideshow, sprinkled with video clips, representing a slice of Bob's truly wonderful life, which Sally described as being like Bob Clark's A CHRISTMAS STORY (1983). Some family and friends — and a couple of fans — were also invited to stand up and share some memories of Bob. Sure, there was reflection, sorrow, and tears. But, there was far more laugher that day, and I'm sure that's the way Bob would have wanted it, because he always wanted to see people happy, and he always wanted to make people laugh.

But, this is certainly not the end by any means. As John Stanley opened his eulogy at the memorial, "Bob Wilkins is not dead; he's alive in all of us!" And to underline this, "Creature Features" archivist Tom Wrysch announced that were will be two public extravaganzas to celebrate Bob Wilkins, one in Sacramento and the other in San Francisco, which will be large enough to accept the throngs of Bob Wilkins fans, and will be staged in the following months. The exact dates and venues to be announced — stay tuned for more details.

In the meantime, a recently-completed documentary, WATCH HORROR FILMS: KEEP AMERICA STRONG, will be screened at WonderCon taking place at the Moscone Center in San Francisco on February 27th—March 1st, with special guests participating and sharing their memories of the late, great Bob Wilkins. This event will also double as the DVD release of WATCH HORROR FILMS, which includes hours of extras, and copies of the documentary will be available for purchase at WonderCon.

The current issue of the San Jose Metro has published a lengthy and comprehensive feature on Bob Wilkins, which is required reading for fans and those who might not know who the "Creature Features" host was, and what made him tick. The Sacramento Bee published a wonderful piece, while other Nor Cal newspapers followed suit. January 9th's San Francisco Chronicle published a long and moving tribute, while Pat Craig's piece ran in several Bay Area papers, including The San Jose Mercury News and The Contra Costa Times.

There are also stories on several Nor Cal television station websites, including KTVU-2, KTXL-40 and KXTV-10 — please check them out for rare photos and clips. What I find amazing about these news stories, are the hundreds of responses on these respective websites, an outpouring of love for our host, which is a small indication of how popular and beloved Bob Wilkins remains — 28 years after he retired from television.

The first pair on online radio tributes for Bob Wilkins took place on Saturday evening, January 10th on the Rondo-Award winning Cult Radio A Go-Go with myself, John Stanley, Mr. Lobo, and Bob's webmaster, Scott Moon. You can download and listen to the show, here: CRAGG Bob Wilkins Tribute. On Monday evening, January 12th the The Joe Flynn Show dedicated their entire show to Bob Wilkins with clips and live chat.

For more information please visit the Official Bob Wilkins website.

Monster of the Month Giant Fire Monster: ARON

大怪獣アロン 「マグマ大使」より


©P-Productions

Height: 50 meters • Weight: 320 metric tonnes • Origin: Planet Pal • Original Appearance: Episode 13-16 of THE SPACE GIANTS (1966-67) • Design & Fabrication: Fuminori Ohashi

A shapeshifting monster (with a bizarre humanoid form) that can generate internal temperatures so high, they cause the conflagration of entire worlds. After laying waste to the pacifist planet Pal, which refused to surrender, the evil intergalactic conqueror, Rodak, sent Aron to the Earth. Moving at 250 km/hour, Aron was able to quickly cause widespread destruction in its wake. Fortunately for mankind, Goldar was ready to defend us—although the intense heat issued by the monster, drawn from solar energy, made effective retaliation against him seemingly impossible.

Created by artist and sculptor, Fuminori Ohashi, the monster suit for Aaron was originally built for the Japan Radio Pictures production of AGON: THE ATOMIC DRAGON (1964), a four-part mini-series held from broadcast until 1968. Ohashi, who worked under Eiji Tsuburaya at Toho during the 1950s (and later under John Chambers on PLANET OF THE APES), modified Agon for THE SPACE GIANTS, and added the sabertooth fangs. The new suit made a brief appearance in the first episode as "dinosaur," and then became the better-known "Aron" for Episodes 13-16 of the series.

HAPPY BIRTHDAY, HARUO NAKAJIMA! They Called Him "Godzilla"! January 1, 1929

誕生日おめでとう ゴジラさん=中島春雄!


Enjoying some tea on the set of MOTHRA VS. GODZILLA (1964).

The Dean of Monster Suit Actors, Haruo Nakajima, got his start at the age of 20, as an uncredited background actor and stuntman at Toho Studios, working on Akira Kurosawa's STRAY DOG (1949). While the scene was an intense knock-down-drag-out-brawl, shot on a rather sweltering summer day, Nakajima laughed that, after all of the retakes, the footage unceremoniously ended up on the cutting room floor. Still, that didn't deter him, as he dutifully appeared, and died, in an endless succession sword films. As thankless as many of those stints were, Nakajima relishes the fact that, as "Bandit C", he was cut down by the stoic Kyuzo (Seiji Miyaguchi) in Kurosawa's SEVEN SAMURAI (1954).

But, it was a stunt that he volunteered for, that really brought him to everyone's attention at Toho. A scene in Ishiro Honda's World War II spectacle, EAGLE OF THE PACIFIC (1953), required a live stunt in which a pilot becomes immolated when his Zero Fighter, sitting on the deck of a aircraft carrier, is hit by an incendiary. Asking for volunteers, it was Nakajima who fearlessly stepped up to the plate, and performed the first such fire stunt in Japanese Cinema. With this accomplishment, Nakajima became the "go-to guy" for stunt work, so when it was decided that Godzilla would be brought to life primarily by a man in a suit, his was the first name that came to mind.

From Honda's GODZILLA (1954) through Jun Fukuda's GODZILLA VS. GIGAN (1972), Nakajima was the primary Godzilla performer, who was also tapped by Eiji Tsuburaya to essay all of the major monsters for Toho's Fantasy Films of the 1950s and 1960s. Among Nakajima's favorites is Gaira (the Green Gargantua) from Honda's THE WAR OF THE GARGANTUAS (1966). In the mid-1960s, Nakajima brought his considerable experience to television for ULTRA Q, ULTRAMAN, and ULTRA SEVEN. During this period, now considered a master at his craft, he helped to train a whole new generation of monster performers. In 1972, this all came to an end, when Toho disbanded its contract players, and Nakajima retired from monster acting.

Mr. Nakajima, despite recent health issues, traveled to Chicago last summer to attend G-FEST, where he received his "Mangled Skyscraper Award." During the ceremony, he was surprised by a proverbial flood of congratulatory letters from film professionals on both sides of the Pacific, extolling admiration for him and his work. While I had last met with him eight years ago at G-FEST in Hollywood, Nakajima was still as strong and tenacious as ever, still wielding that vice grip-like handshake, and a sharp and fiery tongue. Well, isn't that what one would come expect from Godzilla himself?

Cheers to Haruo Nakajima, King of the Monsters!

HAVE A MERRY KAIJU CHRISTMAS! メリー怪獣クリスマス!

Godzilla Christmas Tree in Tokyo. Photo: Let's Enjoy Tokyo.

May you all have a wonderful Christmas Season full of family, friends, food, and lots of kaiju toys!

LIGHTNING STRIKES! INAZUMAN IS HERE!! The Complete 25-Episode Series DVD Box Set

’７０年代変身ヒーロー『イナズマン』のアメリカDVDに新発売！


Dynamic cover packaging by Erwin Baracao & Billy Ching of JNP.

The colorful and action-packed INAZUMAN (1973) was one of many live-action superhero series produced in the early 1970s, during an unprecedented boom of such programs on Japanese television, lead out of the gate by P-Productions' SPECTREMAN (1971-72), Tsuburaya Productions' RETURN OF ULTRAMAN (1971-72), and Toei's KAMEN RIDER (1971-73). Developed for television by the KAMEN RIDER team of creative producer Tohru Hirayama (JOHNNY SOKKO) and manga author Shotaro Ishimori (CYBORG 009), INAZUMAN featured the key elements of Toei's popular progenitor, but unlike KAMEN RIDER and KIKAIDA, the hero was nether a cyborg nor an android, but rather an metamorphosing mutant with psionic powers. From it's funk-based score by Michiaki "Chumei" Watanabe to its bizarre creatures and non-stop action, INAZUMAN is pure '70s superhero gold!


Bold back cover design for JNP's release of INAZUMAN.

Goro Watari (Daisuke Ban), a seemingly normal university student, saves two youngsters from the clutches of the Neo-Human Empire, a secret society of mutants who plot to subjugate the world with their Fantom Army. The children bring him to the headquarters of the Youth League, a group of pure-hearted young mutants with psionic powers, led by Captain Sarra (Hideo Murota). Goro is awakened to his own extrasensory abilities, allowing him to transform — first into a pupal form, Sanagiman, and then — into the mighty, Inazuman. Drawing from symbolic powers of moth, like the Greek god Pysche, Inazuman wields lightning bolts against his enemies, and with the aid of the amazing flying car with a mind of its own, Raijingo, he challenges the evil minions of Emperor Bamba to liberate mankind.


The fantastic jacket and disc art for INAZUMAN.

Starring Daisuke Ban of KIKAIDA fame, INAZUMAN follows a string of fantastic classic tokusatsu releases on R1 DVD, KIKAIDA (1972-73), KIKAIDA 01 (1973-74) and KAMEN RIDER V3 (1973-74), beautifully produced and released by Honolulu-based JN Productions. Packaged in a glossy four-disc box set, INAZUMAN is digitally remastered (and superior to Toei Video's R2 release), completely unedited and uncut, and fully subtitled in English for the first time. This electrifying set also includes interviews with actor Daisuke Ban and Japanese and Hawaiian fans, Inazuman Karaoke, and more — I provided Character Profiles and Series Factoids, which feature exhaustive details on the guest stars and other behind-the-scenes minutia. With cool animated menus, superior image quality, and wonderfully produced extras, INAZUMAN comes highly recommended.

During its original run, INAZUMAN was an extremely popular series, and remains one of the pillars of the Henshin Hero genre to this day. If that's so, one might ask, why are there only 25 episodes? When INAZUMAN was originally broadcast, the saga was told in two parts, totaling 48 episodes. This DVD release features the first 25-episode "chapter", which then dovetailed into an immediate — and much darker — sequel, INAZUMAN FLASH (1974), for an additional 23 episodes. I'm hoping that — fingers crossed — INAZUMAN FLASH will be scheduled as the next release on the roster from JN Productions & Generation Kikaida for 2009. Meanwhile, the INAZUMAN Complete Series Box Set is available through the Generation Kikaida website for $99.95 (plus $7.00 Shipping & Handling).

Region Code 1 • NTSC • 4:3 Original Aspect Ratio • Japanese with  English Subtitles • Dolby Digital • 10 hours 27 minutes • Unrated

FAREWELL, FORREST J ACKERMAN November 24, 1916 - December 4, 2008

The man who coined the word "Sci-Fi" is gone (Houston, 1977).

The mysterious human wellspring known to throngs of Baby Boomers as 4SJ, 4E, Dr. Acula, and other nom de plumes, Forrest J Ackerman, the world's first and foremost fanboy, has left this Mortal Coil. But, he has bestowed upon us an amazing legacy. Not only was he the man who launched Ray Bradbury's career, he was the avatar of Famous Monsters of Filmland magazine and the father of Vampirella—but he was much, much more to legions of fans around the world. Not only mavens of Horror and Monster films, but to multitudes of Science Fiction fans as well.

We called him "Uncle​ Forry​." He was a tower​ing icon of fando​m,​ who attended the first-ever science fiction convention and wore the first-ever costume to that very same event in 1939. He was the ultimate fan and loved to share with others, unselfishly. As a kid of the 1970s, I knew him best as the face and voice of Famous Monsters, and consi​der mysel​f fortunate that he was forever​ patie​nt with this adolescent fanatic over the phone and at conventions, and allow​ing me to enter​ Ackermansion II for the first time in the mid-​1980s​ (where his massive collection of rare props and ephermia was housed).

Uncle Forry was like that wonde​rfull​y cool, but sligh​tly weird (in a good way​)​, relative​ that you didn'​t see very often​,​ but felt nothi​ng but warmt​h for. If there were more people like him, the world would be a better place. Now, "Mr. Sci-​Fi"​ is gone, but he will be great​ly misse​d.​ Thanks for keeping me out of (too much) trouble, making my youth brighter, and my adulthood more fun!

Farewell, Uncle Forry...

Monster of the Month Destron Mutant: SCISSORS JAGUAR

デストロン怪人 ハサミジャガー 「仮面ライダーV３」より


©Ishimori Productions/Toei Company

Height: 194 cm • Weight: 86 kg • Origin: Atacama Desert, Chile • Original Appearance: KAMEN RIDER V3 (1973-74) Episode 1 "Rider No.3: His Name is V3!" & Episode 2 "The Last Testament of the Double Riders" • Design: Shotaro Ishimori/Akira Takahashi • Fabricator: Ekisu Productions • Suit Actor: Sadao Kobayashi • Voice Actor: Ritsuo Sawa

Surviving the destruction of Gel-Shocker, the fiendish Great Leader reorganized his forces into more powerful Destron organization. Destron’s first "hybrid mutant," fused with mechanical weaponry, was Scissors Jaguar. His mission, under Destron’s “Operation: Tokyo Annihilation”, was to eliminate witnesses of Destron’s movements, including Junko Tama, and the Kazami Family, who gave her shelter. Scissors Jaguar’s second mission was to destroy the headquarters of the Rider Boy Scouts, and its chief, Tobei Tachibana. While the tables are turned when Kamen Rider V3 arrives on the scene, Scissors Jaguar is joined by Turtle Bazooka to fight all three Kamen Riders.

Arguably, the Destron Mutants designed and created for KAMEN RIDER V3 were the pinnacle of the Kamen Rider series of the 1970s, including Scissors Jaguar. The exceptional synergy in the teamwork on this series, from Ishimori's rough sketches, refined by Takahashi, and realized by Ekisu Productions (under the guiding hand of creative producer Tohru Hirayama), rank as some of the finest ever crafted for a tokusatsu series. While there were many well-executed mutants in the series that followed, none of them had the iconic charm and dynamic look of the Destron Mutants. And you know what? They’re just cool as hell, too.