Showing posts with label Eiji Tsuburaya. Show all posts
Showing posts with label Eiji Tsuburaya. Show all posts

Tuesday, April 12, 2011

What Was It Like To Play Godzilla, King Kong, Rodan, Mothra ......?

Written By: Ken Hulsey

When monster movie fans think of the names Godzilla, King Kong, Rodan, Mothra and Varan they most often times have fond memories of 200-foot-tall creatures stepping on buildings while terrified townspeople flee for their lives in terror. Though these monsters may be household names to just about everyone, the man who actually climbed into the hot and cumbersome costumes to make them come to life has been an unsung hero who has very rarely received any credit.

That man is Haruo Nakajima, a Japanese actor who from 1954 to 1972 put on the heavy rubber costumes to play Toho's most famous movie monsters.

Nakajima started out in the Japanese movie industry as a bit player in the early 1950's. The eager young actor was mostly cast as a background extra and often times found himself on the wrong end of a sword, that is, until one day Eiji Tsuburaya (known as the father of Japanese special effects) approached him about volunteering for a risky stunt. The film that would ultimately bring both Nakajima and Tsuburaya together was the WWII action film "Operation Kamikaze" in which a pilot was to emerge from a crashed aircraft completely engulfed in flames. A stunt where an actor was to be set on fire had never been attempted in Japan before and Tsuburaya was looking for someone brave enough to be the guinea pig. Nakajima was the only actor to step forward when called.

As fate would have it, a year later Tsuburaya would be looking for someone to once again do something never before attempted in a Japanese movie, this time however he needed an actor to wear a heavy monster costume made of melted car tires for a film called "Gojira" (Godzilla). As Nakajima explains Tsuburaya, and the film's director Ishiro Honda (who also directed Operation Kamikaze) knew exactly who to call, "The film makers were scratching their heads wondering who they could get to put on the suit, then the remembered my stunt. They thought, hey let's get that guy we set on fire last year."

Though Nakajima didn't know what he was about to get himself into, he accepted the job, if for nothing else, to keep himself employed.

Nakajima endured wearing that 200-pound costume for the entire filming of "Gojira". Though other actors were cast to play the monster, only Nakajima could tolerate the costume, long working hours and awful filming conditions.

The filming for "Gojira" took place in the summer of 1954, which would be one of the hottest on record in Japan. Since the stages at Toho had no air conditioning and because Nakajima had to wear that heavy costume, the production was moved from a normal shooting during the day to a 5pm to 5am schedule. According to the actor "The crew often times said that the shooting schedule was the real Gojira (Monster)."

The success of "Gojira" spawned numerous sequels and other special effects driven films. Every time one of those films needed a monster Nakajima was called upon to do the dirty work. In the sequel to Gojira/Godzilla, entitled "Godzilla Raids Again" Nakajima's character was pitted against another monster, Anguirus, who was played by fellow actor Katsumi Tezuka. Nakajima took Tezuka under his wing to teach him how to act in the monster's cumbersome costume. Though the actor did his best, Nakajima knew that his understudy didn't have what it took, "He had a hard time in the costume and he could only move around in it for short periods of time."

As the years kept coming so did the monster roles for Nakajima. Next came "Rodan" then "Varan" and then "Mothra". The filming was long, hard and very dangerous. Nakajima admits that he was injured in some way or another on every single production. On the set of "Varan" the actor was hurt very seriously when a miniature building blew up underneath him. Despite being in severe pain he never let anyone know about it, "I felt like I could have gone to the hospital, but I knew if I had to go then the crew would have to go home, and not get payed for the time, so I stuck it out."

Likewise on the set of "Rodan" a cable snapped while Nakajima was inside the monster's costume suspended some 10-meters above the sound stage, "The cable broke and I began to spin wildly before the whole thing gave way and I came crashing to the ground. Luckily the costume had wings and I landed in the water which protected me."

Tsuburaya was very pleased to see that Nakajima was okay stating, "I'm glad that you didn't die."

Nakajima notes that not all of the parts he played were difficult, in fact the role of
Moguera in "The Mysterians" was literally a walk in the park, "The role was easy, all the robot did was walk around and the suit was light."

Nakajima's hardest role came in 1967 when he was called upon to play another world-famous monster, King Kong, in "King Kong Escapes". The actor recalls, "The monster was very hard to play because the suit was so different. The arms were long, longer than my own, and I had to use sticks to control the hands, also the legs were short so I had to walk all hunched over."

On the set of "Frankenstein Conquers the World" Nakajima had the pleasure of showcasing his martial arts skills against fellow actor Koji Furuhata (as Frankenstein). Likewise he would also get to showcase his fighting skills three years later, this time against Yû Sekida in "War of the Gargantuas".

Nakajima remembers sparing against Furuhata and giving the young man a few tips on acting, "The guy that they got to play opposite me wasn't an actor so I had to take some time to teach him how to work in front of the camera. I did enjoy working with him though, we got to match our martial arts skills. He was a black belt and I used my judo."

As Baragon, however, the actor had yet another unique experience on set, "The monster didn't fly as such, but had to leap great distances. There were four or so crew members with wires that had to pull as hard as they could to get me to launch forward."

Though playing monsters was hard, Nakajima never complained, thinking that he would be a fool to pass up such work, a fact that Tsuburaya playfully reminded him of on several occasions, "He would say to me 'even a fool could do this', so I never complained or said no."

Though Nakajima has played a vast number of monsters, it was revealed at this years Monsterpalooza that two of the monsters he has been credited as playing were not actually him at all. One being the insect-like Meganeuron from "Rodan" and the other being the giant walrus from "Gorath". When asked about these two monsters Nakajima stated that he never played them, though several pieces of documentation state that he did.

Haruo Nakajima is not the only actor to ever play Godzilla, there were two others, but his ground-breaking work in the early days of Toho monster movies set a standard for which every other suit actor would be measured. He gave the "King of the Monsters" and his brethren life and helped establish the monster as a world-wide cinema icon. His hours of hard work has brought such joy to movie fans around the world. It is only fitting that this unsung hero of the silver screen get the kudos that he much deserves.

Haruo Nakajima we take off our monster heads to salute you!


Monday, April 11, 2011

What Was It Like To Play Godzilla, King Kong, Rodan, Mothra ......?

Written By: Ken Hulsey

When monster movie fans think of the names Godzilla, King Kong, Rodan, Mothra and Varan they most often times have fond memories of 200-foot-tall creatures stepping on buildings while terrified townspeople flee for their lives in terror. Though these monsters may be household names to just about everyone, the man who actually climbed into the hot and cumbersome costumes to make them come to life has been an unsung hero who has very rarely received any credit.

That man is Haruo Nakajima, a Japanese actor who from 1954 to 1972 put on the heavy rubber costumes to play Toho's most famous movie monsters.

Nakajima started out in the Japanese movie industry as a bit player in the early 1950's. The eager young actor was mostly cast as a background extra and often times found himself on the wrong end of a sword, that is, until one day Eiji Tsuburaya (known as the father of Japanese special effects) approached him about volunteering for a risky stunt. The film that would ultimately bring both Nakajima and Tsuburaya together was the WWII action film "
Operation Kamikaze" in which a pilot was to emerge from a crashed aircraft completely engulfed in flames. A stunt where an actor was to be set on fire had never been attempted in Japan before and Tsuburaya was looking for someone brave enough to be the guinea pig. Nakajima was the only actor to step forward when called.

As fate would have it, a year later Tsuburaya would be looking for someone to once again do something never before attempted in a Japanese movie, this time however he needed an actor to wear a heavy monster costume made of melted car tires for a film called "Gojira" (Godzilla). As Nakajima explains Tsuburaya, and the film's director Ishiro Honda (who also directed Operation Kamikaze) knew exactly who to call, "The film makers were scratching their heads wondering who they could get to put on the suit, then the remembered my stunt. They thought, hey let's get that guy we set on fire last year."

Though Nakajima didn't know what he was about to get himself into, he accepted the job, if for nothing else, to keep himself employed.

Nakajima endured wearing that 200-pound costume for the entire filming of "Gojira". Though other actors were cast to play the monster, only Nakajima could tolerate the costume, long working hours and awful filming conditions.

The filming for "Gojira" took place in the summer of 1954, which would be one of the hottest on record in Japan. Since the stages at Toho had no air conditioning and because Nakajima had to wear that heavy costume, the production was moved from a normal shooting during the day to a 5pm to 5am schedule. According to the actor "The crew often times said that the shooting schedule was the real Gojira (Monster)."

The success of "Gojira" spawned numerous sequels and other special effects driven films. Every time one of those films needed a monster Nakajima was called upon to do the dirty work. In the sequel to Gojira/Godzilla, entitled "Godzilla Raids Again" Nakajima's character was pitted against another monster,
Anguirus, who was played by fellow actor Katsumi Tezuka. Nakajima took Tezuka under his wing to teach him how to act in the monster's cumbersome costume. Though the actor did his best, Nakajima knew that his understudy didn't have what it took, "He had a hard time in the costume and he could only move around in it for short periods of time."

As the years kept coming so did the monster roles for Nakajima. Next came "Rodan" then "Varan" and then "Mothra". The filming was long, hard and very dangerous. Nakajima admits that he was injured in some way or another on every single production. On the set of "Varan" the actor was hurt very seriously when a miniature building blew up underneath him. Despite being in severe pain he never let anyone know about it, "I felt like I could have gone to the hospital, but I knew if I had to go then the crew would have to go home, and not get payed for the time, so I stuck it out."

Likewise on the set of "Rodan" a cable snapped while Nakajima was inside the monster's costume suspended some 10-meters above the sound stage, "The cable broke and I began to spin wildly before the whole thing gave way and I came crashing to the ground. Luckily the costume had wings and I landed in the water which protected me."

Tsuburaya was very pleased to see that Nakajima was okay stating, "I'm glad that you didn't die."

Nakajima notes that not all of the parts he played were difficult, in fact the role of
Moguera in "The Mysterians" was literally a walk in the park, "The role was easy, all the robot did was walk around and the suit was light."

Nakajima's hardest role came in 1967 when he was called upon to play another world-famous monster, King Kong, in "King Kong Escapes". The actor recalls, "The monster was very hard to play because the suit was so different. The arms were long, longer than my own, and I had to use sticks to control the hands, also the legs were short so I had to walk all hunched over."

On the set of "Frankenstein Conquers the World" Nakajima had the pleasure of showcasing his martial arts skills against fellow actor Koji Furuhata (as Frankenstein). Likewise he would also get to showcase his fighting skills three years later, this time against Yû Sekida in "War of the Gargantuas".

Nakajima remembers sparing against Furuhata and giving the young man a few tips on acting, "The guy that they got to play opposite me wasn't an actor so I had to take some time to teach him how to work in front of the camera. I did enjoy working with him though, we got to match our martial arts skills. He was a black belt and I used my judo."

As Baragon, however, the actor had yet another unique experience on set, "The monster didn't fly as such, but had to leap great distances. There were four or so crew members with wires that had to pull as hard as they could to get me to launch forward."

Though playing monsters was hard, Nakajima never complained, thinking that he would be a fool to pass up such work, a fact that Tsuburaya playfully reminded him of on several occasions, "He would say to me 'even a fool could do this', so I never complained or said no."

Though Nakajima has played a vast number of monsters, it was revealed at this years Monsterpalooza that two of the monsters he has been credited as playing were not actually him at all. One being the insect-like Meganeuron from "Rodan" and the other being the giant walrus from "Gorath". When asked about these two monsters Nakajima stated that he never played them, though several pieces of documentation state that he did.

Haruo Nakajima is not the only actor to ever play Godzilla, there were two others, but his ground-breaking work in the early days of Toho monster movies set a standard for which every other suit actor would be measured. He gave the "King of the Monsters" and his brethren life and helped establish the monster as a world-wide cinema icon. His hours of hard work has brought such joy to movie fans around the world. It is only fitting that this unsung hero of the silver screen get the kudos that he much deserves.

Haruo Nakajima we take off our monster heads to salute you!


See Also:
Godzilla Takes Burbank: NBC Interviews Haruo Nakajima At Monsterpalooza / Godzilla: Kaiju World Wars Board Game / GODZILLA: KINGDOM OF MONSTERS #4 And GODZILLA: GANGSTERS AND GOLIATHS Coming In June / Is Legendary Pictures About To Hand GODZILLA Over To Del Toro? / Godzilla To Stomp On 70 Comic Book Stores This March / The 100 Greatest Monsters From Movies And Television #10 - #1 / Godzilla Stomp Card Game / Gareth Edwards Talks About GODZILLA To The Press / Is There Going To Be A New "Japanese" Godzilla Movie In 2012? / Reflections On The Hiring Of Gareth Edwards As The Director of Godzilla / Gareth Edwards To Direct Legendary's Godzilla / More Info On GODZILLA MONSTER WORLD From IDW / Godzilla vs The Gryphon - Exclusive Art From Todd Tennant / Godzilla - 13-Inch Plush - Doll / Chinese Entertainment Co. Buys Share In Legendary Pictures / Godzilla Goes Prime-Time! - Godzilla vs Megalon On NBC In 1977 / Putting Legendary Pictures Godzilla 3D (2012) Into Perspective (Part 2) / Godzilla 2012: Brian Rogers On Legendary Pictures Film Plans / GODZILLA 2012 Producer Brian Rogers To Speak At 3D ENTERTAINMENT SUMMIT / It's GODZILLA Vs TUFFZILLA In Court / New Legendary Pictures GODZILLA Design To Be Revealed At Comic Con! / Arkansas Family Builds Ultimate GODZILLA Suit / Tim Burton On For MONSTERPOCALYPSE - Still In Line For GODZILLA? - More Film Details! / A Reason To Be Optimistic About Godzilla 3D (2012)? / Hot Off The Press! Page 77 Of Todd Tennant's "Godzilla 1994" Online Comic / Godzilla, Anguirus, And The Case Of The Missing Monster Suits / Godzilla 3-D, Godzilla 2012, Rumors And Misinformation Abound / What The Fans Want To See In An American Godzilla / Godzilla 2012 - Legendary Pictures/Warner Bros (Fan Group) / It's Official! A New Godzilla Movie Is Coming In 2012! / Get Ready With Your Finger Missiles And Robot Punch! The Shogun Warriors Are Coming To The Big Screen! / Japanese Uber Geekdome - Godzilla Related Cosplay & The Return Of The Life-Sized Gundam

Tuesday, September 7, 2010

Top Five Godzilla/Kaiju Books

Top Five Godzilla/Kaiju Books

by Armand Vaquer

With Christmas just around the corner, it is worthwhile to take a look at what English language, mass-market books to buy for the newbie or longtime kaiju fan.

Most of these books are still available through various sources such as Amazon.com, eBay, Barnes and Noble, Border's Books, etc.

So if you are wondering what to buy, here's my top five Godzilla books:


Number One. Eiji Tsuburaya: Master of Monsters by August Ragone is the top book to pick up without question. Ragone is thorough in his research on the genius of Japanese special effects with many rare photographs. Toho Co., Ltd. and Tsuburaya Productions cooperated in the production of this book and it shows! Hardcover.




Number Two. Japan's Favorite Mon-Star by Steve Ryfle is a valuable reference book on the history of the Godzilla movies. Although dated (this one cries out for an update as it ends with the 1998 U.S. Godzilla), Ryfle's research on the King of the Monsters makes this a must-have in your book collection. Softcover.




Number Three. Mushroom Clouds and Mushroom Men: The Fantastic Cinema of Ishiro Honda by Peter H. Brothers is the first (it came out last year) English language biography of Japan's top director of science-fiction and fantasy films. Although it has no photos and there's some glaring typos, this is a must-have book for G-fans. Softcover.





Number Four. Monsters Are Attacking Tokyo! by Stuart Galbraith IV is a collection of interviews of actors, directors, special effects directors and others organized by topic. Although the organizing could have been better executed (some fans feel it is too disjointed), it is a valuable resource as it includes interviews with some who have since passed on. Softcover.




Number Five. Godzilla On My Mind by William Tsutsui is a tome of what Godzilla means to fans. If you're looking for a filmography, this isn't the book for you. But if you're interested in Godzilla and his pop-culture influence, grab this book. Softcover.

Others


A Critical History and Filmography of Toho's Godzilla Series, 2d ed. by David Kalat. This edition just came out and I haven't read it yet. But, I am told that it is an excellent book on the Godzilla series. It is available at Amazon.com. Hardcover.




The Official Godzilla Compendium by J. D. Lees and Marc Ceracini is long out of print and if one can find one, it is generally pricey. It is a good introductory book aimed at the small-fry fan. It has reached the status of a collectors' item. Softcover.




The Monster Movie Fan's Guide To Japan by Armand Vaquer came out this year and is a travel guide to Japan tailored to fans of Japanese science-fiction and fantasy films featuring movie locations, attractions, transportation and accommodations. Magazine format.

Friday, May 21, 2010

Ghidrah: The Three Headed Monster - Continental Press Book Text

Written By: Ken Hulsey

In 1965 Continental Distributing put out a press book full of add slicks and articles to promote their release of "Ghidrah: The Three Headed Monster" here in America.

Included inside are some news stories, written by the distributor, to be printed in local newspapers and magazines while the movie was in theaters.

Also included were, "add slicks" for the film. These are the images you find in the entertainment section of the newspaper that normally feature a graphic of the films poster art with a square at the bottom for theater and show time information.

I thought that it would be fun to publish the text from this press book for fans to read through. I believe that you find it interesting just how an American company would publicize a Japanese monster film.

I find it funny that in several of their pre-written articles for the press, Continental states that Ghidrah has four legs.

Makes you wonder if the person who wrote them even watched the film?

I just happen to have a copy of this Showman's Manual in my collection. As luck would have it, I was able to get this rather rare piece of Godzilla movie history autographed by Yasuyuki Inoue and Akinori Takagi at the "Godzilla X Mothra X MechaGodzilla: Tokyo S.O.S." American premiere at the Egyptian Theatre in Hollywood (2004).

Summit Meeting of Monsters Saves Earth

It's not the leaders of nations who gather for a Summit Meeting at Mt. Fuji to save the world, but three infamous monsters....Godzilla, Rodan and Mothra..when they attempt to conquer an "outsider" in "Ghidrah..The Three Headed Monster" the new Tohoscope / Eastmancolor thriller which opens at the...(Insert Theatre Name)..Theatre on....(Insert Opening Date)...

Each a specialist in destruction, it takes a bit of doing on the part of strategists to convince the world levelers that their own existences are threatened by the arrival from outer space of a behemoth that has three heads working for it and some new intergalactic techniques to use in wiping out a planet. Once united in a common cause, the monsters whip up the most incredible battle scenes yet to be seen on the screen.

Master special effects creator, Eiji Tsuburaya, is again responsible for the action which calls for the realistic destruction of ships at sea, the city of Yokohama and villages unfortunate to be in the path of the havoc-bent monsters. Directed by Ishiro Honda, renowed for his contributions to this specialized field of science fiction motion picture making, "Ghidrah - The Three Headed Monster" was produced by Tomoyuki Tanaka for the Toho Company. It is being released by Continental, a division of Walter Reade-Sterling, Inc.

"Ghidrah - Three Headed Monster" Fiction Or Fact?

"Ghidrah - The Three Headed Monster" the Eastmancolor thriller which opens at the...(Insert Theatre Name)...Theatre on....(Insert Opening Day)..., brings up a reverse question, is it fiction or fact?

"Way out" science fiction magazines and cartoons of a decade or two ago have been proven to be amazingly accurate in predicting the future. Today, they are being examined with a new respect. Too many of their space predictions have developed from fiction to fact.

Two veterans of the science fiction field director Ishiro Honda and special effects expert Eiji Tsuburaya have been making motion pictures which deal with monsters created by the imbalance of nature through the radio-active results of the atom and hydrogen bombs. According to them, man's experimentation with the inner secrets of the Universe created a breed of monsters such as Godzilla, Rodan and Mothra. Enlarged beyond human imagination, they have inflicted their monstrosities upon trembling peoples, cities and nations. Nuclear defense devices used against them strengthens rather than diminishes their powers. The latest of the teams fertile imaginations deals with a meteorite which manages to pierce earth's atmosphere without being consumed by the friction. Once settled on the new planet, it cools off and goes through an incubation period. The disturbed elements of nature are the midwife to the strangest creature yet to be born on earth. The metallic shell splits in half and a tremendous fireball roars into the sky becoming GHIDRAH, the monster to end all monsters. Equipped with four legs (again..?), coliseum sized wings and three heads, no spanking is necessary for it to breath out fiery flames from each of its mouths as it surveys a new world to ravage.

Like the radio-active fallout which can have freakish genetic effects on humans, could a disruption caused by man-made satellites and space crafts wandering into space cause a shift in the solar order of wandering meteorites so that they are diverted to a new gravitic earth force? If so are they capable of bringing foreign life to this planet?

The reality of that threat is yet to be seen. However, the Toho Production deals with the problem as if it has already occurred. They have lined up three of earth's most formidable monsters...Godzilla, Rodan and Mothra ..to challenge the intruder from space. Born to destroy anything that stands in their paths, their showdown with Ghidrah is fore-ordained. Technically and dramatically, "Ghidrah - The Three Headed Monster" is the company's most ambitious project to date.

Filmed in Tohoscope. "Ghidrah - The Three Headed Monster" was produced by Tomoyki Tanaha (Tomoyuki Tanaka) and is being presented by Walter Reade-Sterling through its Continental Distributing Division.

GHIDRAH THE THREE-HEADED MONSTER

The balance of the universe has been upset by the entrance into earth's atmosphere of a brilliant meteorite. The people are totally unprepared for the shock of seeing a three-headed monster with wings, flames spewing forth from its multiple mouths, emerge from the fireball from outer space. It is GHIDRAH! Its giant wings lift it into flight as it soars off to ravage the planet Earth.

Godzilla and Rodan are reactivated from hibernation because of this upset in the balance of the universe.

Royal Princess Salno of Selgina, a small country between the two worlds, appears before the unbelieving people as a beautiful Prohetess (EIKO WAKABAYASHI) and proclaims herself to be a Martian. Naoko (YURIKO HOSHI), an enterprising girl reporter , is the only person to befriend her until Detective Shindo (YOSUKE NATSUKI), the reporter's brother, takes her into protective police custody to guard her against a group of thugs, headed by Malness (HISAYA ITO) who are determined to kill her.

Naoko takes the prophetess to Mt. Fuji where Ghidra does battle with Godzilla, Rodan and Mothra, the massive caterpillar who comes to their assistance.

NEW MONSTER PROVES THREE HEADS BETTER THAN ONE

It was bound to happen! Forget the axiom that two heads are better than one. The very latest in world destroyers is one head up on it as proven in "Ghidrah - The Three Headed Monster" the new Tohoscope / Eastmancolor thriller which opens at the..(Insert Theatre Name) ..Theatre on..(Insert Opening Date).. Those veteran one headed monsters, Godzilla, Rodan and Mothra are on hand to learn this new lesson the hard way.

Purely an outer space product, Ghidrah comes equipped with four legs (?), a set of coliseum size wings and multiple mouths that spew out three times as much destruction at the crack as the earth born monsters can do singly in a month of Sundays. The obvious solution is for Godzilla, Rodan and Mothra to stop tearing at each other's throats long enough to put their combined heads together to drive the foreigner out of their territory, which means our of this world.

Shinichi Sekizawa, an expert on the extra-curricular activities of delinquent monsters, conjured a screenplay which affords Godzilla and Rodan with scenes to exhibit their individual specialties, than adding Mothra to combine their talents for the inevitable showdown with Ghidrah on the slopes of Mt. Fuji. The built-in violence of each contestant automatically brings about a smash climax when irresistible forces meet an immovable object and the earth literally trembles from the impact.

"Ghidrah - The Three Headed Monster" was produced by Tomoyuki Tanaka for the Toho Company. A Walter Reade-Sterling presentation, it is being released through its Continental Distributing Division which has to acknowledge that three heads are better than one.

Saturday, April 17, 2010

Mothra (Mosura)(1961)(Toho)

Written By: Ken Hulsey

Produced in 1961, Mothra was a real cinematic triumph for Ishiro Honda and special effects wizard Eiji Tsuburaya. Mothra is a very superior film that could be considered Toho’s greatest achievement next to the original Gojira (1954), which ranks among the best Japanese films ever produced. The films screenplay was the “rookie” effort of writer Shimichi Sekizawa, who would go on to create some of the more memorable stories ever produced at Toho. Mothra would take on a lighter tone than the studios prior daikaiju eiga, Gojira, Godzilla Raids Again, Rodan, Varan and The Mysterians. Introduced in Mothra were comedic themes plus fantasy and spiritual overtones that would begin to weave their way into future Japanese science fiction films.

When a group of survivors from a shipwreck on a island that was the site of several atomic tests by the fictional country of Rolisica (obviously the United States) show no signs of radiation poisoning a research team is sent to find out why.

The research team finds that Infant Island was not uninhabited as was believed prior. Somehow a native tribe and two miniature Shobijin (twin fairies) had survived massive doses of radiation with no effect. The research team headed by Clark Nelson, (Jerry Ito) Dr. Harada, (Ken Uehara) Shin’ichi Chujo (Hiroshi Koizumi) and the tag along reporter Fukuda, (Frankie Sakai) are fascinated by the two tiny women and attempt to capture them, the natives arrive just in time to save the pair and drive the researchers away.

Nelson would return to the island several weeks later with a gang of thugs and kidnap the Shobijin. When the natives try and stop them this time they are mowed down by machine guns and the goons escape with the tiny women.

Once back in Japan the “tiny beauties” become the stars of a hugely popular nightclub act. Their songs are a delight to the audience, but hundreds of miles away on their home island an ancient creature is being summoned by their hypnotic vocalizations. The scene on the island where the local villagers perform a ritualistic dance number is very impressive and its influence can been seen in King Kong vs Godzilla (1962). In fact many of the scenes in Mothra could be considered “inspiration” for the film that would come a year later.

The giant larva hatches from its egg and makes a beeline for Japan to rescue the Shobijin. This is where one of the films more visually impressive scenes takes place. As the Shobijin begin one of their performances they are transported to the stage in a mini carriage (cage) suspended by wires over the audience. The shot is a composite with a scene of Mothra crossing the ocean to where it looks like the Shobijin are leading the monster towards Japan. The giant creature comes ashore and lays waste to the countryside before it locates the Tokyo Tower, which it uses to spin a giant cocoon.

Growing social pressures force the gangsters to flee to the United States (Rolisica) to seek refuge. When Mothra emerges from the cocoon it takes flight and is telepathically drawn across the ocean to where the Shobijin are being held hostage in Newkirk City (New York City, Brooklyn Bridge and all). The armed forces of the United States are ineffective at stopping the monster and the city is quickly destroyed.

The local authorities manage to track down Nelson and his men and kill them in a shootout. The Shobijin are given to Chujo, who remembers an ancient symbol he saw back on Infant Island. It is interesting to note the Christian symbolism in this scene where a cross on top of a local church is seen with the sun behind it with rays of light coming off of it to form Mothra’s ancient symbol. After seeing this vision Chujo persuades the local authorities to draw the symbol on an airport runway in an attempt to lure Mothra to where they can return the fairies to it. The plan works and the trio fly back to their home.



Thoughts On The Japanese DVD Release For "Mothra"

I hadn’t honestly seen the film in twenty years before I bit the bullet and shelled out the money for the Japanese DVD release of Mothra. I figured that if I was ever going to own a copy of the film this would, in the interim, be the only way I could get it. Of course, since that time Sony has released the film on domestic DVD here in the United States.

It always seems to surprise me just how good these older Japanese monster films are. The dubbed versions we have all grown up with always made the films into campy affairs, but the original dialogue versions are really good even when compared to American movies made at about the same time. As usual the Toho DVD for Mothra is very well done. The picture quality and sound are both quite remarkable. The one draw back, of course, is the fact that there are no English subtitles available on this release. Oddly enough I was still able to enjoy the film and had no trouble following along even though 95% of what I heard was Japanese. I should note that there is some English dialogue in the film, even though it is very little. I guess I have seen enough Japanese films to pick up some of the language.

I want to point out something very interesting that was included on the Japanese DVD for Mothra. Included in the “extras” for the film, along with the films original Japanese trailer, was a different cut of the film that was listed on the menu as Mothra (1974)? This appears to be a different cut of the film with an entirely different opening and theme song. I did a search for this version on the Internet before I wrote this to try and find some information about it. Oddly I found no mention of it anywhere. I imagine after this has been up for awhile someone will be able to chime in with an explanation of where this version came from. I can only assume that since the year 1974 appears next to the title, that it is the year it was produced.

The Peanuts

The original Shobijin were played by the Japanese singing duo known as "The Peanuts". The pair, Emi and Yumi Ito, would enjoy a twenty year singing career from 1957 to 1977. The two were huge stars in both their native Japan and also in Germany. They also enjoyed some brief success in the United States after the release of Mothra. The group recorded an English only album with covers of such songs as "California Dreamin" and "Proud Mary." The duo also appeared on "The Ed Sulivan Show." Although international singing stars they will always be remembered as the Twin Fairies from Mothra, Godzilla vs The Thing, & Ghidorah: the Three-Headed Monster.



Mothra Song
Japanese

Mosura ya Mosura
dongan kasakuyan indoo muu
rosuto uiraadoa, hanba hanbamuyan
randa banunradan tounjukanraa
kasaku yaanmu
Mosura ya Mosura
yasashisasae waure
arehatetahito no kokoro inorinagara
utai, ai no uta

English Translation

Mothra oh Mothra
Hear our call for you to save us
over time, over sea
like a wave you come
our guardian angel
Mothra oh Mothra
the people have forgotten kindness
their spirits fall to ruin
we shall pray for the people as we sing
this song of love

Mosura / Mothra (1961)
AKA: Daikaiju Masura (1961), Mothra (1962) Mosura / Mothra (1961)
Toho

Directed By: Ishiro Honda
Produced By: Tomoyuki Tanaka
Special Effects: Eiji Tsuburaya
Written By: Takehiro Fukunaga and Yoshie Hotta
Music: Yuji Koseki

Cast:

Frankie Sakai as Senchiro Fukuda
Hiroshi Koizumi as Dr. Shin'ichi Chujo
Kyoko Kagawa as Michi Hanamura
Ken Uehara as Dr. Haradawa
Emi Ito as Shobijin (Twin Fairy / Peanuts)
Yumi Ito as Shobijin (Twin Fairy / Peanuts)
Jerry Ito as Clark Nelson
Takashi Shimura as News Editor
TetsuNakamura as Nelson's Henchman
Akihiro Tayama as Shinji Chujo
Obel Wyatt as Dr. Roff
Akihiko Hirata as Doctor
Runtime: 101 Minutes Japan, 88 Minutes USA
Color: Color (Eastmancolor)
Sound: Mono
Released: July 30, 1961

Trivia

1. This is the only film where Mothra's island is called Beiru.
2. In the credits for the US version of the film actor Jerry Ito is billed as "Jelly Ito". This mistake also appears in all of Columbia Pictures promo material.
3. Also in the credits for the American, Columbia Pictures, release of the film the names of Frankie Sakai, Hiroshi Koizumi, and Kyoko Kagawa are missing. They are the top three billed Japanese stars in the film.


More Photos From "Mothra":



See Also: King Kong vs Godzilla (Kingukongu tai Gojira)(1962)(Toho) / Rodan (Sora no daikaiju Radon)(1956) / Gigantis The Fire Monster (Godzilla Raids Again) / Godzilla: King Of The Monsters

Wednesday, April 14, 2010

King Kong vs Godzilla (Kingukongu tai Gojira)(1962)(Toho)

Written By: Ken Hulsey

Recently I have written a lot about how the 1933 American classic monster movie "King Kong" influenced Asian film makers over at Monster Island News. Right from the moment that "Kong" came on the scene, the Japanese developed a love for the monster. Almost imeadiately Shochiku produced their own clone of the film, "Wasei Kingu Kongu", and five years later made "Edo Ni Arawarita Kingu Kongu". Both films featuring a man in a gorilla costume as "Kong."

It is known fact that the Meriam C Coopper film "King Kong" had a profound influence on both Ishiro Honda and Eiji Tsuburaya, two men, who would decades later, combine their talents to create a cinematic monster icon of their own known as "Gojira" (Godzilla).

The film had a special place in the development of Japan's premier special effects legend Eiji Tsuburaya. Only a camera man at the time, Tsuburaya, optained a 35mm print of "King Kong" and began to study it frame by frame. From his studies the future special effects genious was able to disect the film and learn how each effect was achieved. It was this film, above many others, that inspired him to work on movie effects.

The idea of pitting King Kong against another monster came about in 1960, when Willis O'Brien, the man behind the stop-motion effects in the original film, had developed his own sequel. Godzilla, however, was not the monster that O'Brien had wanted Kong to fight. Frankenstein was the monster of choice for this new movie idea, but there was all kinds of hurdles that would have to be overcome if the classic Universal horror icon was to be used.

O'Brien believed that he would have no trouble securing the rights to use the name "King Kong" from the now defunct RKO, but he was worried about getting the rights to use "Frankenstein" from Universal. To get around this, the name was changed twice during development, first to "The Ginko", and then finally to "Prometheus", an alternate name for the monster from Mary Shelley's original novel.

O'Brien peddled his "King Kong vs Prometheus" film idea to all the major studios in Hollywood. Ultimately it was the effects man's insistance that stop-motion animation, a long and expensive process, be used, that turned the studios off.

On a side note, it is interesting that decades later (in 2007) a writer named Rock Baker would try and pitch a new script to for "King Kong vs Frankenstein" to Universal. It was his hopes that the film could be a sequel to Peter Jackson's 2005 remake. Once again someone was shown the door.

O'Brien was only able to convince former Universal producer, Jon Beck, that his idea was viable. Beck, like O'Brien before him, took the idea from studio to studio, again no takers. It wasn't until he started looking outside the United States, did he find an interested party, Japan's famed Toho Studios.

Toho wasn't interested in using Frankenstein, but due to undoubted influence from both Tsuburaya and Honda, they expressed an interest in making a King Kong film. The studio had been looking for a long time for a vehicle to bring back Godzilla, so the project seemed like a marriage made in heaven.

Beck ultimately caved to Toho's request, and changed Frankenstein to Godzilla, selling the idea to the studio. He also managed to get Toho to pay for the rights to use "King Kong" in the film, a price that was so high that it ate up a good chunk of the money that was allotted for the production.

With both monsters 'locked in', Toho began production on what would end up to be the most popular monster movie in their studio's history.

The cost of using "Kong" did, as a mentioned before, eat up a lot of the film's budget. Several shortcuts had to be made to fit the film under this reduced financial cap. Filming had to be moved from Sri Lanka to Oshima Island, located just off the coast from Tokyo. The King Kong costumes were not as detailed as many of the monsters suites used in prior films. Puppets of various sizes were even utilized for some of the effects shots.

It is safe to say that the final result was not what Honda and Tsuburaya had invisioned for their "King Kong" movie.

On the other hand, the Godzilla suit design was a major improvement over what was used in both "Godzilla" and "Godzilla Raids Again." This time around "Big G" sported a more reptilian look, something more in line with its dinosaur ancestry. The new design would be the basis of all the Godzilla suits that would proceed it throughout the 1960s.

In fact, this is my favorite Godzilla design of all time. I just think it looks more like a dinosaur than any of the others. Hey, its all subjective, and yes, I do like the GMK design as well. I'm just mentioning that, because I know some fan is going to call me on it. Better to beat them to it, I say.

Despite the budget restrictions, Tsuburaya produced some his best minature sets for the film.

Plot:

Mr. Tako, head of Pacific Pharmaceuticals, is frustrated with the television shows his company is sponsoring and wants something to boost his ratings. When a doctor tells Tako about a giant monster he discovered on the small Faro Island, Tako believes that it would be a brilliant idea "...with a punch" to use the monster to gain publicity. Tako immediately sends two men, Sakurai and Kinsaburo, to find and bring back the monster from Faro.

Meanwhile, the American submarine Seahawk gets caught in an iceberg. Unfortunately, this is the same iceberg that Godzilla was trapped in by the Japanese Self-Defense Forces back in 1955, and the submarine is destroyed by the monster. As an American rescue helicopter circles the iceberg, Godzilla breaks out and heads towards a nearby Soviet Arctic base. The base alarm sounds as they deploy everything they have against him. Tanks were sent to stop Godzilla's advance, but to no avail. Godzilla advances, now closer to the base. 12 rapid-firing four-turreted artillery cannons, despite their firepower and firing rate, had no effect either. Godzilla, now at the coastline of the base, fires his atomic ray at the tanks' defensive line, melting them instantly. The rest of the tanks retreat, now leaving the bases defenses to deal with him. The base itself, of course is ineffective against Godzilla. He continues moving inland, razing the base to the ground, and sends the tank armory up in flames. Godzilla's appearance is all over the press, making Tako furious.

Meanwhile on Faro Island, a Giant Octopus attacks the native village. The mysterious Faro monster is then revealed to be the giant gorilla King Kong and he arrives and defeats the tentacled menace. Kong then drinks some red berry juice, gets drunk, and then falls asleep. Sakurai and Kinsaburo place Kong on a large raft and begin to transport him back to Japan. Back at Pacific Pharmaceuticals, Tako is finally glad because Kong is now all over the press instead of Godzilla. Mr. Tako arrives on the ship transporting Kong, but a JSDF ship stops them and orders them to return Kong to Faro Island. Godzilla had just come ashore in Japan and destroyed a train, and the JSDF doesn't want another monster entering Japan. Unfortunately, during all this, Kong wakes up from his drunken state and breaks free from the raft. Reaching the mainland, Kong meets up with Godzilla in a valley and Tako, Sakurai, and Kinsaburo have difficulty avoiding the JSDF to watch the fight. Eventually they find a spot. Kong throws some large rocks at Godzilla, but Godzilla shoots his ray at Kong's chest, forcing the giant ape to retreat.

The JSDF desperately tries everything to stop Godzilla from entering Tokyo. In a fielded area outside the city, they dig a large pit laden with explosives and try to lure Godzilla into it. They succeed and set off the explosives, but Godzilla is unharmed and crawls out of the pit. They next string up a barrier of power lines around the city filled with a 1,000,000 volts of electricity (300,000 volts had been tried in the first film, but failed to turn the monster back). The electricity is too much for Godzilla, who then moves away from the city towards the Mt. Fuji area. Later at night, Kong approaches Tokyo. He tears through the power lines, feeding off the electricity which seems to make him stronger. Kong then attacks Tokyo and holds a woman from a train, named Fumiko, hostage. The JSDF explode capsules full of the berry juice from Faro Island and knock out Kong. Tako approved of this plan because he "...didn't want anything bad to happen to Kong." The JSDF then decide to transport Kong via balloons to Godzilla, in hope that they will fight each other to their deaths.

The next morning, King Kong is dumbo-dropped onto the summit of Mt. Fuji from the balloon air-lift, meets up with Godzilla and the two begin to fight. Godzilla has the advantage at first, eventually knocking Kong down with a vicious drop kick, and battering the monstrous ape unconscious with powerful tail attacks to his forehead. When Godzilla tries to kill Kong with his ray, an electrical storm arrives and revives Kong, giving him the power of an electric grasp. The two begin to fight again, with the revitalized Kong swinging Godzilla around by his tail, shoving a tree into Godzilla's mouth, and judo tossing him over his shoulder. The brawl between the two monsters continues all the way down to the coastline. Eventually the monsters tear through Atami Castle and Kong drags Godzilla into the Pacific Ocean. After an underwater battle, only King Kong emerges from the water and begins to slowly swim back home to Faro Island. As Kong swims home, onlookers aren't sure if Godzilla survived the underwater battle, but speculate that it was possible.

There are major differences between the version of "King Kong vs Godzilla" that was released in Japanese movie theaters and the one that was shown in the US. The original Japanese version, which was penned by Shinichi Sekizawa, was a fast paced humorous satire about commercialization, something that was lost on Beck, who produced the Americanized version.

Beck inserted scenes with American actors, which were intended to give the film a serious tone. These scenes, combined with the origianal satirical Japanese footage, just succeeded in making the film seem awkward.

The producer also made a major error in eliminating Akira Ifukube's original score from the Amercan release. When watching the US version, it is hard not to notice the 'signature' music from Universal's "Creature From The Black Lagoon", which was added by Beck to make the film seem less "Oriental."

One thing that was not changed from the original Japanese version, was the ending. For decades it was always assumed that in Japan audiences witnessed Godzilla rising from the depths and swimming away. That was never the case. In both versions it is indeed Kong the emerges the victor, and swims for home.

King Kong vs Godzilla (1962)
Aka: Kingukongu tai Gojira
Toho

Directed By: Ishiro Honda
Written By: Shinichi Sekizawa, Bruce Howard, Paul Mason, Willis H. O'Brien (King Kong vs Prometheus), & George Worthing Yates
Produced By: John Beck & Tomoyuki Tanaka
Music: Akira Ifukube & Hans J. Salter (USA Version)
Special Effects By: Eiji Tsuburaya

Cast:

Tadao Takashima as Osumu Sakuri
Kenji Sahara as Kazuo Fujita
Yu Fujiki as Kinsaburo Furue
Ichiro Arishima as Mr. Tako
Jun Tazaki as General Masami Shinzo
Akihiko Hirata as The Prime Minister
Mie Hama as Fumiko Sakurai
Akiko Wakabayashi as Tamiye
Akemi Negishi as Chikiro's Mother

Runtime: 98 Minutes Japan / 91 Minutes USA
Language: Japanese
Color: Color
Sound: Mono

A good portion of the information contained in this article came from August Ragone's book, Eiji Tsuburaya: Master of Monsters. The best book on Japanese sci fi that I have ever seen!

See Also: Rodan (Sora no daikaiju Radon)(1956) / Gigantis The Fire Monster (Godzilla Raids Again) / Godzilla: King Of The Monsters