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Jimmy’s Notes on ‘Episode 9: The Mysterians (Mini-Analysis)’

Published January 29, 2020

I’m just as excited to write this blog on last week’s episode on The Mysterians as I was recording it. As Nathan said on the podcast, it’s one of my favorite tokusatsu films. He was able to use most of his research in the episode, although most of his notes on the film itself did not make it in. His script was originally part of a 42-page paper he wrote on six Ishiro Honda films as part of an independent study in grad school.

Anyway, let’s get to this. Like with my blog on the previous mini-sode, I didn’t hear anything that needed fact-checked, so I’ll just be sharing Nathan’s leftover notes, although with a handful of comments.

Afterward, I’ll announce the winner of the Batman Meets Godzilla T-shirt.

The Film:

  • This was the first Toho tokusatsu film in TohoScope.
  • The satellite dish (and tsunami) get recycled as stock footage in the US version of King Kong vs. Godzilla. Some military footage recycled later in 1970s G-films.
  • The festival at the beginning is Bon Festival (also called an Obon), which is a Japanese Buddhist-Confucian custom to honor the spirits of ancestors. Due to the use of several different calendars, there are usually three time periods these festivals will be celebrated between July and September. The dance seen at the festival in the film is a traditional dance called the Bon Odori. You can learn about it here. (Nathan wants to go to one. Maybe we can have one on the Island? –Jimmy)
  • Starts with a bang—or rather a forest fire. Exciting. Spectacular effects. Burning from the roots. Foreshadowing.
  • Takashi Shimura plays another scientist.
  • Lots of science enters. Mysteroid. Astronomy. (Which is one reason I love this film! –Jimmy)
  • That looks more like a sinkhole than a landslide. May have been deliberate. Because radioactive. Or not.
  • The JSDF vehicles and personnel are actual military. Made in cooperation.
  • Dead fish in river. More foreshadowing.
  • Hot radioactive ground. Burns tires. Melts mountain.
  • Moguera appears 14 minutes in.
  • Honda’s naturalism with disasters: Etsuko in bath as Moguera attacks.
  • The flamethrower is real—but I don’t know how it could reach that far or get that big against Moguera.
  • Scientists are presented as foremost authorities and absolutely trustworthy. Mysterians want to meet with them and not politicians.
  • The character plot at beginning is dropped as invasion plots takes over.
  • Not Toho’s first tokusatsu film in color (that was Rodan), but the colors are more spectacular.
  • Takashi Shimura dresses like Colonel Sanders.
  • 29:30: We’re off to see the wizard.
  • “Please put on your cape.” Not to keep warm, but because it looks cool.
  • Yoshio Tsuchiya insisted on playing Mysterian Leader. Liked playing weirdos.
  • “There are no boundaries in science.” Says “these people” (military) will cause war.
  •  “Selling land on Mars” line ab-libbed by Tsuchiya.
  • The humans waste no time kowtowing.
  • Almost 38:00: U.N. scientists mentioned as coming to discuss the matter.
  • Japan behind America in science. Mysterians even more advanced. Shiriashi.
  • Mysterians originally want 2 miles of land. It keeps increasing. Goes to 75. All intruders would be evicted by force. Inspired by America?
  • Shiraishi says scientists, not military, should stop attack.
  • The Mysterian dome looks amazing.
  • Nakajima played Moguera. Nearly killed him. Hot suit, hot studio lights. Over 100 degrees. Staff in underwear.
  • Sometimes editing of special effects shots is jumpy.
  • Cool POV shot of plane over dome.
  • Mysterian ships reused in Battle in Outer Space. Almost sequel. (The second entry in the “pseudo-trilogy.” It’ll be covered in a later episode. –Jimmy)
  • 46 mins: POV shot from tank on dome.
  • Figure ejects from model tank as it sinks. Cool.
  • Japanese earthquake of 1923 mentioned.
  • Mysterians say they don’t like war but will fight if attacked. They want peace on Earth. Weird way of doing it. America again? Want to end atomic wars. Mankind will perish in 20 years. Fearmongering? Mankind has ruled animals with science. Mysterians see humans as animals.
  • World comes together, but this is mostly a Japanese problem.
  • Japan calls for international meeting. “Japan’s trouble today will be theirs tomorrow.” Adachi somehow knows they won’t stop with the land.
  • 51:45: Shiriashi starts doubt if he chose the right side when they mention taking over eastern Japan.
  • America launches satellite from Arizona against Mysterians. (When was their first satellite?) (America’s first satellite was Explorer 1, which was launched January 31, 1958, just one month after this film was released in Japan. –Jimmy)
  • “Defense Force of the Earth.” Human unity. Many flags in background of conference scene. Japanese officer addresses UN council with plan. Translator present. Reps visible: USSR, USA, India, China, Vietnam, Thailand. Two resps from each. Three of 5 members of Security Council.
  • I love how the interpreter’s words aren’t exactly the same as the subtitles.
  • “A war has already begun. A quiet war…. There are no canons, aircraft, or tanks.” 57:15.
  • Alpha and Beta look awkward, but I don’t care. Part of the charm. VTOL tech, though.
  • Complaints about the female characters: useless damsels in distress. “Women often fainted back then” (Koichi Kawakita in his commentary).
  • Mysterians don’t use subterfuge, but they do increase their demands. Somewhat arrogant.
  • US Air Force planes seen landing. Speaks to alliance between America and Japan.
  • I love the satellite dish weapons in these movies.
  • Tsuchiya’s gestures as Mysterian Leader are great. Sharp and commanding.
  • Mysterians don’t like heat. Opposite of Kilaaks. (Let’s not talk about the disco space nuns. Okay, Marchand? –Jimmy)
  • Mysterian suits inspired Super Sentai/Power Rangers. (Maybe. –Jimmy)
  • 74:00: How did they not see him? (He means Shiraishi. –Jimmy)
  • Wanting women sounds incredibly sensationalistic, but it isn’t talked about much.
  • Mysterian science is advanced but can’t fix their genes.
  • The acting from the westerners is…underwhelming.
  • Mysterian dome does have what look like drill ends.
  • Mysterians try to negotiate saying they will retaliate is humans don’t stop (weren’t you already?). Humans tell them to leave Earth. Were the Mysterians bluffing? Afraid? They do retaliate with a massive flood.
  • I’m sure much of the stuff in these sets did anything, but they look cool.
  • Shiraishi says he was “tricked.” Was he? (Sadly, probably not. He seems quite complaisant with them. –Jimmy)
  • The tragedy of the Mysterians is a lesson to us. Don’t misuse science. Don’t repeat the tragedy! –Shiraishi
  • A second Moguera appears! For five seconds. (Still less useless than the Heisei incarnation. Extra spare parts for me to rebuild Mechani-Kong! –Jimmy)
  • Shiraishi has chance to shoot Mysterians but doesn’t. Mercy.
  • Like Godzilla, Shimura ends the film with an admonition.
  • Satellite is launched in the end to watch for Mysterians.

This is a footnote from Nathan’s grad school paper that did not make it into the episode:

Yet despite all of this involvement, Japan has not been allowed to join as a permanent member of the UNSC. Most of the opposition has come from South Korea and China, who believe Japan must still atone for the war. On the other hand, three members of the UNSC—the U.S., the UK, and France—support Japan becoming a permanent member. The U.N. at large possibly thinks that since Japan’s military is unable to contribute significantly to the safety of the world, they do not deserve a seat at the UNSC table (“Episode 6: Rodan” 00:44:20-00:45:31). Even if that were to change, China continually exerts its veto power on the council to block Japan’s admission because “[f]ar beyond the unwanted symbolism of a fully rehabilitated and ‘normal’ Japan on the UN Security Council, the very real powers that permanent membership would afford Tokyo are simply anathema to Beijing’s interests.”

Ambassador Motohide Yoshikawa, who served as the Permanent Representative of Japan to the United Nations from 2013 to 2016, argues that “there is still a strong consensus among all members that the Security Council has to be reformed.” It reflected the political reality of 1945, but it is “no longer valid” and has “become obsolete.” New emerging powers, such as those countries who were defeated in the war, should be admitted. Not only is Japan advocating for reform, but so are the other G4 countries (which also include India, Germany, and Brazil). In 2005 they made a proposal that would change the criteria for who could become permanent and non-permanent members, but it was never put to a vote. The momentum has stalled since then.

Finally, these are unused excerpts from several articles Nathan cited in the episode, which are listed with links in its show notes.

“Japan and the United Nations” – Wikipedia

  • “After the late 1950s, Japan participated actively in the social and economic activities of the UN’s various specialized agencies and other international organizations concerned with social, cultural, and economic improvement. During the 1970s, as it attained the status of an economic powerhouse, Japan was called on to play an increasingly large role in the UN. As Japan’s role and its contributions increased so did sentiment, expressed as early as 1973, that Japan should be given a permanent seat on the United Nations Security Council (UNSC) with the United States, the Soviet Union, the United Kingdom, France, and China.”
  • “As of 2005, Japan is again a strong advocate of a UNSC reform, in a joint campaign with Germany, India, and Brazil. All four nations strive to gain a permanent seat in the chamber. While the United Kingdom and France,[1] and the United States back Japan’s candidacy, it faces strong opposition from its two closest neighbors, China and South Korea.”

“An Argument for Japan’s Becoming Permanent Member” – MOFA

  • “Since Japan joined the United Nations in 1956, cooperation with the United Nations has been a cornerstone of its foreign policy. Japan has the world’s second largest economy, and based on this national strength, it has the capacity to assume ever greater global responsibilities through various contributions to the efforts of the United Nations and particularly the Security Council.”
  • “Japan is committed to promoting international disarmament and non-proliferation while firmly maintaining its Three Non-Nuclear Principles of not possessing, not producing and not permitting the introduction of nuclear weapons into its territory. Since 1994 Japan has submitted draft resolutions on nuclear disarmament at the UN General Assembly, which have been adopted with overwhelming support. Japan actively contributed to the success of the 2000 NPT Review Conference, and has been taking the initiative in facilitating the entry into force of the Comprehensive Nuclear Test Ban Treaty.”
  • “Moreover, Japan has been playing a leading role in disarmament of conventional arms, including small arms and landmines. It has provided substantial financial assistance for this purpose, and in 2000 established the Small Arms Fund within the United Nations.”

“Chapter 3: Japan’s Foreign Policy to Promote National and Worldwide Interests” – MOFA

  • “In addition, Japan also places great importance on strengthening its initiatives as a member of the G4 (Japan, India, Germany, and Brazil), a group that cooperates on promoting the reform of the UN Security Council. The Ministerial Meeting of the G4 Countries was held in September. During the Meeting, the countries agreed on building further momentum for the UN Security Council reform and continuing to work towards a comprehensive reform of the UN Security Council.”
  • “In addition, the Group of Friends on Security Council Reform was established in July. Comprising diverse groups such as the G4 as well as Africa, the Caribbean, the UK, France, and Northern Europe, all of which seek the reform of the UN Security Council. At the High-Level Meeting held in September, the Group members shared the recognition that the reform of the UN Security Council is an urgent issue, and affirmed their commitment to cooperate to realize a meaningful reform of the UN Security Council in an expeditious manner.”
  • “In response to the nuclear tests and the launch of ballistic missile by North Korea, as a member of the UN Security Council, Japan took a leading role in discussions at the UN Security Council, working closely with the relevant countries including the United States and the Republic of Korea. As a result, the UN Security Council Resolutions 2270 and 2321 were adopted, strengthening sanctions against North Korea, and putting greater emphasis on the importance of human rights and humanitarian issues including the abduction issue. The adoption of these resolutions demonstrated the attitude of the international community as a whole in taking decisive action against North Korea. In addition, Japan has been actively taking part in the work of the Security Council Committee pursuant to resolution 1718 and encouraging the relevant countries to fully and strictly implement the UN Security Council resolutions.”

 “Why Japan will Never Be a Permanent Meber of the UN Security Council” by Peter Harris

  • “Although the objective of permanent membership is longstanding, Abe’s diplomatic push ahead of October 2015 inevitably will be seen abroad in the same light as his other foreign policies, several of which have been criticized as hawkish by neighboring governments—not least of all the Chinese, which bitterly opposes the Japanese bid.  Far beyond the unwanted symbolism of a fully rehabilitated and “normal” Japan on the UN Security Council, the very real powers that permanent membership would afford Tokyo are simply anathema to Beijing’s interests.”

And now for the moment you have all been waiting for! The winner of the Batman Meets Godzilla T-shirt is Jim Hayes!

Congratulations!

The “Kong Quest” continues in the next episode with the infamous King Kong Lives. Nathan will be joined once again by kaiju author/scholar John LeMay (the only person we know of who genuinely likes that movie).

Our next mini-sode will cover the almost forgotten 1958 kaiju film Varan the Unbelievable.

Follow me on Twitter: @NasaJimmy

#JimmyFromNASALives
#WeShallOvercome

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Episode 9: ‘The Mysterians’ (Mini-Analysis)

Published January 22, 2020

Hello, kaiju lovers!

Nathan covers yet another film discussed on his former podcast, Kaijuvision Radio, by Brian Scherschell: Ishiro Honda’s 1957 tokusatsu classic, The Mysterians. While Godzilla (1954) singlehanded created the kaiju and tokusatsu genres, this film arguably ushered in Toho’s “golden age,” which would last for a decade. While Nathan does touch on Moguera, the special effects, and the film’s many influences, the bulk of his analysis is focused on Japan’s relationship with the United Nations, which the nation joined just a year before the film was released. The Mysterians expresses Japan’s—and Honda’s—postwar ideal of “proactive pacifism,” which it saw in the U.N. Throw in a few snarky interruptions from the podcast’s intrepid producer, Jimmy From NASA, and a random cameo from a psycho-powered dictator, and it’s a typical Wednesday at The Monster Island Film Vault.

After that, Nathan dumps out the mailbag to read several iTunes reviews and e-mails from listeners.

Speaking of which, be sure to check out the upcoming fan project, Batman Meets Godzilla, one of the craziest yet most intriguing lost projects made famous by John LeMay’s book, The Big Book of Japanese Giant Monster Movies: The Lost Films (which now has a new “mutated” edition).

T-SHIRT GIVEAWAY: Everyone who shares the Facebook and Twitter posts for this episode from the podcast’s pages will be entered for a drawing for a Batman Meets Godzilla T-shirt. (One entry per person per social media). Entries will be taken from January 22 to January 28 at 11:59pm (EST). The winner must then send Nathan his/her shirt size, shirt color, and mailing address to be forwarded to the team at Batman Meets Godzilla. Here’s a link to the Tee Public site with this epic shirt.

Here’s the KVR episode: Episode 39: The Mysterians (1957) (Normalization of Japan-USSR Relations)

This episode featured the song “‘BATMAN’ [OG Theme Song Remix!]” by Remix Maniacs.

Read Jimmy’s Notes on this episode.

(c) 2020 Nathan Marchand & Moonlighting Ninjas Media

Bibliography/Further Reading:

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Jimmy’s Notes on ‘Episode 8: Ben Avery vs. King Kong (1976)’

Published January 15, 2020

Our big year started with a big film when Nathan was joined by Ben Avery to discuss Dino de Laurentiis’ 1976 remake of King Kong. I have a lot to add and Nathan had plenty of leftover notes from re-watching the film. So, let’s started.

  • Nathan informed me after the fact that I forgot to mention that the film has a 5.9 score on IMDB with 28,249 ratings as of today. Oops. Okay, Nathan, you get one point on me. Don’t expect that to happen often!
  • The books Ben mentioned—as pointed out by a listener on Twitter—were the Crestwood Monster Series Books. Yes, they do go for a pretty penny now, although you can find them for reasonable prices if you search on eBay. (Weirdly enough, the King Kong book is on Amazon for only $15 in hardback!)
  • “Funnest,” Ben? I’d expect a professional writer like yourself to know that isn’t the proper superlative for that adjective (although I’m surprised it isn’t). The Law of Common Usage may make you right eventually, though.
  • I think it was more De Laurentiis making this film than Paramount, but, you know, details. 😛
  • Gorillas are apes, not monkeys, Ben! (see VeggieTales).
  • Actually, Ben, I do think you get a few decent close-ups of the “gorilla chief,” especially during the sacrifice scene where he’s dancing around like a male stripper on crack!
  • Wow, Ben, you outdid me. I couldn’t find those deleted/alternate scenes you mentioned were on YouTube. However, some of the scenes shown on the extended NBC TV version can be found on it.
  • It’s pronounced “kra-kn” not “krei-kn,” Ben.
  • Tim would be disappointed that Nathan forgot Charles Grodin was in The Great Muppet Caper. Shame. 😛
  • “Petra” is Greek for “rock,” so I assume it was used as the source word for Petrox (not to take away from the clever pun).
  • Nathan and I watched a POV video of the original Kong ride, “Kongfrontation,” at Universal Studios. He was doubly jealous when I told him I rode it back when it opened in 1977. 😛 Yes, there were Smellitzers” installed in the animatronic Kong’s mouth that emitted “banana breath.” (The scientists here on the Island tell me the real Kong’s breath is…well, in need of some kaiju-sized mouthwash).
  • Ben correctly identified the documentary as Man on Wire. It tells the true story of Phillippe Petit, who walked across a tightrope between the World Trade Center Towers in 1974. (This was illegal, by the way). Nathan wants to see it now.
  • According to Newsweek, there were gas stations owners who faced prosecution in 2001 for price gouging.
  • Your closing is cute, Ben, but I’m actually a Sagittarius. 😛 (Not that I believe in horoscopes. I am a man of science who knows what stars actually do: burn and gravitate). J

Now on to Nathan’s rather exhaustive notes from the film. He went through all his stuff for the 1973 oil crisis, but as Ben said, there is much to talk about with this film.

Nathan notes:

  • “Here’s to the big one.” Foreshadowing. (Hence why Nathan referenced it at the beginning of the episode. –Jimmy)
  • James Creelman, Ruth Rose, Merian C. Cooper, and Edgar Wallace are all credited as inspiration. Wow. (Probably for legal reasons. 😛 –Jimmy)
  • How do sailors deal with everything on a table moving during a stormy sea? It’s even worse when you’re drunk.
  • The island does appear to be shaped like a skull, although they never call it that.
  • It’s implied that Kong may be at least 400 years old (1605). Or he is the latest member of the species? At least that’s a little mythic.
  • “Spouting ape s—t.” Foreshadowing?
  • “Snapped a few monkeys.” More foreshadowing.
  • Jack and Dwan’s relationship does get at least a little more development in this compared to Jack and Ann.
  • Was Kong spotted on radar briefly?
  • How does Dwan not cause all kinds of trouble being the only woman on this ship? (When I flew on the Gohten, there was only one woman onboard, and the men behaved themselves—although that was probably because she was the captain’s daughter, so you may have a point there. Maybe. I’m not giving you another one this week, Marchand!)
  • Set off charges to map geological structure—just like in Skull Island!
  • I gotta say, the scenery in this is really pretty. It does make me wonder if Peter Jackson was influenced by this?
  • They say the wall is Egyptian like in the original.
  • Dwan says this is a wedding. Bride has a blonde headdress. Groom stand-in is dressed in ape mask and makes thrusting motions while dancing. Definitely indicates what they think happens. Very ‘70s.
  • The chief tries to trade six maidens for Dwan like in the original.
  • Jack speaks against colonialism by saying this isn’t the 19th century, so they can’t walk in and take their island.
  • Just like the original, the natives read the script and knew exactly where Dwan was. Somehow they keep her from not screaming much.
  • Did Dwan get drugged by natives? (Obviously, yes. –Jimmy)
  • It’s never explained why the natives want Dwan over their own girls. The original aid it was because she was blonde.
  • And so they recreate the iconic scene where the girl is tied to the…altar(?) and Kong comes through the trees and takes her. It’s surprisingly effective.
  • Kong appears 53 minutes in. (Which I think is proportional to the 1933 original where Kong appears 40 minutes into a 100 minute film. –Jimmy)
  • Dwan references Empire State Building.
  • There’s a Chinese cook (and masseuse?) like in the original.
  • “Turned on ape.” Constant sexual references. Very ‘70s
  • Stone towers foreshadow Twin Towers.
  • This time Kong undressing the girl does feel sexual, unlike the original. It’s unsettling.
  • A giant snake appears out of nowhere. Only other monster on island. Gory death when Kong breaks its jaw. Harkens back to original.
  • “Estimates monkey time”? Oh my…
  • Replicates the scene where Kong crashes through wall. A bit more spectacular because Kong actually smashes it.
  • Like original, Kong is knocked out with chloroform. Scene with his hand rising out of cloud of gas in hole is actually effective.
  • Jack opposes the exploitation of Kong, unlike original. Calls it a “grotesque farce.” The beauty and the beast show is frowned upon. Later calls it a “Tragedy.” Quits Wilson’s “circus” on principle.
  • The shot where Kong catches Dwan was a bit unimpressive.
  • There’s no mention of a legend of Kong before getting to island, unlike original.
  • One shot of Empire State Building.
  • How long did it take Wilson to put all this together? This is a lot of stuff.
  • Kong reaches into building and grabs Dwan like in original. This time, though, she doesn’t seem as resistant. Yet she still calls for help. Hmm…is she confused about how to feel? I don’t want to get into sex and consent right now.
  • Jack cheers when Kong kills soldiers. He is a hippie.

With that, the “Kong Quest” will with the…unfortunate sequel in next month’s main episode on King Kong Lives.

Join us next week for a mini-analysis of one of my favorite Toho tokusatsu films: The Mysterians.

Follow me on Twitter: @NasaJimmy

#JimmyFromNASALives
#WeShallOvercome

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Jimmy’s Notes on ‘Episode 7: Half Human (Mini-Analysis)’

Published January 1, 2020

Happy New Year!

Now that we have passed Blade Runner in the timeline, I will greet 2020 with my first Jimmy’s Notes of the decade. This one is on Nathan’s mini-analysis of 1955’s Half Human. Admittedly, these bullet points are all from his independent study on director Ishiro Honda back in his grad school days. They are more akin to an actual review of the film. I do not have much to add for this one.

Nathan’s Notes on Half Human

  • Begins like a film noir in an alleyway in the rain
  • Ashes in a box. Cremation. Foreshadowing.
  • New Year’s holiday (https://en.wikipedia.org/wiki/Japanese_New_Year); told in two flashbacks. First by youth and then by professor. It’s weird.
  • Masaru Sato’s score is quite good. Perhaps better than Godzilla Raids Again. It switches between whimsical and foreboding.
  • The skiing sequence does feel like padding.
  • Filmed on location, and it shows. The scenery is beautiful.
  • “Burning Hell Valley freezes over.” (A joke from my brother Jarod)
  • The clock in an early scene looks like Mom and Dad’s cuckoo clock back home.
  • The phone call with the gunshots and screams is eerie.
  • Footprints. Echoes the real-life events around “discovery” of abominable snowman at the time.
  • It is strange that the Snowman murders everyone in the cabin (it seems) but is kind later. The scene seems to point to him (fur, bent bar). Unless it was the tribe and he was just present?
  • “Wait for the spring thaw.” As in find the body of Takeno.
  • Akira Takarada and Momoko Kochi, the star-crossed lovers of Godzilla, appear in this film together as a couple.
  • Takarada tells Kochi, “You have to be strong,” because of her brother’s death.
  • Snowman’s roar is a bit unnerving. Like an elephant.
  • Oba Incorporated: biggest animal dealer in Japan. Villains. They get more over-the-top as the film progresses.
  • The Snowman appears about 39 minutes in. His face is a combination of a mask and make-up. The costume is covered in goat fur. Even appears to be balding.
  • Is the Snowman smitten with Kochi? I don’t know. Possibly. He is lonely. The last of his kind. Adam Noyes proposes that the Snowman, in his rage, takes Kochi because she’s important to everyone like his son was to him. Planned to kill her in front of everyone.
  • 50 minutes in we learn that the Snowman has a son (Snowboy?). Is he his biological son? Adam Noyes theorizes he’s adopted.
  • Peter H. Brothers argues that Chika clings to a knife, a phallic symbol.
  • The scene of Takarada dangling from the cliff has a great matte painting. It’s an homage to King Kong when the Snowman pulls him up. The birds do look a little fake, though. The Snowman shocks Takarada by helping him. Unexpected and atypical.
  • Chika is the best character in the film (aside from the Snowman). She’s multidimensional, and the actress gives a great performance. She’s curious but fearful.
  • The Snowboy sounds like a screeching monkey.
  • Chika reveals Snowman’s location after Oba gives her a ring. Throws rock to mark location of his cave. I thought she was throwing the ring away. She is essentially cursed by the elder when he’s shot for doing this.
  • Snowboy saves Snowman from truck.
  • These villains are cartoonish. “I’ll teach you to balance a ball!” Are they evil because they like French girls?
  • The dummy thrown over the cliff looks terrible.
  • Like Godzilla (and Kong), the Snowman is tragic and sympathetic monster.
  • Chika tries to save the abusive elder when the Snowman destroys the village (like Kong does), but he says not to. Nuance?
  • Chika blames herself for what happened even though she was deceived by Oba.
  • Shinsuke is told to be strong when he cries over his dead brother.
  • Snowman’s kind died from eating poison mushrooms (Matango? :P) How could they? Animals are good about realizing something is poisonous. Bad science.
  • The Snowman is lonely because he’s the last of his kind. Chika is lonely because her tribe is isolated and savage. Kinship.
  • The one stop-motion shot of Snowman climbing is awkward.
  • Chika confronts the Snowman to save Kochi as redemption. Dies with the Snowman.
  • Tragic ending like Godzilla. Monster and hero(ine) both die.
  • Tacked on “happy” ending to soften tragedy.

There you have it.

Come back next week when Nathan is joined by Ben Avery to discuss the 1976 remake of King Kong!

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Episode 7: ‘Half Human’ (Mini-Analysis)

Published December 25, 2019

Merry Christmas, kaiju lovers!

As part of Nathan’s continuing series on films covered in his absence on Kaijuvision Radio, this mini-sode examines Ishiro Honda’s 1955 film Half Human, which is infamous for being banned by Toho. Heck, it was stashed so far back in the Island’s film vault, it took Goji-kun and Bro Kong (the podcast mascots and possibly Godzilla and Kong’s “little” brothers) a long time to find it for Nathan to watch. Strange as it may sound, it’s serendipitous that this episode was released on Christmas Day because the film takes place partly on New Year’s Day. It follows a group of scientists and students investigating the appearance of the Abominable Snowman in the Japanese Alps, where they encounter a savage tribe who worships the Snowman. Nathan’s analysis focuses on the natives, their parallels to the Ainu (Japan’s indigenous people), and how this portrayal got the film banned. He argues that, despite possible insensitivities, Half Human is unfairly censored and deserves to be viewed by a wider audience.

All this plus our first listener feedback letters and the Monster Island Christmas party—wherein Nathan learns that kaiju can sing Christmas carols (or so his intrepid producer, Jimmy From NASA, tells him even though he hasn’t fixed the ORCA yet).

Here’s the Kaijuvision Radio episode on the film: Episode 38: Half Human (1955) (Genetic Origin of the Ainu People).

Here’s the blog with the rules for the Destroyer novella giveaway.

This episode featured “We Three Kings” by Jay Man (OurMusicBox on YouTube).

See you in 2020, listeners!

#JimmyFromNASALives

© 2019 Nathan Marchand & Moonlighting Ninjas Media

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Jimmy’s Notes on ‘Episode 6: Nick Hayden vs. King Kong Escapes’

Published December 18, 2019

Another “Kong Quest” (ba-dum-tish) episode has come and gone, and I find myself feeling the weight of my contractual obligations as Nathan dumps asteroid-sized notes on me. I’m a busy man, and as much as I like my blog, I have other things to do with my time (like finish rebuilding Mechani-Kong).

Regardless, here are my notes on episode six, wherein Nick Hayden and Nathan discussed King Kong Escapes.

  • Something they didn’t bring up that I thought was funny was while they watched the film, Nick theorized the old hermit was exiled from his tribe because he spoke in bizarre poetry.
  • John Pertwee played the Third Doctor on Doctor Who from 1970-1974. His archnemesis, the Master, first appeared in 1971 played by Roger Delgado. So yes, the Dr. Who of King Kong Escapes predates both of them by several years. (He also looks like William Hartnell, the first actor to play the Doctor, as you can see by the image below). Too bad Nathan’s affinity for their capes ate up most of his paycheck this week. (Gotta read that contract, man!)
William Hartnell (left) as the Doctor and Hideyo Amamoto (left) as Dr. Who.
  • Did these two forget Peter Cushing is British? At this time he was acting in British films exclusively and only has a few American films (most notably Star Wars: A New Hope) to his credit. I mean, come on? Does his posh accent not give it away?
  • As I was instructed, here’s a link to the “Diggy Diggy Hole” video.
  • The Burj Khalifa (or “the tower in Dubai,” as Nick called it) is the tallest building in the world currently at 2,717 feet (or 828 meters). The Empire State Building is number 49 at 1,250 feet (or 381 meters). It was the tallest building in the world from 1931-1972.
  • Linda Jo Miller was dubbed over by Julie Bennett, who is best known for voicing Cindy Bear on The Yogi Bear Show. She was also a voice on Fractured Fairy Tales, a segment of The Rocky and Bullwinkle Show.
  • The “Warren” caveman story from Latitude Zero was named after Warren Lewis, and it was an acid pool he was dropped into.
  • Nick says I’m jealous of Disney Star Wars. Me, jealous of a space war franchise being given lots of money by the biggest movie studio in the world while my space war film fades into obscurity? Not at all! Nope, I’m not crying.
  • How could I forget to pipe in to mention that Nick Adams is my spirit animal and astronaut Glen trained me?! I need to be more intrusive!
  • There were a lot of kaiju films released in 1967. Toho released two (Son of Godzilla and King Kong Escapes) and every other studio in Japan released one. These were: Gamera vs. Gyaos (Daiei Film), The X from Outer Space (Shochiku), and Gappa: The Triphibian Monster (Nikkatsu). Meanwhile, Keukdong Entertainment Company and Toei Company made Yongary, Monster from the Deep in South Korea that year. (And you thought there were too many superhero movies this year).
  • Well, RKO isn’t quite the true “parent” of Kong. His copyright is more convoluted than Commander Hell’s world conquest plan. But that’s a discussion for a future episode.
  • Nathan does contradict John LeMay a bit from the previous episode about the genesis of Ebirah: Horror of the Deep, but I think it’s because that was the first theory he read. He’s forgiven…this time. 😛

My corrections/additions/riffs are done, so here are Nathan’s leftover notes.

The Film:

  • Carl Nelson: not to be confused with Clark Nelson [from 1961’s Mothra]. (Nathan has to remind himself of this when he watches this film).
  • I retract my statement on KVR about there being no snow in kaiju films.
  • “IU data”? Indiana University is in league with Dr. Who?! I’d think it’d be Purdue the engineering school.
  • Kong’s grunts were later used for Godzilla.
  • “It can’t get any worse,” [says Nelson]. Famous last words. Star Wars, anyone?
  • Except in the Japanese films, Kong didn’t survive a movie until Kong: Skull Island.
  • Kong uses a rudder as a weapon to destroy a ship before he uses in in Kong: Skull Island!
  • Mechani-Kong came from the Japanese fascination with giant robots that started with Tetsujin 28 in 1956 and the anime series in 1963. He paved the way for Mechagodzilla later.
  • Seiji Tani resented having to work with the narrowing constraints of the genre. “Toward the later years, the human drama aspect got thinner and thinner. We had this discussion. [Producer Tomoyuki] Tanaka was there with us, and I asked him directly, ‘Why can’t we make the same sort of films, but geared toward adults?’ Honda-san didn’t say anything; maybe he couldn’t say anything. [Tanaka] looked at me with a troubled face. He replied, ‘The company keeps telling us to target the kids’ market, and if we don’t attract the kids, we can’t get enough box office.’ …Honda-san had a very bitter smile on his face.”
  • Tsuburaya’s TV shows often depicted superheroes slicing and dicing monster foes, but he shied away from it in films, thinking it was inappropriate. He put his foot down when making this film, compromising that Gorosaurus would vomit a white foam.
  • Kinema Junpo writer Chieo Yoshida was positive about the film. “I see this as the filmmaker’s [satirical] view of the modern world, where everything must be mechanized. But if they are aiming for kids, what’s Mie Hama’s irrepressible sex appeal doing here? Perhaps that’s a little present for the dads who have to bring kids to the theatre?”
  • Tsuburaya emphasized the rare moments of Kong’s cuteness and not the innate dread. Comes from telling stories about Kong to youngsters during WWII bombing raids. Perhaps saw him as an inspiration to kids. Or he wanted to create a positive hero to counter Godzilla’s destruction. Didn’t want to frighten the kids. More like a chimp than a stereotypical gorilla.
  • “Tanaka and Beck made their money and got their fame, and all it cost was O’Brien’s spirit, Honda’s principles, and Tsuburaya’s reputation” (“The Kongs of Tsuburaya: Obie and Smoke” by Peter H. Brothers). That seems harsh. I think the film has garnered more credibility since he wrote this.
  • [Brothers] argues that the original image of Kong can’t be improved or updated.
  • “…while O’Brien worked with Kong, Tsuburaya played with him” (Peter H. Brothers).
  • [Brothers] says these different approaches come about because O’Brien was a hard-drinking Irishman besets by tragedy and setbacks while Tsuburaya didn’t face any major trauma as an adult.
  • Dr. Who and [James Bond villain] Dr. No are both Asian geniuses who wear black gloves and tinker with radioactive substances. (Mushroom Clouds and Mushroom Men by Peter H. Brothers).
  • Transmitter conversation takes cues from Yasujiro Ozu’s Tokyo Story. (ibid).
  • This is Nakajima’s finest monster performance, in [Brothers’] opinion.
  • Susan is the highest-ranking woman in a Honda film. (ibid).
  • Honda denied there was a “love affair” between Kong and Susan; that it was just a friendship. However, he winked and added, “After all, if Kong and Susan really do fall in love, then I can make a sequel, right?”
  • [Fillipo] says King Kong Escapes makes Kong a “Modern Male” and Susan a “Liberated Woman” who spends her time “cajoling, cooing, hectoring, chastising.” (“The Myth Goes Ever Downward” by Paul di Fillipo).
  • By only having one native, it further removes Kong with the racial connections. (Fillipo).
  • By making him a hypnotized slave, he becomes what he was meant to stand against (despite breaking free later). (Fillipo).
  • John LeMay speaks very highly of the film in his book, The Big Book of Japanese Giant Monster Movies, Volume 1 and Kong Unmade.
  • Stuart Galbraith says the head on this Kong suit is less Eighth Wonder and more Homer Simpson (Japanese Science Fiction, Fantasy and Horror Films). He says the film is enjoyable so long as one remembers it’s based on a cartoon.

Toku Topic: Notes on Frankenstein Conquers the World

  • Honda insisted that the American backers honor the Japanese system and give the director “the right of final decision.” But things didn’t always go smoothly. (Five of Honda’s nine remaining 1960s films would co-productions with Americans).
    • Adams wrote an article for the Los Angeles Times about his experiences working in Japan, saying Honda and Tsuburaya were the world’s greatest sci-fi directors.
    • Adams was Honda’s guinea pig, his first foray into having a foreign star speak English while the Japanese cast spoke Japanese. This often led to confusion, but thanks to Adams’ enthusiasm and interpreters, they pulled it off.
    • The authors say this is the first Japanese film to portray a relationship between a Japanese and a foreigner, a taboo subject scandalized in Japanese literature.
    • The film was touted as the first sci-fi movie co-produced by Japan and the US with “Hollywood star Nick Adams.”

Well, that covers everything. I’ll see you again on New Year’s Day.

Follow me on Twitter: @NasaJimmy.

#JimmyFromNASALives

#WeShallOvercome

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‘Destroyer’ Novella Christmas Giveaway!

Published December 16, 2019
Cover art by Tyler Sowles, who also created the MIFV logo.

It’s Christmastime on Monster Island, and in the spirit of the holiday, I want to give three lucky kaiju lovers a signed copy of my giant monster novella, Destroyer, which I co-wrote with Natasha Hayden, Nick Hayden, and Timothy Deal (two of whom you’ve heard on the podcast). The rules are simple:

  1. Write a review of The Monster Island Film Vault on iTunes.
  2. Send a screenshot of your review to us via the podcast e-mail address: feedback@monsterislandfilmvault.com.
  3. BONUS: For every other podcatcher besides iTunes on which you write a review of the podcast beyond the first, you get a bonus entry added to the drawing.
  4. BONUS 2: You’ll get one extra entry if your review includes a 5-star rating.
  5. BONUS 3: If I get enough entries, I will add two more copies of the book to the drawing as prizes!
  6. Reviews must be posted and entries submitted between December 16, 2019, and December 31, 2019.

Easy!

Destroyer is a pulpy sci-fi thriller wherein:

The American Alliance army recruits scientists Dr. Steiner and his daughter, Eva, to build a superweapon to end the long war with the Russo-Chinese Coalition. The towering cyborg they create possesses the image of a dragon, the brain tissue of a once-living T-Rex, and the weaponry of an entire army. Dubbed “Rex-1,” the cyborg’s mission is to destroy military targets in Moscow. Closely followed by its creators and military commanders and controlled by telepathic technology, Rex-1 wreaks havoc on the Russians, smiting them like a demonic god. Then the unthinkable happens: Rex-1 goes berserk, defying all orders, and attacks the ship transporting the Americans. Crashing behind enemy lines in the heart of Moscow, Dr. Steiner and his group are caught in the middle of Rex-1’s rampage. Now with distrust and madness tearing his fellow survivors apart, Dr. Steiner has only one goal: DESTROY REX-1! This new deluxe edition features the bonus story “House of the Living” by Nick Hayden, presented here in print for the first time!

Can you guess which Godzilla film inspired the story?

You can read “Chapter 6: Berserk” of the novella on a previous blog on podcast website.

Merry Christmas!

(I guess I better get Jimmy From NASA a gift now…).

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Jimmy’s Notes on ‘Episode 5’ (and the Podcast’s New 2020 Schedule)

Published December 4, 2019

There isn’t much to add to the latest episode (although I heard most of it after it was recorded), but here are a few points I noted.

  • Mary Shelley’s original Frankenstein novel is in the public domain, but as John said, other incarnations like the Universal film versions aren’t. There have actually been several lawsuits related to Frankenstein copyrights, including way that arguably saved the VCR.
  • John calls the island in Son of Kong, “Skull Island,” when that name isn’t stated—but I’m not arguing with him because he’s John LeMay. 😛

Now, as Nathan said on the podcast’s Twitter last week, here’s a revamped (though tentative) 2020 schedule for the show. We’ll be returning to the original format—one full episode and one mini-sode each month—with Godzilla vs. Kong being delayed to November.

January
King Kong (1976)
The Mysterians (Mini-Analysis)

February
King Kong Lives
Varan the Unbelievable (Mini-Analysis)

March
King Kong (2005)
3 Treasures (Mini-Analysis)

April
Kong: Skull Island
Battle in Outer Space (Mini-Analysis)

May
Rebirth of Mothra
The Last War (Mini-Analysis)

June
Rebirth of Mothra II
Gorath (Mini-Analysis)

July
Rebirth of Mothra III
Matango (Mini-Analysis)

August
Daimagin
Atragon (Mini-Analysis)

September
Return of Daimagin
Space Monster Dogora (Mini-Analysis)

October
Daimagin Strikes Back
Frankenstein Conquers the World (Mini-Analysis)

November
Godzilla: King of the Monster (2019) (Mini-Analysis)
Godzilla vs. Kong

December
The Beast from 20,000 Fathoms
War of the Gargantuas (Mini-Analysis)

Hopefully, we won’t have to redo this again. (Got that, Legendary?)

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Episode 5: John LeMay Presents ‘King Kong vs. Frankenstein’ & ‘Continuation: King Kong vs. Godzilla’

Published November 27, 2019

(FYI: This was recorded before the news that 2020’s Godzilla vs. Kong would be delayed).

Hello, kaiju lovers!

In this special “side Kong Quest” ( 😛 ), Nathan is joined by author John LeMay (who is a gentleman and a scholar) to talk about two unmade King Kong films with connections to King Kong vs. Godzilla. The first was “King Kong vs. Frankenstein,” a project that special effects legend Willis O’Brien tried to get made in the late 1950s before it ended up at Toho. Then Godzilla and Kong almost had their rematch in the 1960s with Shinichi Sekizawa’s “Continuation: King Kong vs. Godzilla,” where the Eighth Wonder becomes a surrogate parent to a Japanese baby! Hear all about them in this episode! These and many other lost Kong films are covered in great detail in John’s book Kong Unmade: The Lost Films of Skull Island, which is part of Monster Island’s library and one of Nathan’s go-to resources for the podcast.

Jimmy From NASA is absent for most of this episode because Kong and Godzilla were upset that Nathan skipped their 1962 monster mash movie, so Jimmy left to calm them down with the ORCA. The thing is, Nathan covered that film on his previous podcast, Kaijuvision Radio. Here’s a link if you want to listen to it before the next episode:

Episode 8: King Kong vs. Godzilla (1962) (The Japanese Economic Miracle (The Golden 60s))

Also, Happy Thanksgiving from all of us here on Monster Island!

Read Jimmy’s Notes for corrections, riffs, and more info on this episode!

© 2019 Moonlighting Ninjas Media

#JimmyFromNASALives

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