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Episode 38: Eric Anderson vs. ‘Godzilla vs. Kong’

Published April 14, 2021

Hello, kaiju lovers!

Finally, the “Kong Quest” comes to an end! After months of delays due to avoiding competition and COVID-19, Godzilla vs. Kong has been released. It’s not a fever dream—it’s real! Nate is joined by his friend, Nerd Chapel founder Eric Anderson, to discuss the epic rematch nearly 60 years in the making. They host a special premiere for the Legendary film at the newly opened Denham Theater, an event that’s been delayed and rescheduled as often as the film’s release. A cavalcade of special guests attends, including the little Iwi deaf girl Jia. She is the youngest of “Kong’s Queens,” all the surviving ladies who have captivated the Eighth Wonder over the years. Nate and Eric dive deep into the deceptively simple movie, discussing Kong’s “hero’s journey,” the Jules Verne-ian/Edgar Rice Burroughs-ian world-building, and its theme of mankind trying to control forces greater than themselves. You’ll also hear them compare the movie to Conan the Barbarian, Die Hard, and The Lord of the Rings.

The Toku Topic isn’t about the content of the movie itself but a debate raging around it: movie theaters vs. streaming services. Which do you prefer to see a movie for the first time?

Afterward, Nate and company hear that Kong had too much to drink at the after-party and has gone on a drunken rampage. MIFV’s intrepid producer, Jimmy From NASA, volunteers to handle the situation the best way he knows how: Mechani-Kong Mk. 2. That goes about as well as you’d expect, so Nate and Eric recruit one of “Kong’s Queens” for help so beauty can save the beast for once.

Prologue and Epilogue written by Nathan Marchand with Eric Anderson.

Music:
-“Here We Go” by Chris Classic
-“Pensacola, Florida (Godzilla Theme” by Junkie XL
-“Skull Island (Kong Theme)” by Junkie XL
-“A New Language” by Junkie XL
-“Main Title” by Moscow Symphony Orchestra, composed by Max Steiner

Sound effects sourced from Freesound.org (including some by InspectorJ).

We’d like to give a shout-out to our MIFV MAX patrons Travis Alexander and Michael Hamilton (co-hosts of Kaiju Weekly); Danny DiManna (author/creator of the Godzilla Novelization Project); Eli Harris (elizilla13); Chris Cooke (host of One Cross Radio); Bex from Redeemed Otaku; and Damon Noyes! Thanks for your support!

You, too, can join MIFV MAX on Patreon to get this and other perks starting at only $3 a month!

Check out Nerd Chapel and the 42 devotional books!

This episode is approved by the Monster Island Board of Directors.

Timestamps:
Intro/Prologue: 0:00-11:40
Entertaining Info Dump: 11:40-22:24
Toku Talk: 22:24-1:46:55
Ad: 1:46:55-1:47:47
Toku Topic: 1:47:47-2:14:12
Housekeeping & Outro: 2:14:12-2:23:16
Epilogue: 2:23:16-end

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Follow Jimmy on Twitter: @NasaJimmy
Follow the Monster Island Board of Directors on Twitter: @MonsterIslaBOD
Follow the Raymund Martin and the MIFV Legal Team on Twitter: @MIFV_LegalTeam
Follow Crystal Lady Jessica on Twitter: @CystalLadyJes1

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© 2021 Moonlighting Ninjas Media

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Bonus Episode #1: Jimmy From NASA Presents ‘Space Kong’

Published April 1, 2020

Hey, guys!

The Vault is now under new management—Jimmy From NASA! Yes, after starting a betting pool during Nathan’s livestream of Override: Mech City Brawl Friday night and cleaning out the Monster Island Board of Directors, Jimmy became the new host of the podcast but kept Nathan on as his producer. Nathan is still a bit sore about that, as you’ll hear, but Jimmy is sure he’ll get over it.

For his first episode, Jimmy is discussing his favorite unmade Kong film: “Space Kong.” This was a wild idea that came about in the 1960s while Merian C. Cooper was corresponding with comic book publisher Western/Gold Key Comics to produce a comic adaptation of original film and a sequel. This would’ve featured the children of the original characters and Carl Denham still young from finding the Fountain of Youth. Cooper suggested setting it on another planet with “King Kong reincarnated.” While Jimmy first learned of this lost project through a book written by his (first) flame war nemesis, John LeMay, he showed up that know-it-all by buying Cooper’s long lost story treatment for this proposed film on eBay using his newfound wealth. Be the first to hear about it in today’s episode!

Here’s Nathan’s transcript of Episode 14.

Follow Jimmy on Twitter: @NasaJimmy

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Jimmy’s Notes on ‘Episode 10: John LeMay vs. King Kong Lives’

Published February 19, 2020

Last week’s episode on King Kong Lives was certainly an interesting one. It was both informative and entertaining. Nathan “survived” in true Mystery Science Theatre 3000 fashion while John LeMay made a valiant defense of the movie. I did not pipe in as much because, as listeners will remember, John and I had a spat when I refused to show him my garage. I did not get a chance to explain it was because I needed to make sure it was clean and safe for visitors. That was all.

Anyway, here are my notes on the episode:

  • I did not want to disappoint you on the air, John, but I am actually a natural brunette. I dye my hair red. In other words, I still have a soul. Or did I lose it when I dyed my hair?
  • Here’s the Siskel and Ebert review of King Kong Lives.
  • About those so-called “magic artificial hearts”: The Island’s Board of Directors acquired Dr. Amy Franklin’s design and attempted to improve upon it. I can neither confirm nor deny that experiments may have been conducted on kaiju that aren’t as big a draw for Tourists….
  • Here are two articles with great info on artificial hearts: “7 Things You Should Know about Artificial Hearts” and the Wikipedia entry on them.
  • Baby Kong was played by seven-year-old Benjamin Kechley. And yes, I think he should have bragging rights for life.
  • Surprisingly, Nathan was wrong about the Superman film John was talking about. (He is as obsessed with superheroes as he is kaiju. God help me when he takes a deep dive into Ultraman…). It was Superman II from 1980 that had the Eiffel Tower scene, which did involve terrorists with hostages and a bomb. You can watch it here and here.
  • I have a plenty of material to do a War in Space panel at G-Fest, John. I mean, I lived it. And miraculously survived it. But like Nathan said, someone has to take care of the studio while he is gone, and we are more or less a two-man operation. Maybe I will get some time off when the film’s 45th anniversary rolls around….
  • Here’s a link to the Godziban playlist on the official Toho Godzilla YouTube channel. It is the show Nathan and John mention briefly where Godzilla Junior and Minya get along. I cannot vouch for its accuracy.
  • John is both right and wrong about the dinosaur fights in the Lovelace novelization. Kong does fight a triceratops—several, in fact—but he later he also fights a “meat-eater” dinosaur, which may or may not have been a T-Rex. There is some debate over it.
  • It’s “Monsterverse” not “Godzilla universe,” John. 😛
  • Here’s the Subway commercial that was mentioned by John.
  • The confusing things about Kong: King of Skull Island is there appears to be two of them. Maybe? Here is this on Amazon (and Wikizilla), but there’s also a Kickstarter for an illustrated version in 2018. I am guessing the latter is what sparked the lawsuit they mention.
  • The person John could not remember who pitched Skull Island: Blood of the Kong with Neil Marshall was Simon Uttley.
  • The Kong Netflix series is Kong: King of the Apes. It is a children’s series and currently has two seasons. Here is a link to its official page.

Here are the many notes Nathan did not get to during the episode. Admittedly, some of them are riffs that require context not given in the note. Basically, watch the film chronologically (if you dare!) and you may be able to find what he is talking about. So, buckle up because there is a lot.

  • They edited in different roars for the flashback. Not as good.
  • I wonder how much Bridges and Lange were paid for that stock footage?
  • Music courtesy of John Williams’ leftovers.
  • How is Kong not a furry mound of jelly?
  • Admittedly, this continuous opening shot for the credits isn’t bad.
  • We see Lady Kong in less than 8 minutes. (Kong meets a female of his species and suddenly forgets about blondes?) (Mrs. Kong theory from episode 4).
  • “Can you hear me now?” Verizon, anyone?
  • “I’m in love with a gorilla!”
  • Disneyland? Why not Universal Studios?
  • “The only living ape.” Because all the normal-sized ones have died out in ten years?
  • “I left a trail of bananas.” Don’t make fun of yourself, movie. That’s my job!
  • As usual, Kong breaks his chains of captivity.
  • Did those apes just have a love at first sight moment?
  • Yeah, the dozers will stop him.
  • “They’ll need a doctor after they get a whiff of this gas.” I never should’ve eaten that breakfast burrito!
  • The action hero trope: the big bad male hero can take a beating and not flinch, but he winces when a woman tends his wounds. Nice job, Kong.
  • Are those natives on Kong’s Island burnt out drunks like Jack said? Would they let outsiders build a reserve then?
  • Welcome to Movie Land, where people fall in love and make out at the drop of a hat. Justification: This is what primates do.
  • Oh no! The flamethrowers return! How is Kong not PTSD-ing right now?
  • There’s a torrential downpour, but the sun is out.
  • There are a lot of pop culture references in this. Indiana Jones. Deliverance. Juicy Fruit.
  • You’re telling me none of the doctors the military brought in figured out Lady Kong was pregnant?
  • There are points this feels more like a post-1976 King Kong knockoff than an actual Kong film.
  • Don’t you guys know that Kong hates flashbulbs?
  • “Well, Kong, you’ve killed now. Nothing will stop them from killing you now.” Did you miss the first movie?
  • Kong is a tactician. He throws pocket sand at the military before attacking. 😛 (“Pocket sand!” -Dale from King of the Hill).

These are Nathan’s leftover notes from King Kong: History of a Movie Icon from Fay Wray to Peter Jackson by Ray Morton:

  • De Laurentiis wanted to do a sequel from get-go. At one point even discussed a Frankenstein-like idea with Semple.
  • Sequel never manifested because De Laurentiis was either disappointed it didn’t out-gross Jaws or because he didn’t want to have to deal with Universal.
  • In the ensuing years, he bought Embassy Pictures and made it into his own studio, De Laurentiis Entertainment Group (DEG).
  • John Guillermin returned as director. Both he and De Laurentiis had lost sons in the intervening years, so their relationship had mellowed.
  • Carlo Rambaldi was brought back on for the special effects. He’d won several Oscars for his work since 1976.
  • Despite not liking the script, Brian Kerwin took the role because he was offered lots and money and he was the lead. He said later that monkey was the lead and he was set dressing. He also wanted to be picked up by Kong.
  • New suit actors were brought in, both male. Kong’s hair was Icelandic yak fur.
  • They tried to make Kong ’86 look like Kong ’76, but it didn’t quite work. The former is brown and the latter black. Face was different with more expressive mask.
  • Kong’s biological heart is a replica of a real gorilla heart. The artificial heart is a fantasy creation. Kerwin considered making it into a coffee table.
  • Ran into budget problems because DEG was hit hard by new tax laws. Some sequences were trimmed or eliminated. It wasn’t filmed in Brazil and Jamaica and instead was filmed in Tennessee and Wilmington.
  • All the fake blood in the Kong transplant scene made an extra pass out.
  • Kerwin read all 22 Travis McGee novels in his downtime. One actor directed community theatre!
  • Kerwin said de Laurentiis was “braggadocious and stingy.”
  • Guillermin was mellower but often still intense.
  • Hamilton was in a bad mood all the time according to Kerwin.
  • Baker refused to come back due to unreasonable conditions and the Oscars dustup, so it went to Peter Elliott, an acrobat and veteran costume performer. He did ape choreography in Greystoke: The Legend of Tarzan. His friend George Yiasomi played Lady Kong, but a “Greek guy” was brought in to do the close-ups of her eyes.
  • The actors played the apes like animals around each other and more human-like around humans. Elliot based his performance on James Dean! (Indiana connection!)
  • The courtship scene was over-the-top but Elliott based their actions on real apes but performed it in a tongue-in-cheek manner.
  • No Oscars noms, but Rambaldi was nominated for a Razzie for worst visual effects.
  • De Laurentiis thought the film was a mistake.

Here are the livetweets from Nathan’s author Twitter that he did not mention:

  • “You’ve got Indiana Jones.” Now there’s a crossover I’d love to see! Now there is a crossover I’d watch in a heartbeat! Pun intended. #KingKong #KingKongLives
  • “Lady Kong”? Is it because “Queen Kong” was taken in a slightly better movie?
  • These doctors are performing surgery with giant egg beaters? #KingKong #KingKongLives
  • Let’s spend millions of dollars to resurrect the rampaging monster who killed dozens of people and cost millions and property damage. This can only ending [in] good. #KingKong #KingKongLives
  • That’s not an artificial hard—it’s a submarine! Makes me wish this was a crossover between #KingKong and Fantastic Voyage. #KingKongLives
  • “#KingKong, you just came back from the dead! What are you going to do next?“ “Get laid.” That must’ve been one heck of a wet dream he was having for 10 years.
  • You know your sequel is in trouble when the flashback to the mediocre remake has the best special-effects.#KingKong #KingKongLives
  • “The other monkeys going ape $&@#!” [L]eave the bad puns to me, movie.#KingKong #KingKongLives
  • #KingKong and Lady Kong: Still a better love story than #Twilight. #KingKongLives
  • Lady Kong is scared of (normal-sized) snakes. Of course. #KingKong #KingKongLives
  • If all it took to get a girlfriend was dying and being resurrected, I have tried it a long time ago. #KingKong #KingKongLives
  • “Bring in the Big Bird!” Hey, it’s not yellow and teaching me to count! #KingKong #KingKongLives
  • It was a lack of protein killed the beast. And no wonder: he keeps eating rubber gators.
  • When you howl at the moon, sometimes the moon howls back.#KingKong #KingKongLives
  • Please, sir, I want some more stomach blows. #KingKong #KingKongLives
  • #KingKong almost became a slasher movie villain by killing some horny teenagers. All he was missing was a knife and a huge hockey mask. Yet another amusing crossover: King Kong and Friday the 13th. #KingKongLives
  • #KingKong: Defeated by rednecks. I was an icon once. #KingKongLives
  • “My dad’s gonna kill me! We didn’t switch to Geico and add giant monkey insurance!“ #KingKong #KingKongLives
  • Lt. Cola? Is that soda for soldiers? I guess if #Godzilla endorses Dr. Pepper, Kong should get something. #KingKong #KingKongLives (Lt. Col. A. Nevitt). Haha!
  • Kong: I ate red(neck) meat! I’m not afraid to eat white (guy) meat! #KingKong #KingKongLives
  • #KingKong just crashed a hoedown. Now I’ve seen everything. #KingKongLives
  • Is this general play[ed] by our young Don Frye? Is he Captain Gordon’s grandpa? #KingKong #KingKongLives
  • So what if #KingKong is dead. Just cure him with another artificial heart. #KingKongLives
  • From the World Trade Center to a barn in redneck country. Talk about coming down in life. #KingKong #KingKongLives

Finally, here are some unused notes about the convoluted King Kong copyright:

  • Supposedly Eisner also discussed the idea with Sidney Sheinberg, chief operating officer of MCA (Universal), which was hot off the positive early reviews for Jaws and wanted another marauding animal film. Negotiations started around the same time as De Laurentis. Agreed to pay same amount up front but balked at sharing the gross. Lots of studio politics involved. Word has it that the Universal offer was preferred. Attorney Arnold Shane thought Universal won the rights, and Stromberg hired Oscar-winning screenwriter Bo Goldman (One Flew Over the Cuckoo’s Nest, Melviun and Howard) to write a script. Meanwhile, De Laurentis’ offer was accepted. Universal protested saying that despite not signing a written contract, they took Daniel O’Shea’s supposed comment as a binding verbal agreement. Universal sued for $25 million in damages in June 1975 accusing RKO-General of “breach of contract” and “fraud” and De Laurentis of international interference with advantageous business relations” and “unfair competition.” De Laurentis was surprised by Universal’s claim but thought it was invalid because he had a signed contract, so he pressed on confidently.
  • Sept. 1975: Superior Court of LA dismissed Universal’s claim, saying the verbal agreement was “tissue-paper thin.” Universal then filed a second claim having learned the novelization of Kong, which had some different material, had fallen into the public domain in 1960 thanks to the Copyright Law of 1909 that set the copyright to 28 years. The studio claimed they weren’t infringing on RKO’s films—the “new” material—while the “old material” was in public domain. They announced their new film would be based on the novel, and told Bo Goldman to revise his script to conform to the novel. Joseph Sargent (Colossus: The Forbin Project, The Taking Pelham 123) was hired to direct. De Laurentis said he would start casting in December for his film. Unsure if the name King Kong was owned by RKO, they changed their film’s title to The Legend of King Kong to be safe.  De Laurentis responded by changing his to King Kong: The Legend Reborn.
  • RKO filed a countersuit November 20 against Universal in Federal District Court for $5 million for copyright infringement and asked for an injunction for the studio to stop promoting the film. De Laurentis filed his own suit December 4 for $90 million in damages caused by “copyright infringement and unfair competition.” He also filed an injunction against Universal. Universal forced the issue by saying they’d start filming Jan. 5, which was a bluff.  The market would only support one remake, and whoever started shooting first would likely win. De Laurentis moved production up, hastily starting Jan. 15 and having the crew work 16-hour days. This required money he didn’t have, but he was determined.
  • Universal allegedly approached De Laurentis about settling after he announced when they’d begin filming. They discussed a joint production, but De Laurentis didn’t like Universal’s demands. They wanted their script to be used and merchandising and sequel rights.   Barry Diller and Paramount threatened to pull out if he didn’t settle, so he started talking with Universal.
  • De Laurentis and Ubniversial announced Jan. 28, 1976, that they’d reached agreement. Universal got 8% or 11% percent of De Laurentis’ profits, certain merchandising rights and profits, and veto power on sequels by agreeing to cancel their film.  They could also start their own film so long as it was 18 months after the release of De Laurentis’ film. If it was hit, there would be no need, and if it was a flop, there would no interest in one. Silly move. Universal didn’t get to make their own until 2005 with Peter Jackson. The lawsuit was settled in September.

Oh man. This might be my longest Jimmy’s Notes yet. This is what happens when you are a producer on a podcast with a host who over-prepares. My contractual obligation to post all of these in my blog does not help. You win that front, Marchand!

Anyway, join us next week when Daniel DiManna of the Godzilla Novelization Project joins us to discuss Peter Jackson’s epic 2005 remake of King Kong.

Follow me on Twitter: @NasaJimmy

#JimmyFromNASALives
#WeShallOvercome

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Episode 8: Ben Avery vs. ‘King Kong’ (1976)

Published January 8, 2020

Hello, kaiju lovers!

We’re kicking off 2020 with the Eighth Wonder’s return to Hollywood in a film brought about by Italian producer Dino de Laurentiis. Writer/podcaster Ben Avery joins Nathan to discuss the 1976 remake of King Kong starring Jeff Bridges and Jessica Lange, which is firmly entrenched in its time and was touted as “the most exciting original motion picture event of all time.” What’s interesting is it straddles the gritty cynicism of early ‘70s films like Dirty Harry and the more hopeful films of the late ‘70s like Star Wars (because no MIFV episode is complete without mentioning that franchise). This was the first time Nathan had seen Kong ‘76 in years, and while he didn’t like it as a teen, he softens to it thanks in part to Ben’s love of it. Their discussion also touches upon the weird love triangle between Dwan, Jack, and Kong; the great but sometimes wonky special effects; and how modern audiences may feel about the film’s climax on the World Trade Center post-9/11. The Toku Topic is the 1973 Energy Crisis since it directly influenced the filmmakers’ decision to have the characters’ expedition be about finding untapped oil reservoirs.

Here’s to the big one!

Check out all of Ben’s podcasts:
–Strangers and Aliens
–Welcome to Level 7
–The Comic Book Time Machine
–Supersonic Pod Comics

Timestamps:
Intro: 0:00-3:33
Entertaining Info Dump: 3:33-11:10
Toku Talk: 11:10-1:16:53
Toku Topic: 1:16:53-1:47:11
Outro: 1:47:11-end

Read Jimmy’s Notes on this episode when you finish it.

© 2020 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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Episode 4: Timothy Deal vs. ‘Son of Kong’

Published November 13, 2019

Hello, kaiju lovers!

After Jimmy From NASA flies him back to Indiana to get his microphone, Timothy Deal of the Derailed Trains of Thought podcast returns to Monster Island to continue the “Kong Quest” with Son of Kong, the almost forgotten sequel to King Kong. If the 1933 masterpiece is a grand myth, the sequel is a pleasant bedtime story. Screenwriter Ruth Rose, when talking about writing this film, said, “If you can’t go bigger, go funnier,” which is an apt statement about this film and sequels in general. Nathan and Tim’s lively discussion connects Son of Kong to the Russian film Battleship Potemkin, Raiders of the Lost Ark, and Terminator 2: Judgment Day—and gives Jimmy a lot of work for “Jimmy’s Notes.” They also theorize about what happened to “Mrs. Kong”/Kiko’s mother, which actually puts this and the first film into perspective…sorta. The Toku Topic builds off of the previous one with a philosophical discussion of how 1930s filmmakers addressed the Depression in their movies, touching on themes like escapism and collective rage.

Here’s the Kaijuvision Radio episode on King Kong vs. Godzilla for you to listen to as part of MIFV’s Kong coverage: Episode 8: King Kong vs. Godzilla (1962) (The Japanese Economic Miracle (The Golden 60s))

Read Jimmy’s Notes on this episode here.

Timestamps:
Intro: 0:00-3:49
Entertaining Info Dump: 3:49-9:43
Toku Talk: 9:43-56:24
Toku Topic: 56:24-1:19:44
Outro: 1:19:44-end

© 2019 Moonlighting Ninjas Media

Bibliography/Further Reading
“Culture and Politics in the Great Depression” by Alan Brinkley

“Escapism” (Wikipedia)

“Escapism and Leisure Time 1929-1941” (Enclopedia.com)

“How the Great Depression inspired Hollywood’s golden age” by Paul Whitington

Kaijuvision Radio, Episode 2: Godzilla Origins – King Kong (1933) and The Beast from 20,000 Fathoms (1953)

King Kong: History of a Movie Icon from Fay Wray to Peter Jackson by Ray Morton

Kong Unbound: The Cultural Impact, Pop Mythos, and Scientific Plausibility of a Cinematic Legend (edited by Karen Haber)

Kong Unmade: The Lost Films of Skull Island by John LeMay

Son of Kong Wiki Articles
–Gojipedia
–Wikizilla
–Wikipedia

Son Of Kong (1933) Review – Kong-A-Thon Episode 2 (DMan1954)

Tracking King Kong: A Hollywood Icon in World Culture (2nd edition) by Cynthia Erb

The Uses of Enchantment: The Meaning and Importance of Fairy Tales by Bruno Bettelheim (pg. 45-60)

“Why Fantasy Matters Too Much” by Jack Zipes

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Episode 2: The Tourists vs. ‘King Kong’ (1933)

Published October 9, 2019

Hello, kaiju lovers!

Our “Kong Quest” begins! 😛 Nathan is joined by his core group of Monster Island Tourists—Nick Hayden & Timothy Deal of the Derailed Trains of Thought podcast and Joe & Joy Metter—to discuss one of the greatest movies ever made: 1933’s King Kong. What’s interesting is none of these Tourists had seen this classic film before coming to the Island, so you’ll hear their fresh reactions, opinions, and analyses to the Eighth Wonder’s first and greatest outing. Listen as each of them compete for best (or worst?) joke of the podcast (“No monkeying around!” says Nick). Along the way Jimmy From NASA gets sassy with the Tourists and has to corral a dog dubbed “Teddy Kong,” who keeps trying to make a cameo during the Toku Talk. The Toku Topic for this episode is the Great Depression since the film was made and released at the height of that period and indirectly mentions it several times.

Be sure to check out the latest episode of Nick and Tim’s podcast, Derailed Trains of Thought, where they visited Monster Island to discuss destruction as a story element with Nathan as a guest host. Their podcast is marvelous, and Nathan has appeared on multiple episodes.

Timestamps
Intro: 0:00-4:42
Entertaining Info Dump: 4:42-12:06
Toku Talk: 12:06-1:21:27
Toku Topic: 1:21:27-1:54:52
Outro: 1:54:52-end

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

#JimmyFromNASALives

© 2019 Moonlighting Ninjas Media

Bibliography/Further Reading

“Depression, You Say? Check Those Safety Nets” by Charles Duhigg (The New York Times)

King Kong Wiki Articles:
            –Wikipedia
            –Gojipedia
            –Wikizilla

Kaijuvision Radio, Episode 2: Godzilla Origins – King Kong (1933) and The Beast from 20,000 Fathoms (1953)

King Kong (1933) Review – Kong-A-Thon Episode 1 (D Man1954)

King Kong: History of a Movie Icon from Fay Wray to Peter Jackson by Ray Morton

Kong Unbound: The Cultural Impact, Pop Mythos, and Scientific Plausibility of a Cinematic Legend (edited by Karen Haber)

Kong Unmade: The Lost Films of Skull Island by John LeMay

“Prostitution – The Great Depression”

Tracking King Kong: A Hollywood Icon in World Culture (2nd edition) by Cynthia Erb

Wikipedia Articles:
            –Great Depression
            –Gold Standard
            –Smoot-Hawley Tariff Act
            –New Deal
            –Reflation
            –Roaring Twenties
            –Timeline of the Great Depression

“What Sex was Like During the Great Depression” by Melissa Sartone

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