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Tag: Nathan Marchand

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

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

Bibliography/Further Reading

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

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!

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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Episode 6: Nick Hayden vs. ‘King Kong Escapes’

Hello, kaiju lovers!

In the latest episode of the “Kong Quest” (which is finally mentioned by name on the air!), Nathan is joined once again by author and “Golden Ticket Tourist” Nick Hayden of the Derailed Trains of Thought podcast to discuss the wacky but fun King Kong Escapes. Like with the 1933 film, this is Nick’s first time seeing this 1967 Toho classic, which was the second (and sadly last) of Toho’s Kong films, as it was made in the last year they held the rights to the Eighth Wonder. This is a first for the show as it’s the first tokusatsu film directed by the great Ishiro Honda covered on the podcast. It’s a crazy nexus of ideas borrowed from other productions and some that seemed to anticipate others. For one thing, its villain, Dr. Who, is both a derivation and a precursor to the famous British TV series! Nathan and Nick also note some funny connections to Rankin-Bass’ classic holiday special Rudolph the Red-Nosed Reindeer given that they collaborated with Toho on this live-action cartoon.

The Toku Topic is how Toho’s Japanese-American co-productions paralleled Japan-America relations.

Stay tuned after the credits for a Marvel-style stinger and an important announcement.

Timestamps:
Intro: 0:00-3:25
Entertaining Info Dump: 3:25-11:25
Toku Talk: 11:25-52:57
Toku Topic: 52:57-1:19:25
Outro: 1:19:25-1:24:50
Stinger:  1:24:50-end

© 2019 Moonlighting Ninjas Media

Bibliography/Further Reading:

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

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’

(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

Bibliography/Further Reading:

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

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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NOVELLA EXCERPT – ‘Destroyer,’ Chapter 6: Berserk

Cover art by Tyler Sowles.

Author’s Note: As promised, here’s a chapter from Destroyer, a novella I co-wrote some years ago with Monster Island Tourists Timothy Deal, Nick Hayden, and Nick’s wife, Natasha. It was part of what we called “the pulp fiction project,” where we took turns stories that would be in old pulp magazines or dime store novels. I chose monster story, to which one of my friends said, “That means you could do everything from Frankenstein to Godzilla.” So,I did both. The cyborg dragon, Rex-1, is created to end a future war between the American Alliance and the Russo-Chinese Coalition by famed scientist Dr. Steiner. In this chapter, the cyber-monster has destroyed a Russian military base, but the gung-ho general commanding the operation has ordered it to attack Moscow. Can you guess which Godzilla film inspired this story? Comment below or send me feedback via feedback@monsterislandfilmvault.com. The book is available in paperback and ebook on Amazon.

Rex-1 took flight. The wind from its wings fanned the flames consuming the base. The Nighthawk followed the cyber-monster to stay in the TP helmet’s range. Thousands of Muscovites scurried in panic below them as Rex-1’s shadow passed over them. Streets were clogged with traffic. Police car drones scrambled through the crowds trying to maintain a semblance of order. They were failing. Automated firetrucks hurried to burning buildings to snuff the fires, but panicked crowds either hampered them or started more fires. Chaos reigned supreme.

The Kremlin quickly approached.

“Yamamoto, land Rex-1 in Red Square,” ordered Gunn.

With a thought, Tomo relayed the commands. Rex-1 swooped down and grinded to a halt, leaving a 50-foot scrape on the Square. The pilots made the Nighthawk circle around the Square, always keeping Rex-1 in view.

Dr. Steiner expelled a long sigh and wiped sweat from his forehead.

The Kremlin seemed empty. Tomo had Rex-1 make an infrared scan of the building. Rainbow-colored blips could be seen throughout it. They were the Coalition’s European delegates, all trapped inside. The suddenness of the attack, the panic in the streets, and Rex-1’s arrival on the Square likely prevented them from retreating.

“Target acquired,” reported Tomo.

Eva never looked up.

“Terminate,” commanded Gunn.

Tomo closed his eyes to relay the order.

Rex-1’s mouth opened.

BOOM!

A screaming missile exploded against Rex-1’s back, pieces of burning skin flying in all directions. The cyborg roared in pain and Tomo cursed in surprise. Everyone grabbed their armrests for dear life. A second missile was blocked when the cyber-dragon’s energy shields activated. The pilots started evasive maneuvers as low-flying fighter planes roared over them.

“What was that?” Gunn demanded to know.

“Neo-MIG Shadows,” said O’Brian. “They’re stealth fighters!”

“I don’t care if they’re Santa’s reindeer! Take them out!” barked Gunn.

“I’m working on it!” shouted Tomo.

The Shadows—all twelve of them—circled around for another strike.

Rex-1’s horns glowed, its eyes flared.

The Shadows fired missiles. They all crashed into the cyborg’s shields. Cloaked in smoke, Rex-1 roared in defiance and blasted lasers. The Shadows scattered like frightened bees, but not before three exploded.

Rex-1’s gaze followed the planes to acquire a new target lock. But without warning, plasma shells buffeted its shield from below. It spun and saw a battle group of Coalition Supertanks emerging from a huge underground bunker near the Kremlin. No doubt it was the leaders’ personal defense force. Rex-1 growled as its eyes glowed again and fired. The lasers sliced two tanks in half while the others scattered.

A salvo of missiles exploded on Rex-1’s back. It looked over its shoulder and roared at the Shadows, only to be interrupted but a barrage of plasma shells from the Supertanks below. It roared even louder, enraged.

“You’re pissing me off!” shouted Tomo. He grimaced as he sent more telepathic commands to Rex-1.

Eva grabbed Dr. Steiner’s shoulders. “Dad!”

He turned to her. “What is it?”

“There was a huge spike in autonomous brain activity when Rex-1 was hit by the missiles when its shield was down.”

Dr. Steiner’s fear melted into confusion. “How’s that possible? Our tests said that would be dormant except for essential functions.”

This was a bad time for problems. How could they convince Gunn to call off a key mission for a random anomaly? No, it’d have to wait.

They watched as Rex-1 lunged at the Supertanks with a gaping mouth. It clutched one—twice the size of a normal tank—in its jaws. Its teeth dug into the thick titanium armor, crushing it like a can. Rex-1 thrashed it around a few times, then released its grip. The compacted tank flew into a building half-a-mile away. Rex-1 squatted, grabbing another tank with its teeth and clutched one in each hand. It clapped those two like an angry child breaking its toys. Then it tossed what was left of all three on the remaining tanks.

Just then, a red light flashed on Eva’s monitor. “Dad! There’s another spike! And the shield collapsed!”

There was no time to ask why. Dr. Steiner swiveled his chair to see Gunn. “Get Rex-1 out of there!”

Too late. Before Gunn could argue, they heard Rex-1 bellow in pain on their monitors. They redirected their attentions.

Neo-MIGs flew over Rex-1 as missiles exploded against its back. More skin flew off in flaming clumps. Three surviving Supertanks seized the opportunity, and fired. Plasma shells smashed into the cyborg’s chest, ripping into its grafted flesh. Rex-1’s eyes and horns glowed as it prepared to retaliate, but it was interrupted by another salvo of missiles fired by the Shadows. Finally, Rex-1 threw back its head and arms, and bellowed a primal scream.

A warning screen flashed on Eva’s computer and a siren-like alarm blared. Her eyes widened in terror. “Readings have spiked through the roof!”

Dr. Steiner jumped to his feet, but before he could yell “Abort,” Tomo was screaming.

Lightning-like electricity danced down the wires connecting the TP helmet to the Nighthawk computers. The flyboy’s eyes were wide and white, his facial muscles contorted into the face of a terrified banshee as the power surge electrified him. A white aura enveloped him.

“Get the helmet off before it fries his brain!” yelled Dr. Steiner, pointing at Tomo.

Daniels jumped from his chair, fighting turbulence, and grabbed the helmet. Even with gloves on, his hands burned. He grated a cry through his teeth, and ripped the helmet off Tomo’s head. They both collapsed on the floor. Smoke emanated from the helmet as it dangled from the wires.

Dr. Steiner immediately looked out the windshield.

More missiles and plasma shells hit Rex-1. Screaming in agony, the cyborg’s legs buckled, and it fell against the Kremlin. The building crumbled, burying the cyber-beast under tons of rubble. A thick black cloud of dust flew into the air.

Silence.

Dr. Steiner’s jaw dropped. No! It can’t be…

Suddenly, two red lights flared in the dust cloud, glaring at the Nighthawk. Laser beams fired.

Instantly, the Nighthawk spiraled out of control. The screams of sirens and crewmembers mingled in Dr. Steiner’s ears as inertia and vertigo slammed him against the wall. He forced his eyes open and watched through the windshield as the Moscow streets rushed up to them. There was an ear-shattering crash.

Everything went black.

TO BE CONTINUED…

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Jimmy’s Notes on ‘Episode 2: The Tourists vs. King Kong (1933)’

Welcome to the first entry of Jimmy’s Notes! My blog series will feature nitpicks supplements on each episode of The Monster Island Film Vault. Nathan does lots of research and works hard at editing every episode, but he and the Tourists don’t always get stuff right (unlike his intrepid producer) and can’t include everything. I will correct any errors and feature additional information not in the episode–and take the opportunity to riff everyone and get away with it. 😛

So, let’s get started.

Corrections
-Okay, this first one is on me since I write the Entertaining Info Dump. I wrote that King Kong paved the way for Godzilla and the kaiju genre “three decades later” when it was actually two decades later. Apparently, I forgot how to math there for a second. My friends at NASA would be disappointed.

-I also forgot to mention the IMDB score for the film in the Info Dump (oops). It’s 7.9.

-Nathan said “TMC” when he meant “TCM”—twice. Once I can understand, but twice? Was he thinking of the tabloid TMZ and not Turner Classic Movies? I feel insulted for TCM. On a related note, he said it was TCM who added the overture to King Kong in 2005 when it was actually Warner Bros.

-Both Nick and Tim mispronounced “Denham” as “Dunham.” I guess they buy a lot of sporting goods.

-Nathan said the name “Skull Island” is in the novelization of King Kong. It’s not. It was used in RKO’s promotional materials. In the film it’s called “Skull Mountain Island.” I don’t think the name was spoken in a film until either the 2005 remake or Kong: Skull Island. I’ll ask around. I’m sure one of the scientists studying the kaiju will know.

-Nathan calls Kong a monkey when he’s an ape. Even the Tourists corrected him on that during the recording by saying even VeggieTales knows the difference! I should’ve thrown a (Bob the) tomato at him for that.

-Everyone said there was a brontosaurus in this film, but some say the brontosaurus is actually an Apatosaurus. Since most sources say the former, I can’t hold that against them.

-Joe incorrectly said it was the “Monster Island Resort” when it’s the “Monsterland Resort.” An easy mistake, although the Island’s Board of Directors is very particular about keeping the branding straight (which makes me think they should’ve made the name a bit more different, but hey, I just work here).

-Nathan said Son of Kong was released six months after the original when it was actually nine months. He must’ve gotten that cash-grab sequel confused with the other cash-grab sequel starring another famous resident on the Island. ::cough-cough:: Godzilla. ::cough-cough::

Additional Notes: The Film
Now for some things from Nathan’s notebook that weren’t mentioned in the episode. This isn’t all of his notes, but they’re the ones I thought were the most important of what he omitted:

-“Are the natives depicted in a racist fashion? It is weird that a South Seas island has black people on it. I read an essay that went into great detail about this. The chief is played by Noble Johnson, who actually gets listed in the opening credits and is portrayed as a strong man. A black man getting listed like this was unheard of back then.”

-“How convenient for the native warriors that Ann was right there so they didn’t have to go on the ship. They must’ve read the script. :P”

-“Charlie the cook is considered ‘racist’ now, but he is played by Chinese actor and is treated well by everyone. He speaks broken English.”

-“The missing ‘spider pit’ sequence. In script but may or may not have been filmed. Some claim to have seen it. Cut by Cooper because it wrecked the pacing. Recreated by Jackson and WETA. Had a triceratops-like dino. That’s why one sailor looks back while running and why sailors don’t run back on log. I gotta say, if some of them survived, they’re tough hombres!”

-“Schoedsack and Cooper are piloting the plane that kills Kong.”

-“Kong’s origins are ambiguous; the line between science and myth blurred. Part of the appeal. Harry Harrison has a crazy ‘alternate universe’ origin story. Not surprising given he writes alternate history.” (Jimmy here: If I remember correctly, this involved a man being cursed to take the form of a gorilla by island gods).

-“Esther M. Friesner compared the King Kong story to that of Enkidu in The Epic of Gilgamesh and Samson in the Bible because they are strong men undone by beautiful women.”

-“In China, ‘kong’ means ‘strong.’”

Additional Notes: The Depression
-“Optimism persisted despite the crash. John D. Rockefeller said, ‘These are days when many are discouraged. In the 93 years of my life, depressions have come and gone. Prosperity has always returned and will again.’” (Wikipedia)

-“Birthrates for 14 major countries fell 12% from 19.3 births per thousand population in 1930, to 17.0 in 1935. Families wanted to avoid having children until they achieved more financial stability. In Canada, half of Catholic women defied Church teachings and used contraception.” (Wikipedia)

Conclusion
Now that I’ve gotten my first Note out of the way, I need to get back to writing the Entertaining Info Dump for Son of Kong if for no other reason than to remind Nathan of his contractual obligations. 😛

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