Skip to content

Category: Jimmy’s Notes

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

Comments closed

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!

Comments closed

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

Comments closed

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?)

Comments closed

Jimmy’s Notes on ‘Episode 4: Timothy Deal vs. Son of Kong’

Published November 20, 2019

So, with the episode on Son of Kong, I was surprised to hear Nathan and Tim telling me what to do with my notes. It’s my blog, dangit, and I’ll not be told what to include! Then I discovered that, unbeknownst to Nathan (supposedly), I’m contractually obligated to include whatever he tells me to research.

(sigh) I was a NASA engineer once….

Anyway, here are my notes:

Kiko already has a gif, Tim! It’s one of several.
  • There hasn’t been an incident where any of the monsters on the Island ate any children. That was just a joke by Nathan and Tim. I assure you, Monster Island has an excellent safety record…so long as alien disco nuns aren’t involved.
  • If we go by authorized publications, there were actually two book sequels and one prequel to Gone with the Wind, although none of them were written by Margaret Mitchell. Tim was probably thinking of Scarlet by Alexandra Ripley (no relation to Ellen) published in 1991, which was made into a TV miniseries featuring Timothy Dalton in 1994. There was also Rhett Butler’s People by Donald McCaig in 2008 and Ruth’s Journey (also by McCaig) in 2014.
  • Tim calls it the island in the film “Skull Island”…again. And Nathan didn’t correct him. What the heck?
  • They got the dates for the Universal horror sequels pretty accurate.
  • Merian C. Cooper pitched a sequel to RKO in March 1933 and principal photography started April 4. Yeah, it was that fast!
  • I reached out to one of Nathan’s grad school professors, Dr. Kaufmann, about 1930s film credits, and he pretty much agrees with Nathan and Tim: “I wouldn’t call it common, but it certainly was done at times.  I couldn’t say when or where it originated, but I haven’t seen it in film for a while now except as a joke.  It seemed more like a TV thing back in the day (70s and 80s).”
  • Sadly, Noble Johnson isn’t in the opening credits of this film.
  • I can’t believe I researched this, but “the finger” (“flipping the bird” or whatnot) actually dates back to ancient Greece and ancient Rome and had essentially the same meaning as it does now. The first usage of it in the U.S. was in the 1890s when it was brought to the country via Italian immigrants, although the first documented use of it in the U.S. was in 1886 when a baseball player was photographed making it. In other words, it was a thing in the 1930s. Read all about it here.
  • Tim says, “Anna,” when he meant, “Ann.” I guess the lost “A” from MPAA moved to her name. 😛
  • Do Kiko and Kong get along? Well, Kiko is now a kaiju clown. He entertains the kids who visit Monster Island, which disappoints Kong a little. Thankfully, he forages his own make-up from plants growing on the Island, so the Board doesn’t have to allocate any of their budget to his shenanigans.
  • According to John LeMay’s new book, Kong Unmade, the “midquel” Kong film would’ve been titled The New Adventures of King Kong. Nathan said it would’ve been set in Africa when it actually would’ve been the Malay Archipelago. I don’t recommend he audition for Where in the World is Carman Sandiego?
  • The Wizard of Oz was and wasn’t set in the 1930s. It’s weird. According to this thread, the Kansas scenes seem likely to be in 1900 (when the novel was written), but the Oz scenes use what was then modern technology (which is odd if it was all Dorothy’s dream). So, it’s strangely (and brilliantly) ambiguous.
  • The 1932 film I Am a Fugitive from a Chain Gang was actually based on a book published the same year titled I Am a Fugitive from a Georgia Chain Gang! by Robert Elliott Burns. So, the book at least is set in Georgia, not Alabama. The book is about the author’s time in a chain gang in the 1920s, but the film has a fictional protagonist. Burns was still in prison in New Jersey when the film was released. He and many other chain gang prisoners were able to appeal and be released in January 1933 as a result of the social outcry from the film. So Tim got some of the details between the film and book mixed up (but then again, so does Wikipedia, which at one point lists Burns as the film’s protagonist when it was James Allen. Got to love crowdsourcing).
  • The MPAA was actually started under a different name in 1922 and had its name changed in 1945 (and now they’ve dropped the second “A”). You missed that date by a lifetime, guys. 😛
  • On a related note, the Hays Code wasn’t a government mandated thing. It was an industry standard adopted by the MPAA under its first name while Will H. Hays was its president (1922-1945).
  • Notorious was released in 1946. I’m surprised the Criterion crowd hasn’t sent Nathan any hate mail for getting this wrong…yet.
  • There was one other sequel to the original King Kong, and it supplants Son of Kong. It was a short story written by science fiction author Philip Jose Farmer titled, “After King Kong Fell.” I showed Nathan a video on it from the Omni Viewer, and he now wants to read it. It’s noteworthy for cameos by Doc Savage, the Shadow, and the Shadow’s girlfriend Margot Lane.

With these out of the way, here are Nathan’s leftover notes from the episode. Most of these are excerpts from his sources.

  • “Escapism” (Wikipedia)
    • “Escapism is the avoidance of unpleasant, boring, arduous, scary, or banal aspects of daily life.[2] It can also be used as a term to define the actions people take to help relieve persistent feelings of depression or general sadness.”
    • “The word ‘escapism’ often carries a negative connotation, suggesting that escapists are unhappy, with an inability or unwillingness to connect meaningfully with the world and to take necessary action.[5] Indeed, the Oxford English Dictionary defined escapism as ‘The tendency to seek, or the practice of seeking, distraction from what normally has to be endured.’[6]”
    • “However, many challenge the idea that escapism is fundamentally and exclusively negative. C. S. Lewis was fond of humorously remarking that the usual enemies of escape were jailers;[7][8] and considered that used in moderation escapism could serve both to refresh and to expand the imaginative powers.[9] Similarly J. R. R. Tolkien argued for escapism in fantasy literature as the creative expression of reality within a secondary (imaginative) world, (but also emphasized that they required an element of horror in them, if they were not to be “mere escapism”).[10][11] Terry Pratchett considered that the twentieth century had seen the development over time of a more positive view of escapist literature.[12] Apart from literature, music has been seen and valued as an artistic medium of escape, too.[13]”
    • “Freud considers a quota of escapist fantasy a necessary element in the life of humans: ‘[T]hey cannot subsist on the scanty satisfaction they can extort from reality.  “We simply cannot do without auxiliary constructions”, Theodor Fontane once said’.[14] His followers saw rest and wish fulfilment (in small measures) as useful tools in adjusting to traumatic upset;[15] while later psychologists have highlighted the role of vicarious distractions in shifting unwanted moods, especially anger and sadness.[16][17]”
  • “Escapism and Leisure Time 1929-1941” (Encyclopedia.com)
    • “In 1938 social science researchers hypothesized that unemployment leads to emotional instability. These studies seemed to indicate that the longer a person was unemployed, the more likely his or her personality would become fatalistic and distressed. In an attempt to escape from this psychological state, it was speculated that people were turning to popular forms of entertainment such as the movies, radio, or reading. Such speculation is not unreasonable given studies that show children will play even during the worst of times. The fact that very few popular culture forms dealt with the realities of the Great Depression in any explicit way further supports popular culture as a vehicle of escape. Using pop culture to escape emotional stress can also be supported through the generally accepted psychological idea of ‘flow.’”
    • “Flow is that point within any activity when you lose your sense of self and become one with whatever you are doing. With the complete absorption in an activity, time disappears, along with the sense of self and all that it might have been feeling prior to absorption. It is plausible that becoming absorbed in an off the wall comedy, a radio adventure, melodramatic pulps, or dancing to the Lindy Hop would provide relief from the uncertainties associated with everyday life.”
    • “Nine years into the Great Depression the National Recreation Association completed a study of five thousand people asking them to name the recreational activities in which they participated the most. Among the most frequently mentioned activities were reading newspapers, magazines, and books; listening to the radio; going to the movies; visiting or entertaining; motoring; swimming; writing letters; conversation; card parties; picnicking; going to the theater; attending parties and socials; hiking; family parties; tennis; and serious study.”
    • “A more positive legacy of the period may be that popular culture allowed the United States to become a more integrated society. For example, the enormous popularity of swing allowed for more interactive relations between black American and European American communities. At least one scholar has argued that American popular culture is far more pluralistic, dynamic, and tolerant than United States legal and political culture. The Great Depression also was an era in which folk music became popularized as large numbers of people simultaneously learned of its ability to communicate the hardships of daily life and as a musical form able to contain a political purpose. This legacy was first fully realized during the protests by young people during the 1960s.”
  • “How the Great Depression inspired Hollywood’s golden age”
    • “Even in the depths of the Great Depression, between 60 and 80 million Americans went to the movies once a week or more, and back in those days they really got value for money. In the early 1930s, an American movie ticket would buy you a cartoon, a newsreel, a B-feature and the main film, which amounted to something like four hours’ entertainment for a nickel, the price back then of a gallon of petrol or a packet of cigarettes.”
    • “How bitterly audiences must have laughed when, in Duck Soup, Groucho’s Rufus T Firefly sang ‘If you think this country’s bad off now, just wait till I get through with it!’”
    • “Though the studios rode out the first few years of the Depression comfortably enough, by 1933 their massive debts were catching up with them. All had borrowed heavily to finance the mass purchase of movie theatres and their conversion to sound, leaving them with combined debts of over $400m.”
    • “And by 1933, as mass unemployment took hold of America, cinema attendances began to fall — in that year by a massive 40pc. Attendances would not recover until the late 1930s, and by that time Hollywood had to cope with the strictures of the newly formed League of Decency, which had raised a formidable political lobby and attacked films for their immoral content. From that point on, Hollywood would have to start selling America instead of attacking it.”

That’s all the important stuff.

Now, if you’ll excuse me, I have other things to research. Like auditory theories related to space kaiju.

Follow me on Twitter: @NasaJimmy

#JimmyFromNASALives

#WeShallOvercome

Comments closed

Jimmy’s Notes on ‘Episode 3: The Godzilla Anime Trilogy (Mini-Analysis)’

Published October 30, 2019

Most of this blog on Nathan’s overlong, contract-breaking “minisode” on the Godzilla anime trilogy will be notes he took while bingeing it in the screening room while I was monitoring Godzilla Earth on the beta site. (Nathan still owes me for helping him on the air with the board of directors). I’ll also be sharing some messages from listener Kyoei Toshi (who’s as good at nitpicking as I am), concerning some Japanese language and culture items.

Here we go.

Additional Notes: Godzilla: Planet of the Monsters

  • Opens with a desperate, almost nihilistic scene. Sending old people to a planet to die to conserve resources. They accept it. Ship explodes. Haruo is against it. Relates to Exifs’ nihilistic religion. Essentially euthanasia.
  • Alien Refugees. Ties into current events?
  • Metphies offers confession (catholic priest). Will take false confession too. Foreshadows his falsity.
  • Meant to be a Netflix miniseries; theatrical releases just warm-up; placeholder while Legendary makes films; meant to help them, brand maintenance.
  • Return to Earth is hopeful, wonder-filled. Respite.
  • Admittedly, the aliens don’t look too different from humans, even by Star Trek standards. Exif have pointy ears (elves). Bilusaludo are dwarves (Klingons?) (beards and slicked back hair and dark skin).
  • “As you all know….” x3 Ugh! (A bad writing mistake).
  • The animation does look like a cel-shaded video game. Weird given its made by same studio as Clone Wars, which is more dynamic. Money? (Polygon Studios).
  • Other Exif priest prays over soldiers. Are they followers? Or is it just comfort?
  • Metphies: “As long as we have the hero to guide them.” Haruo. “The one true path to glory can only be opened by devotion.” True?
  • Metphies manipulates Leland’s retreat plan so he gives up after attack and goes with Haruo’s plan.
  • This trilogy (at least in part 1) tries to have some pretty hardcore science. Gets crazier as it goes.
  • Metphies says the Exif have seen countless civilizations fall in their wanderings; says it was by similar creatures to Godzilla (lie?). “He is the vengeful hammer for the arrogant. Those species who pronounce themselves as lords of creation will be struck down by his divine fury.”
  • The vehicles in this trilogy are pretty cool. The flying speeder bikes and flying mech suits are my faves. Spider-tanks.
  • Yuko calls Hauro “senpei” in Japanese.
  • Most of the last third of part 1 is action. Why did people complain?
  • “Life is a process of change. Even decay and ruin.” Godzilla continued to evolve.
  • Godzilla Earth designed to look like an aged tree. Ancient. Powerful. Long-living. (Plantlike)
  • In true Marvel fashion, each film has a stinger. This one sets up part 2 nicely. New character, new mystery.

Additional Notes: Godzilla: City on the Edge of Battle

  • Exif opposed to abandoning survivors. Irony.
  • “Powder-like substance on their skin.” Mothra reference. Keeps them safe.
  • Bilusaludo want to exterminate Houtua because they see them as degenerates.
  • The twins speak in broken words but articulately in telepathy. Not used to speaking. Use odd naturalistic metaphors.
  • Now people are questioning Haruo’s authority and plans and desire to fight Godzilla. His authority is coming undone, his hubris showing. Yet he still insists on his way. But he’s also questioning if he’s doing the right thing. Thinks of Metphies. (I’m seeing more depth even in part 1 than I did before).
  • “As you know….” x1
  • “Earth chose Godzilla as its lord of creation.” Terminology comes back.
  • The controversial Mechagodzilla City. Fans hated this because they wanted a “proper” MG. I can understand why. Misled by promotions and toys. But it makes sense. The AI would evolve like this, especially against a foe as huge as Godzilla. It would’ve been cool to have it transform like Trypticon, but I went with it.
  • The Houtua call nanometal “poison.” Appropriate.
  • 41:50: Tron/Daft Punk music. I love it!
  • MG’s body destroyed by Godzilla, but head kept fighting and evolving. Fits with Bilusaludo idea of discarding inefficient body.
  • Some complain that the climax of part 2 is the same as the first, only bigger. That makes sense, though. They’re trying to use a plan that worked before. But this one is spearheaded by the Bilusaludo.
  • Metphies manipulates even the Bilusaludo to use their tech in his scheme.
  • “Those who are lost possess intelligence. However, if you remain lost and arrive at God’s gate, you shall not ever pass through.” -Metphies
  • “They’d make a competent unit.” –Galu-gu (or Belu-be?) Dehumanization.
  • Haruo and Yuko have a scene where Yuko says the terrible beginning gave them hope, pushed them to go home. Tries to redeem the tragedy.
  • “Everything is destiny.” The entropy they see coming. Metphies claims his race are missionaries.
  • Bilusaludo thinking is too robotic. Logic. Metphies doesn’t like it. Neither does Houtua. Says they want to become one with monsters. Ironic statement. Exif believe words have tremendous power.
  • When Metphies whispers in Haruo’s ear, it looks like he’s gonna kiss him. Interesting timing. Yuko kisses him in the next scene. Shocks the twins. Jealousy?
  • “Machines and humans aren’t the same.”-Haruo.
  • Faith is discussed. Haruo and humans have to put faith in something. Part 1: themselves. Part 2: nanometal tech. Part 3: Exif cult.
  • Admittedly, there’s a lot of characters describing what’s happening during action scenes.
  • Galu-gu: “Haruo…I want to believe you’re different.” “Relax and surrender yourself.” “After the fusion, we’ll be brothers.”
  • Metphies convinces Haruo to destroy MG City by speaking of dignity and warning against nanometal propagation. Competing interests.
  • The battle ends with Burning Godzilla on steroids.
  • Now Haruo faces the consequences of his actions. Just like Capt. Ahab. Unlike him, he’s actually affected by them. He holds Yuko in a wat similar to “Pieta” sculpture.
  • This post-credit is weird. Almost no new footage. Just shows previous scene from new perspective to namedrop Ghidorah.

Additional Notes: Godzilla: The Planet Eater

  • Opens with a speech by Metphies. Says they’ve been watching humans for centuries, intervening toward their goal. Confirms humanism. Says they wouldn’t listen to the words of a god but will listen to a human.  Hence why a human is needed to reveal a God’s will. They desire heroes who embody the thoughts of the era.
  • Martin nihilistically theorizes that humanity existed only to make Godzilla.
  • A soldier suggests the Bilusaludo were punished by God, and Yuko with them. Haruo was saved to help them.
  • Metphies lets humans think they survived nanometal because of a miracle, but it’s actually because of the Houtua powder.
  • Metphies tells Haruo his hate for Godzilla will overcome his doubt of God, and he will defeat Godzilla. Says he’s more noble and proud than anyone. Again, imperial Japan.
  • Just as humans resist Bilusaludo after defeat and are undone, so they do the same with the Exif.
  • Martin says this a great opportunity for a missionary to win converts after the destruction of MG City. “They can only escape despair by clinging to God.” A common atheist argument.
  • Metphies’ blessing gesture looks like a karate chop to the neck. Symbolic?
  • “What causes Godzilla to be Godzilla is your undying hatred.” -Metphies in Haruo’s dream
  • I hate that the dub changes “golden death” to “golden demise.” It sounds dumb.
  • Earth is a seed. Humanity a flower. Godzilla a fruit. Ghidorah’s day of harvest. An offering to Ghidorah. The Exif offered themselves to Ghidorah while a select few priests were spared to spread his “blessing” around the universe.
  • Metphies holds Haruo in a manner like the “Pieta” sculpture. 
  • The end of this film becomes a battle of philosophies. Metphies makes him confront Leland and Yuko, who died. Metphies says humanity crossed the threshold of their potential when they created monsters with atom bombs. Depicts the atomic bombings and is on a flying fortress. This is the first and only Godzilla film to depict the bombings, which is bold. Death is a natural conclusion, and so all beings must accept the destruction of their worlds and the peace in their deaths. Godzilla was punishment on mankind for arrogance and their desire for more. Haruo must end it to purify mankind’s souls. “A monster becomes a monster because of fear. A person becomes a hero because of hatred. Therefore, a god will become a god because of a hero’s prayer” (Metphies). Haruo can do this because he chose not to become a monster because of his hate. Now he must offer himself to Ghidorah to complete everything.
  • Metphies warns (curses?) Haruo will always have Ghidroah watching him because his hatred “burns so bright, it’s blinding.”

Nathan’s Miscellaneous Notes

  • Tony Davies acknowledges that, after the horrific experiences of the wars of the 20th century, “it should no longer be possible to formulate phrases like ‘the destiny of man’ or the ‘triumph of human reason’ without an instant consciousness of the folly and brutality they drag behind them.” For “it is almost impossible to think of a crime that has not been committed in the name of human reason.” Yet, he continues, “it would be unwise to simply abandon the ground occupied by the historical humanisms. For one thing humanism remains on many occasions the only available alternative to bigotry and persecution. The freedom to speak and write, to organise and campaign in defence of individual or collective interests, to protest and disobey: all these can only be articulated in humanist terms” (Wikipedia).
  • “If God did not exist, it would be necessary to invent him” (Voltaire).

Kyoei Toshi’s Messages:

Message #1: Hi, the base word used is ‘Jii/じい’. It’s used to denote men in their 60’s or beyond as opposed to men in the 40’s/50’s ‘Ji/じ’. The simple ‘ji’ basically means ‘uncle’ but in Japan it’s used to address any man in that age group that’s older than you are. ‘Jii’ means ‘grandfather’ and likewise is used to refer to any man in that age group (again, that’s older than you are). Jii would be someone you know well, with Ojii, Ojiisan, Ojiichan being used for someone you know but are not quite as close to. A real grandpa would be usually be referred to as ‘Sofu/Osofu’ formally or ‘Jii/Jiisan’ informally. Sofu is usually written in kanji as ‘祖父’ and Jii in kana ‘じい’ although they are the same word (most Japanese kanji/compounds have at least two different pronunciations, the onyomi (Chinese) and kunyomi (Japanese, can be more than a dozen of these).

Anyway, in the first film Haruo uses ‘Jisan’ which would imply a very close relationship since it lacks an ‘O’ at the beginning. It’s vaguely possible that it’s not even his real grandfather, since he doesn’t use ‘sofu’. But given he was surprised when he used it and they were shown together in the preface when Godzilla attacked the airport, it’s almost certain he is. Yuko on the other hand uses ‘Ojiichan’ which is the polite way of referring to SOMEONE ELSE’S grandfather. This holds true with mothers, fathers, sisters, brothers, etc. When you refer to yours, you just use the base word. When you refer to someone else’s parents, you add on an ‘O’ at the beginning and ‘san’ at the end as an honorific. For sisters and brothers, just add the ‘san’ at the end. And even though they use the same base word they will be pronounced differently (like father is chichi for real father, otousan for someone else’s father). So by Haruo using ‘Jii’ and Yuko using ‘Ojiichan’ it shows that they’re not almost certainly not cousins and that ‘grandpa’ is just used as a term of respect/endearment by Yuko. Hope I didn’t lose you there, the correct form of address/correct level of respect is much more complex in Japan than in the USA.

(Her second message regards something I would’ve pointed out, too. Nice work!)

Message #2: Hi, I think you might have gotten the Mothra twins a bit mixed up in Planet Eater. Here’s a message I sent someone a few months back–it’s really easy to get confused, the movie doesn’t make things clear.

In Planet Eater, it’s Miana (the extroverted twin with the better Japanese language skills) that is turned down by Haruo. She leaves and notices something is wrong, and goes off to investigate (eventually confronting and being captured by Metphies). It’s Maina (the introverted one with the poor Japanese skills…Haruo called her ‘mean eyes’ in the last movie) that connects with Haruo (that’s the point of him mentioning which twin would know how to unlock his space suit-that it was Maina who gave him medical treatment at the end of the first film). So both of the twins made a play for Haruo, they did so because they could tell he was suicidal and wanted him to ‘connect with life’ again.

Conclusion

Wow, this “Jimmy Notes” is as overlong as the episode. Thankfully, there isn’t a clause in the contract regarding the length of my blogs (which is weird, honestly).

I don’t have much to say myself on this episode. It’s easier for Nathan to script his research for solo episodes.

The Son of Kong episode will be a different story. 😛

Follow me on Twitter.

#JimmyFromNASALives

#WeShallOvercome

Comments closed

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

Published October 16, 2019

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. 😛

Follow me on Twitter.

#JimmyFromNASALives

Comments closed