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Jimmy’s Notes on ‘Episode 24: The Metters vs. Return of Daimajin’

Well, if I was a supervillain, this is the part where I would say,

I learned a valuable lesson during the episode 24 broadcast. Apparently, Dorats aren’t as aggressive as I thought they’d be. And I even fed them some gamma rays before unleashing them on Nathan’s friend Joy Metter. (However, I didn’t feed these little winged gremlins any radiation after midnight because we know how that turns out). Her dogs’ good vibes must’ve calmed them or something.

Perhaps I do need to try something “scarier” next time, as Joy joked, to truly test her mettle since she keeps acting like she’s a master swordsman (“swordswoman”? “swordsperson”? Damn you, political correctness!) Sadly, anything else would probably get me in trouble with the Board for endangering a tourist, but I’ll think of something.

Anyway, let’s get on to my notes from the episode:

  • I will admit, the new Board-mandated uniforms are growing on me. Pink is the new orange.
  • I neglected to include the IMDB scores for the first two Daimajin films in the Entertaining Info Dump. Oops. They’re 6.7 and 6.4, respectively.
  • It’s “Sama-no-suke,” not, “Sama-na-suke.” But hey, none of you grew up in Japan like I did.
  • I’ll give Joy credit for one thing: we can agree that Anakin Skywalker is as charming as a brick in Attack of the Clones.
  • It’s “Dodohei,” not, “Todohei,” Nathan. You think he’s a dog from Kansas?
  • Yes, Joe, Ryuta does have an arm. Two of them, in fact.
  • I can make an argument that Frozen is a kaiju movie: the big snowman. If Half Human counts….
  • Nathan, it’s “Iwamatsu” not “Imatsu.”
  • I’m pretty sure “Heian” is pronounced, “hay-on.” You know, like “Heisei” (“hay-say”).
  • It’s “kami” not “gami,” Joy.
  • Yawns, last I checked, were by definition audible, Joe.
  • I didn’t realize this until now because I liked the Star Wars reference, but the third film is Daimajin Strikes Again not Back. Also, Nathan used the wrong title for the DVD cover he used on the blog post just like ADV did. Oh well.

And now, in fulfillment of my contractual obligations, here’s Nathan’s leftover notes:

The Film

  • Barr says it “explores the clash between tradition and modernity, between peacefulness and warmongering.”
  • The first two films put a premium on the “old ways” of worship. Are we supposed to sympathize with the persecuted nobles, villagers, and Daimajin?
  • Interesting that the characters don’t bow before passing through the torii gate.
  • We get some foreshadowing with Daimajin’s face glowing red. Said to be a sign of misfortune and his anger.
  • In this, the priestess is also the dead lord’s daughter. The characters are combined.
  • Daimajin is fond of mountains. (I would correct him by saying he’s on an island in this one, but it’s at least mountainous. –Jimmy)
  • Ifukube’s music shines in this score.
  • The priestess calls Daimjain “Kamisama.” Is this the Japanese word for the Christian God? (That’s what most westerners think. It makes sense since it would translate as “Lord God” or “lord of the gods.” Or at least “lord of the kami.” –Jimmy)
  • “They have taken our statue but not our soul.” –Sayuri (Probably the best line in the film. –Jimmy)
  • I think Juro would’ve been better off killing Danjo. (Actually, he kept him alive for leverage. –Jimmy)
  • “Juro’s in the well?!” (Call Lassie! Or Teddy Kong! –Jimmy)
  • There is some added suspense thanks to the statue being shattered.
  • Another divine warning with the soldier in a boat stabbed with a rock. This gives a kid the chance to set Katsushige free.
  • Sayuri hanging on the cross and praying—offering her life to Daimajin—echoes the Christ story. Then she cries and her tears awaken him. The wind extinguishes the fire.
  • The statue emerges whole from the water. He appears 61 minutes into the 78-minute movie.
  • This reminds me a bit of the story of Elijah and the prophets of Baal.
  • They try to blow up Daimajin again, and this time it doesn’t work. The shot of him in the smoke is great.
  • His footsteps are ominous.
  • Sayuri’s tears fall from her face to her praying hands to the lake water, and Daimajin dissolves into water.

Toku Topic

  • SHRINES: “The etymology of the early word for shrine, yashiro 社 is thought to have meant a temporary structure (yashiro 屋代) erected for worship, in the same way that nawashiro meant a hut for raising seedlings, and an ajiro meant a spot for drying fishing nets.” Festivals would be held there. “Accordingly, the concept of the sacred also changed from one in which kami were thought to be visiting deities (raihōshin) that descended at set times each year, to one in which the kami resided permanently in the shrine as a tutelary of its parishioners.”
  • SHRINES: “By contrast, another term denoting a shrine, miya 宮, is believed to derive from the honorific expression for a building (miya 御屋). Until the early Heian period, however, few shrines were permitted the status of miya, and of the 2,861 shrines listed in the Engishiki’s “Register of Divinities,” only eleven are included in this category.”
  • SHRINES: “The earliest type of shrine architecture is seen in the shinmeizukuri style of the Shōden (honden) of the Grand Shrines of Ise, and the taishazukuri style of the Izumo Shrine’s honden. The former originates in the style of grain storehouse used to store rice, while the latter is based on the style of ancient dwellings in the Izumo area. Both styles are reflected in ancient palace architecture, and eventually they were used in permanent shrine buildings, becoming the source for more complicated styles….”
  • SHRINES: While governors got more involved with the festivals centered around kami worship in medieval Japan, this system dissolved as warrior families arose, and “ancient imperially granted shrine lands (shinryō) and other lands commended by secular houses were gradually transformed into the system of estates known as shōen. Under this system, powerful shrines tried to ensure their territorial integrity by commending their lands to the imperial house or other power clans who acted as ‘rights holders’ (honjo) for the land. … “At the outset of Hōjō Yasutoki’s Jōei shikimoku (1232) appears an exhortation to keep shrines in good repair and to be diligent in worship, and this became a maxim for future generations. This pattern was also incorporated and continued in the Edo shogunate’s laws regulating shrines and their priests, the Shosha negi kannushi hatto of 1665. On this basis the shoguns and daimyō bestowed “vermilion-seal” or “black-seal” land grants upon important shrines and diligently contributed to the rebuilding or repair of shrine buildings.”
  • SHRINES: 70% of Japanese people visit a shrine at least once a year at New Year. This is called Hatsumōdë.
  • TORII: Most are made of wood and painted red, but a few are black or made of stone. (This was brought up in the episode, but I left it in this blog to explain why they’re red. While torii were once white for sacredness, they are painted red because to the Japanese that is the color of vitality and protection against evil. It had a practical reason, too. Red paint contains mercury, which preserves the gate. –Jimmy)

I’m glad that was easier than in past weeks. Thanks, Nathan!

Next Wednesday, you’ll hear an episode featuring my former online nemesis Michael “The Kaiju Groupie” Hamilton (MIFV Patron and co-host of the Kaiju Weekly podcast, among other things), who discusses Dogora, the Space Monster with Nathan. Then the Metters return to finish the “Daimajin Days” with Daimajin Strikes Again.

Also, this month is our first anniversary (hoo-ah!), so Nathan will be joined by Danny DiManna of the Godzilla Novelization Project for a special bonus episode to celebrate.

Join us!

Follow me on Twitter: @NasaJimmy

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#JimmyFromNASALives
#WeShallOvercome

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Episode 24: The Metters vs. ‘Return of Daimjain’

Hello, kaiju lovers!

We have many happy (and not-so-happy) returns in this episode. Nathan’s friends Joe and Joy Metter are back to continue the “Daimajin Days” by discussing Return of Daimajin. They also brought their dogs, Teddy Kong and Bitzilla, although they’re a little quieter this time around. Regardless, this is the second of the Daimajin trilogy from 1966, and while it’s mostly a rehash of the first film that doesn’t quite rise to its heights (until maybe the last 10-15 minutes), it does bring a few new things to the table. These include a lake parting that rivals The Ten Commandments, a Daimajin with a less gray morality scale, and villains who believe in the supernatural and tremble.

Unfortunately, MIFV’s intrepid producer, Jimmy From NASA, continues doubt Joy’s swordfighting ability. To test her mettle, he sics certain winged gremlins from the future on her—with surprising results!

All this plus the Toku Topics is Shintoism, Shinto shrines, and torii gates since all those factor into this film.

Episode image created by Michael Hamilton.

We’d like to give a shout-out to our Patreon 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), and Bex from Redeemed Otaku! Thanks for your support!

You, too, can support us on Patreon and get perks like this starting at only $3 a month!

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

Read Jimmy’s Notes on this episode.

Timestamps:
Intro: 0:00-5:34
Entertaining Info Dump: 5:34-11:00
Toku Talk: 11:00-46:05
Advertisement: 46:05-46:57
Toku Topic: 46:57-1:30:48
Outro: 1:30:48-end

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© 2020 Nathan Marchand & Moonlighting Ninjas Media

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Jimmy’s Notes on ‘Episode 23: Atragon’

This week’s “Jimmy’s Notes” on episode 23 (Atragon) is short and sweet. Good, I say. Jet Jaguar and I have been very busy continuing to rebuild Mechani-Kong in my garage. I ordered mech parts from a Chinese company on eBay, and they arrived a week late. Then the shipment was delayed because the Board of Directors implemented more safety protocols for off-Island shipments. When I heard that I was more forgiving. I don’t think I’ll order from that eBay seller again, though. (Poor Nathan is still waiting for his S.H. FigureArts Ultraman figure to show up from China, though).

Along with that, our continued frustrations with a new condenser microphone in our recent broadcasts with Joe and Joy “How-Did-I-Not-Get-Scared-By-The-Dorats?” Metter has required that I procure a replacement. That’s arriving today, thankfully.

This intro is longer than usual because, to my surprise, I only have a few notes for this episode besides Nathan’s leftovers. Let’s get to them.

  • Keep denying the super-special Godzilla vs. Kong premiere will happen in November, Marchand. You’ll feel real lonely that night. Ozaki and the EDF Mutants will be the security detail that night, so don’t even think of sneaking in!
  • Nathan said, “expectation,” when he meant, “affection.” Your mouth does go faster than your brain, doesn’t it?
  • You called the Gotengo “Atragon” once, which is technically wrong, but it was how it was written in the subtitles. You get a pass this time.

Nathan’s Leftover Notes on the Film:

  • Starts “in media res.” Almost feels like a trailer. A little confusing.
  • Sekizawa humor. Swimsuit model sneezes because of cold.
  • Feels a bit like a Universal monster movie from 1950s, especially with half-melted diver.
  • I’d make an Uber joke, but the guy has a cabbie hat.
  • Man made out of vapor—wrong movie, dude! (“Human Vapor.” Haha. 😛 –Jimmy)
  • Kenji Sahara is almost unrecognizable with the chinstrap beard. (He looks like your brother. 😛 –Jimmy)
  • “Action Magazine.” What kind of mag is that? It could be taken a few ways—especially if they want photos of a swimsuit model. (How dirty is that mind of yours, Marchand? –Jimmy)
  • (Former Rear Admiral) Kusumi: represents modern Japan that has moved on from war to join world community
    • Was silent out of loyalty to Jinguji until situation was dire.
    • Doesn’t salute back to soldiers, only nods; evidence of his change?
  • Gotengo is derived from real super-subs supposedly developed by Japan in WWII. (Yep. I have several blueprints for those subs. And the Gotengo. –Jimmy)
  • Capt. Jinguji: represents old imperial japan and those who didn’t move on.
    • “Enslaved” natives of island?
    • Was going to be played by Toshiro Mijune. Would’ve been different. (It would’ve made the Island’s chaplain happy. –Jimmy)
    • Asks who made Japan renounce war in new constitution, but Kusumi is too shocked to answer. Then conversation moves on. Interesting. US isn’t mentioned directly.
    • He seems shaken by his daughter’s words, yet doesn’t chase after her.
    • Wears old field uniform during operation against Mu.
    • Takes action when Makoto is kidnapped. True change? (As someone who has met the man on two occasions—and survived—I’d say, “Yes.” –Jimmy)
    • “I think I was wearing rusty armor. I took it off and feel fine.”
    • “We will attack so long as you tell us to surrender! But we’ll listen to peace talks.” Indicates change. Empress refuses like Imperial Japan in WWII.
  • The Mu Empire is modeled Imperial Japan.
    • Sank 12,000 years ago. Atlantis. Related to Seatopia? 😛 (According to you and Danny DiManna, they are. –Jimmy)
    • Has a powerful navy with submarines.
    • Seeks to conquer surface because they believe it is rightfully theirs. Like Japan seeking to build pan-Asian empire.
    • Calls humans “people of the colonies.” “Return our colonies immediately!” Presumptive. UN building, London Bridge, Arch de Triumph, the Kremlin(?), Manhattan (bridge) shown. Worldwide threat. Says New York and Tokyo are first targets. Appropriate. Alliance between U.S. and Japan.
    • The Empress refuses to lower herself to undressing in front of foreigners (and men?) to change into diving suit. Pride that is broken.
    • Empress accuses Jinguji of defying them, and he says the Mu defied “us.” “Killing me cannot kill our empire’s heart!” He’s taken aback, as if it sounded like something he believed. (It’s a literal reference to the Mu power source, but it’s also an effective metaphor).
  • The Mu city looks, well, like a model. On the other hand, some shots remind me of Metropolis. (Except without the cool robot lady. –Jimmy)
  • Manda was added later, but he doesn’t feel shoehorned unlike Magma in Gorath. (Everything is less shoehorned than that walrus! –Jimmy)
  • An ultimatum on film: forerunner to Xiliens in Monster Zero. ( J -Jimmy)
  • It’s the satellite from The Mysterians! (24:00)
  • Red Satan is the name of world’s largest submarine. And it’s an American sub. Oh boy…. Could it be a commentary on nuclear power and not an anti-American sentiment? (I doubt it. –Jimmy)
  • H-bomb usage limited by water depth and “moral principles.” Japan’s anti-nuclear principles? (This was several years before those were codified. –Jimmy)
  • The UN wants Gotengo to be used. Requests it. International feel.
  • One of Jinguji’s men follows Makoto. Gets captured. Only gives ‘reservation number” (8561), a Navy tag to be used for Yasukuni Shrine. Very interesting. Only time I can think of that this was mentioned in a Honda film. Amano snaps to attention when he learns who Kusumi is.
  • True Stories magazine. Sounds more legit.
  • Mu leader called Hierarch. Interesting. Subservient to Empress.
  • “Transfer our hardships to the slaves on earth!”
  • 35:00: Lots of extras. Another sign Honda wanted to direct a musical. (I’d watch a musical of this film! But I’m strange. –Jimmy)
  • Protagonists are met by soldiers wearing well-maintained WWII Japanese military uniforms.
  • Has WWII-era “rising sun” flag. Not used now because of war connections.
  • The Gotengo is a crazy-cool vehicle. Flying sub with drill on front and freeze laser. Not unlike Nautilus in 20,000 Leagues Under the Sea. Film spends several minutes showing it off. (Just like Robert Wise would do 16 years later in the first Star Trek film. –Jimmy)
  • 47:45: Thunderbirds are go!
  • Unusual for a Sekizawa script because of how political it is; but it wouldn’t have been appropriate for Kimura because he was too cynical. This is a story of moving on, redemption. It reflects his attitude. Kimura wouldn’t have been right for this story.
  • The second dance number makes me think of The Ten Commandments for some reason. The set and costumes, maybe?
  • Is Manda their god or the messenger? He’s called both.
  • Manda appears 63 minutes in.
  • Mt. Mihara. I associate that with G84/vs. Biollante.
  • The sinkhole scene is spectacular. Incredible effects. Horrifying.
  • The Mu ships with the dragon figureheads look great. I love how lasers fire from the mouths.
  • Now Jinguji has his white uniform?!
  • The Empress packed her clothes?
  • Manda looks like a Chinese dragon. Is that saying something? (Not everything is a hidden message, Nathan. Cool your English major jets. –Jimmy)
  • Manda is dispatched pretty quickly. Sign of being added last minute during short production.

That’s a wrap for this week!

Our next episode will be part two of the “Daimajin Days” with Return of Daimjain and the return of Joe and Joy “I-Don’t-Look-Like-a-Swordfighter” Metter. Then my former nemesis Michael “The Kaiju Groupie” Hamilton makes his first appearance on the show (remarkably) for a Board-approved extended mini-sode on Dogora, the Space Monster. I’ll be nice to him since he’s a Patron. He helps to keep the emergency evacuation system (EES) working properly in the radio studio.

Follow me on Twitter: @NasaJimmy

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Episode 23: ‘Atragon’ (Mini-Analysis)

Hello, kaiju lovers!

This month’s mini-sode is yet another excerpt from the paper Nathan wrote for his Ishiro Honda independent study in grad school, and it’s on one of his favorite tokusatsu films: Atragon. This Jules Verne-ian sci-fi adventure story has deep connections to the Japanese national spirit as it was inspired by a militaristic 1899 novel and the ongoing newspaper stories about World War II stragglers being found on Pacific islands. The film also comments on resurgent Japanese nationalism in the early 1960s. All this plus listener feedback, and MIFV’s intrepid producer, Jimmy From NASA, tells a bit of his story about taking the Gotengo (the flying super-sub in the film) for a joyride in the ’80s. (If you want to hear the entire story, listen to Kaiju Weekly episode 38). And much to Nathan’s annoyance, Jimmy relays an outrageous announcement from the Monster Island Board of Directors about Godzilla vs. Kong.

Episode thumbnail created by Michael Hamilton.

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

You, too, can support us on Patreon!

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

Read Jimmy’s Notes on this episode.

Podcast Social Media:
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Jimmy’s Notes on ‘Episode 22: The Metters vs. Daimajin’

Episode 22 was beset by many-a-peril during its production, both in front of the mics and behind the scenes. It was late for our Patreon Patrons, but we did manage to get it published on time. We’re a stubborn and determined lot.

That being said, I have more notes on this than I usually do—mostly because Marchand was copy-and-pasting stuff from his research as opposed to writing paraphrases. I’ve spoken with him about this and convinced him it would be better for everyone involved—especially the Tourists on the show—to do that less from now on. He agreed.

So, after some copious editing, here are my notes.

  • Nathan, goofball that you are, you didn’t set up your new microphone correctly, which is why the episode doesn’t sound as good as it normally does. Live and learn. And research your mic next time!
  • There has actually been more kaiju films where the suit actor’s eyes could be seen than you think. I’m surprised Nathan forgot to mention these. Besides Daimajin and War of the Gargantuas, there was King Kong (1976) (how could he forget that?), Yeti: Giant of the 2oth Century (unfortunately for everyone besides Travis from Kaiju Weekly), and if you want to count him, the Snowman from Half Human. The Babylonian Demon from Yokai Monsters: Spook Warfare has a suit actor whose eyes can be seen. I was also told if you pause Ebirah, Horror of the Deep at the right spot when Godzilla rips off the crustacean’s claw, you can seen Haruo Nakajima’s eyes, although that’s a filmmaking mistake.
  • Haniwa weren’t so much guardians as they were grave markers and boundary markers, and later were believed to house the spirit of the deceased. Read more here.
  • Moses pleads for Israel in Exodus 32:11-14.
  • It’s pronounced, “Samanosuke,” Nathan. And Joe. Man, this name is a tongue twister for us Americans.
  • You don’t believe I have a lightsaber, huh? Just wait. Also, Disney can have it—when the Mouse pulls from my cold, dead fingers!
  • The line from Firefly Nathan was trying to remember was said by Captain Mal: “If I ever kill you, you’ll be awake, you’ll be facing me, and you’ll be armed.”
  • Joe and Joy are going to start saying, “You wants to take Teddy to see Gamera?” as a euphemism for a walk.
  • Nathan says, “Fascinating,” a lot in this episode. Is he Spock?
  • He also says, “Interesting,” a lot. Expand your vocabulary!
  • It wasn’t the Onin War you referenced in episode 13, Nathan, it was the Genpei War.
  • Joe didn’t say it was Portuguese missionaries, Nathan. He said it was Catholic missionaries.
  • Dainichi is the central deity worshipped in esoteric Buddhism. You can read more about him here.

Here’s Nathan’s overabundance of leftover notes.

The Film

  • Eyeball at beginning is meant to symbolize Daimjain contentedly watching events.
  • I didn’t remember the scene of the kid being chased by the forest spirits. The hand was just a tree branch. What’s with the quick cuts of animals? Was this real?
  • The princess is pale, unlike the others. (Old timey view of feminine beauty. I preferred tanned girls, myself. –Jimmy)
  • The bullets don’t hurt Daimajin. Chains cannot hold Daimajin. Daimajin controls the elements, like fire.

Toku Topics

Sengoku Period

  • “The beginning of the Sengoku period witnessed the Onin War (1467-1477 CE) which destroyed Heiankyo. The fighting that followed over the next century would eventually reduce the warlords to only a few hundred in number as the country was effectively carved up into princedoms.” (https://www.ancient.eu/Sengoku_Period/)
  • “The Ashikaga Shogunate (1338-1573 CE) held control of the central part of Japan, and the bureaucracy at the capital was relatively efficient, but the outer provinces were left semi-independent as local warlords or daimyo ruled their own lands how they saw fit. Local officials and estate managers such as the jito found it much more difficult to secure the taxes the state was due from landlords who now had no fear of any government reprisals.” (https://www.ancient.eu/Sengoku_Period/)
  • “In the absence of a strong central government…the rule of law was very often replaced by the rule of force. The more powerful lords absorbed the lands of their weaker rivals and became known as sengoku daimyo. The warlords then passed on their position of strength to their male heir and so the position of daimyo became hereditary unless challenged by ambitious subordinate commanders. The wealth of the daimyo came from commerce, trade, and taxes imposed on those peasants who farmed on their estates. Daimyo may have been a law unto themselves but many of them did formulate law codes to better regulate the sometimes thousands of people under their command.” (https://www.ancient.eu/Sengoku_Period/)
  • “The Warring States period kicked off with the Onin War (Onin No Ran, 1467-1477 CE). This civil war – its name derives from the year period – broke out because of the bitter rivalry between the Hosokawa and Yamana family groups. By the end of the decade, though, the fighting had sucked in most of the influential clans of Japan. The conflict revolved around each side backing a different candidate for the position of shogun – a particularly pointless debate since shoguns, like the emperors, no longer had any real power. Rather, the war is seen by historians as merely a result of the overly aggressive warlords of Japan being rather too keen to put their samurai to some use – good or bad. Even when the war ended in 1477 CE there was no victor and no resolution to the inherent militarism that fractured Japan for the next century as warlords fought each other with no one in particular ever achieving any dominance.” (https://www.ancient.eu/Sengoku_Period/)
  • “The Onin War had sorted out who were the weak and the strong daimyo, who thus became much fewer in number (by 1600 CE there would be only about 250 of them in all of Japan).” (https://www.ancient.eu/Sengoku_Period/)
  • “The upheaval resulted in the further weakening of central authority, and throughout Japan, regional lords, called daimyōs, rose to fill the vacuum. In the course of this power shift, well-established clans such as the Takeda and the Imagawa, who had ruled under the authority of both the Kamakura and Muromachi bakufu, were able to expand their spheres of influence. There were many, however, whose positions eroded and were eventually usurped by more capable underlings.” (https://en.wikipedia.org/wiki/Sengoku_period)
  • “As a result of the constant threat of war and pillage in this period, castles were built with much greater frequency than previously in towns, at mountain passes, along vital roads, and on larger estates. The latter type, which could take the form of fortified mansions, was known as yashiki; Ichijodani (base of the Asakura family) and the moated Tsutsujigasaki (of the Takeda family) were excellent examples of this building trend. Some castles, such as Omi-Hachiman near Lake Biwa, caused an entire town to later spring up around them, the jokomachi. … Constructed on large stone bases, the wooden superstructures included walls, towers, and gates, which had narrow windows for archers and from which hung boulders on ropes, ready to be dropped on any attackers.” (https://www.ancient.eu/Sengoku_Period/)
  • “As trade with Ming China grew, the economy developed, and the use of money became widespread as markets and commercial cities appeared. Combined with developments in agriculture and small-scale trading, this led to the desire for greater local autonomy throughout all levels of the social hierarchy. As early as the beginning of the 15th century, the suffering caused by earthquakes and famines often served to trigger armed uprisings by farmers weary of debt and taxes.” (https://en.wikipedia.org/wiki/Sengoku_period)
  • “Towns and cities became larger, with many having a population of over 30,000, thanks to a boom in international trade (daimyo wanted foreign luxury goods like Ming porcelain to demonstrate their status), weekly markets, and the development of trade guilds. Measures, weights, and currencies were standardized in many domains to facilitate trade. Meanwhile, the fortunes of the many Buddhist temples scattered across Japan plummeted as no longer backed by the state they could not so easily extract contributions from local communities.” (https://www.ancient.eu/Sengoku_Period/)
  • “The Ashikaga Shogunate would be terminated by the warlord Oda Nobunaga (l. 1534-1582 CE) who finally brought some stability to central Japan. Oda Nobunaga had expanded his territory gradually through the 1550/60s CE from his base at Nagoya Castle as he defeated all comers thanks to his martial skills and innovative use of firearms. The Warring States period comes to an end with the seizure of Heiankyo by Nobunaga in 1568 CE. The warlord then exiled the last Ashikaga shogun, Ashikaga Yoshiaki, in 1573 CE. The unification of the country would continue under Nobunaga’s immediate successors, Toyotomi Hideyoshi (1537-1598 CE) and Tokugawa Ieyasu (1543-1616 CE).” (https://www.ancient.eu/Sengoku_Period/)
  • “The Sengoku period ended when Toyotomi loyalists were defeated at the Siege of Osaka in 1615.” (https://en.wikipedia.org/wiki/Sengoku_period)

Christianity Comes to Japan

  • “The Portuguese land on Tanegashima, becoming the first Europeans to arrive in Japan, and introduce the harquebus into Japanese warfare.” (https://en.wikipedia.org/wiki/Sengoku_period)
  • “In 1543 the first Europeans arrived in Japan. Two (maybe three) Portuguese merchants aboard a Chinese ship were blown off course and forced to land on the island of Tanegashima, just south of Kyushu. Only six years later, the first Christian missionary came to Japan. What followed was, what some historians call, Japan’s ‘Christian century.’ Despite 100 years of Christian dominance, today only about 1% of the Japanese population is Christian. … Those first Portuguese men to arrive at Tanegashima also brought the first guns to Japan. Today’s article will focus on the sixteenth century, during which time guns and Christianity were often entwined. Both had a heavy impact on Kyushu and Japan at large during this period, known as the Warring States period (sengoku jidai), a century where central authority in Japan had lost its sway and samurai clans vied for dominance.” (https://www.tofugu.com/japan/history-of-christianity/)
  • “The Shimazu family who ruled Satsuma also controlled Tanegashima, the island where the first Europeans had landed. The Shimazu had been impressed by European firearms and were quick to reproduce them. So, when Xavier arrived they respectfully welcomed him, curious to see what he might have brought along. They gave him permission to speak to their subjects and, through translators, they began to preach. Xavier and his Spanish colleagues began studying Japanese, and soon were attempting the occasional sermon in Japanese, transliterated into the Roman alphabet for them. For the most part, Xavier and European missionaries who followed were quite impressed with the Japanese people.” (https://www.tofugu.com/japan/history-of-christianity/)
  • Ten months after Xavier’s arrival, the Shimazu changed their stance towards the Christians, prohibiting proselytizing and further conversions. This was probably prompted by the landing of a Portuguese ship at Hirado, in northern Kyushu and outside of Shimazu territory, which dashed Shimazu hopes of securing European trade through the missionaries. … (he went several journeys and preached, winning some converts).” (https://www.tofugu.com/japan/history-of-christianity/)
  • “Nobunaga never converted, and it doesn’t seem that he ever believed in the Christian message, but he certainly had no love for Buddhist institutions either. A number had been thorns in his side. He burned the great temple complex on Mt. Hiei, killing roughly 25,000, and spent eleven years fighting the ikko-ikki, a type of militant Buddhist group. … Unfortunately…in 1582 Nobunaga was betrayed by one of his generals, and chose to kill himself rather than be captured. … Nobunaga had been a source of hope for the Jesuits, and with his death there were even harder times ahead for the Christian mission in Japan.” (https://www.tofugu.com/japan/history-of-christianity/)
  • “Just before leaving Japan in 1551, Francis Xavier met with Otomo Sorin (1530-1587), lord of Bungo (in eastern Kyushu). … In 1578, he converted to Christianity, taking the name Francisco in honor of Xavier. Actually, a marital problem led to his conversion. Sorin had married a woman in 1550, who was staunch in her traditional religious beliefs and shared a contentious relationship with the Jesuits. She is known only as Jezebel, the name the Jesuits used to refer to her. In 1578, Sorin became ill, which the priest Luis Frois claimed was Jezebel’s fault. He was nursed by one of her ladies-in-waiting, with whom he fell in love. Sorin had his new paramour spirited away to a seaside villa where they were free to hear Christian instruction. First, she converted, taking the name Julia. Later Sorin also converted. They soon married, and Jezebel, as a pagan, was no object. To many observers Sorin’s behavior was scandalous, but to the Jesuits he was a hero. Sorin’s happiness did not last long.” (https://www.tofugu.com/japan/history-of-christianity/)
  • “…in 1582, (Sorin) and two other Christian lords sponsored the first official Japanese embassy to Europe. The embassy was the brainchild of Italian Jesuit, Allesandro Valignano (1539-1606), who had been preaching in Japan for three years. The Tensho Embassy (named after the reign-name of the time) consisted of four Japanese converts. … The embassy arrived in Lisbon in 1584, and from there went on to Rome. During their European tour, they met several kings and two successive popes. In Rome, one of the converts was made an honorary citizen. They returned to Japan in 1590, after which Valignano ordained them as the first Japanese Jesuit fathers.” (https://www.tofugu.com/japan/history-of-christianity/)
  • “Crucifixion was introduced into Japan during the Sengoku period (1467–1573), after a 350-year period with no capital punishment.[116] It is believed to have been suggested to the Japanese by the introduction of Christianity into the region,[116] although similar types of punishment had been used as early as the Kamakura period. Known in Japanese as haritsuke (磔), crucifixion was used in Japan before and during the Tokugawa Shogunate. Several related crucifixion techniques were used. Petra Schmidt, in “Capital Punishment in Japan”, writes:[117] ‘Execution by crucifixion included, first of all, hikimawashi (i.e, being paraded about town on horseback); then the unfortunate was tied to a cross made from one vertical and two horizontal poles. The cross was raised, the convict speared several times from two sides, and eventually killed with a final thrust through the throat. The corpse was left on the cross for three days. If one condemned to crucifixion died in prison, his body was pickled and the punishment executed on the dead body. Under Toyotomi Hideyoshi, one of the great 16th-century unifiers, crucifixion upside down (i.e, sakasaharitsuke) was frequently used. Water crucifixion (mizuharitsuke) awaited mostly Christians: a cross was raised at low tide; when the high tide came, the convict was submerged under water up to the head, prolonging death for many days.’ Crucifixion was used as a punishment for prisoners of war during World War II. Ringer Edwards, an Australian prisoner of war, was crucified for killing cattle, along with two others. He survived 63 hours before being let down.” (https://en.wikipedia.org/wiki/Crucifixion#Japan)
  • “Added to the fear of foreign conquest, one of the biggest concerns that Toyotomi Hideyoshi and Tokugawa Ieyasu had always had with Christianity was the matter of loyalty. For a Christian samurai, did allegiance to the shogun or the pope take precedence? In 1612 there was a bribery scandal, involving a daimyo and a member of Ieyasu’s council, both Christians. This showed that ties between the faithful might be stronger than those to the central authority. In addition, at the execution of a Christian, a priest told the crowd that obedience to the Church should trump obedience to their daimyo. …Then in 1614 he issued the ‘Statement on the Expulsion of the Bataren,’ in which accusations against the priests were leveled. They were commanded to leave the country at once, and Japanese converts were ordered to renounce their faith. Most missionaries left the country, but some continued to operate in secret. Those who were caught were executed. Anti-Christian measures became even harsher under the third Tokugawa shogun, Iemitsu, who took power in 1623. It’s estimated that in 1612 there were approximately 300,000 Christians in Japan, but by 1625 there were half that or fewer.” (https://www.tofugu.com/japan/history-of-christianity/)
  • “The Tokugawa shogunate had begun to persecute Christians, largely out of a fear that Christianity would subvert the order and hierarchy that they had struggled for so long to create and maintain. In 1614, Tokugawa Ieyasu issued a proclamation expelling Catholic missionaries from Japan. Japanese Christians were forced to go underground, becoming known as Hidden Christians (kakure kirishitan). Under successive shoguns, persecution intensified. The final straw was to come in 1637, when a revolt broke out in Kyushu.” (https://www.tofugu.com/japan/history-of-christianity/)
  • “The Shimabara Peninsula lies on the western part of Kyushu, somewhat out of the way. … The life of a Japanese peasant was generally filled with a good deal of suffering. It wasn’t unusual for a lord to treat them poorly. Yet, Matsukura Shigemasa (the new lord as of 1610) was exceptionally cruel. He taxed everything, even births and deaths, and didn’t take kindly to those who couldn’t pay. Being thrown into a water-filled prison was perhaps the best one could hope for. His most notorious punishment was called the raincoat dance (mino odori), so named because the victim, wearing a straw raincoat, was doused in oil and set on fire, causing them to dance about. Sometimes the family members of those who failed to pay were taken hostage or punished as well. In 1637, when one of Shigemasa’s men assaulted a farmer’s pregnant wife the people finally snapped.”
  • “This led to a rebellion that holed up in Hara Castle, which was defensible despite the peasants only using farming tools since weapons were illegal for them.” 
  • “This young man was Amakusa Shiro (c. 1621-1638). Born on one of the Amakusa Islands, he was the son of a former Konishi clan retainer (the family’s Christian head, Konishi Yukinaga was killed for picking the wrong side at Sekigahara). He studied with Jesuits in Nagasaki, and according to local lore, made a name for himself preaching equality and dignity for the poor on the island of Oyano. Little else is known about him, but during the rebellion his followers began to think he was the one foretold years earlier by Father Marco Ferraro, a priest who worked in the area before being expelled. He said that, ‘After 25 years a child of God will appear and save the people.’” (https://www.tofugu.com/japan/history-of-christianity/)
  • “The rebels were able to hold out for a surprisingly long time. However, as the winter months wore on, hunger took its toll and the defenses were breached. The victors spent three days slaughtering the rebels. An estimated total of 37,000 were killed, including Amakusa Shiro, and as John Dougill points out, ‘It’s invidious to play the numbers game when it concerns the dead, but the number killed at Shimabara is almost identical to the 39,000 who died in the Nagasaki atomic bomb.’ 10,000 heads were staked up around the castle, and 3,300 were sent to Nagasaki for the same treatment: a clear warning to the people.” (https://www.tofugu.com/japan/history-of-christianity/)
  • Following the Shimabara Rebellion, the Tokugawa took the final step in guarding the country against foreign subversion by expelling all Europeans from Japan and banning their reentry on pain of death. The one exception to this was the tiny island of Dejima, just off Nagasaki’s coast, where an extremely limited number of Dutch ships were allowed to dock and trade. (https://www.tofugu.com/japan/history-of-christianity/)

If you read all of this, you’re my hero(es).

Join us next week when Nathan analyzes a film with one of the most beautiful ships ever constructed: Atragon. Maybe I’ll tell the story of how I took that ship for a joyride in my younger days. (Oh wait, I already did on Kaiju Weekly). Then the Metters return next month for part two of the “Daimajin Days” to discuss Return of Daimajin. I’ll be keeping my foil handy in case Joy tries starting anything with me. 😛

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Episode 22: The Metters vs. ‘Daimajin’

Hello, kaiju lovers!

Despite some recording/broadcasting issues with a new microphone (which will be remedied for future episodes), Nathan was joined once again by his friends Joe and Joy Metter, who were vacationing on Monster Island. They started the “Daimajin Days” by screening and discussing the first film in Daiei’s Daimajin trilogy from 1966. These films combine the kaiju and chanbara (“samurai”) genres to create some of the most unique examples of both. While Joe and Joy aren’t connoisseurs of kaiju, they are fans of samurai films. They, along with Nathan, connect this film to Rurouni Kenshin, Hitchhiker’s Guide to the Galaxy, and of course Star Wars. (You can fill that space on your MIFV bingo card this week). Also making a return is their dog Teddy Kong, and he brought his friend, Bitzilla. You’ll hear them several times during the episode. Teddy really wanted to see Gamera for some reason. (Because he was hungry for turtle meat?) The only buzzkill—besides the recording issues—was MIFV’s intrepid producer, Jimmy From NASA, butting heads with Joy over sword fighting. Geez.

Since this is a period piece, the Toku Topics are the Sengoku Period of Japanese history and the coming of Christianity to Japan.

We’d like to give a shout-out to our Patreon patrons Travis Alexander and Michael “The Kaiju Groupie” Hamilton (co-hosts of Kaiju Weekly), Danny DiManna (Godzilla Novelization Project), Eli Harris, and Bex (host of the Redeemed Otaku) (who joined just before this episode was posted)! Thanks for your support!

You, too, can support us on Patreon!

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

Read Jimmy’s Notes on this episode.

Timestamps:
Prologue: 0:00-2:34
Intro: 2:34-6:52
Entertaining Info Dump: 6:52-12:35
Toku Talk: 12:35-1:03:24
Toku Topic: 1:03:24-1:33:14
Outro: 1:33:14-end

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© 2020 Moonlighting Ninjas Media

Bibliography/Further Reading:

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Jimmy’s Notes on ‘Episode 21: Matango (Mini-Analysis)’

It’s been a rough week on Monster Island, what with the Board of Directors mandating masks (again). I’m a big fan of them hiring Douglas Gordon as the Island’s security chief, though. Plus, the Board is sharing some…inside info with me you may hear on a future episode.

Anyway, I only have a few of my own notes plus Nathan’s notes from his independent study for this week’s blog. I think he only has a few more of the films from that study left. Atragon and Frankie v. Barry, I think. Regardless, I have some snark to deliver.

  • It’s “Ghost in the Shell,” Nathan, not “Ghost in a Shell.” Direct vs. indirect articles. Big difference, as you know.
  • Trust me when I say some things in Tokyo will follow you everywhere. At least for a while. And I don’t mean puppies.
  • Birds get sucked into jet engines a lot, man. We pilots do have our own superstitions. Canada geese are the worst offenders. (Sorry, Chris Cooke).
  • To learn more about Hahajima, which has the big mountain Dd G told us about, click here. Let me tell you, it is a beautiful place. Nathan, Jet Jaguar, and I will be taking a hike there soon.
  • If you’re curious about the DC Comics villain Matango, read this.

Here are Nathan’s leftover notes:

  • Kubo’s face is seen. He’s unscarred. (Which makes the ending that much more interesting. –Jimmy)
  • Music during credits is weirdly upbeat.
  • “Tokyo and all her dust.” Men and money are left behind.
  • Writer loses his pages in water. I’d be upset. But he thinks writers steal everything. (You would know better than me, Nathan. –Jimmy)
  • “Top lady” = mistress (and double entendre?) (Yep. –Jimmy)
  • 40 million yen yacht. Best that money can buy. Destroyed by storm.
  • Scare girls and then treat them tender. “That’s not psychology—that’s a paperback novel!” (One of the best lines in the film! –Jimmy)
  • Professor is a psychologist. Appropriate and ironic.
  • The women are polar opposites. Mami (Mizuno) is a flirtatious harlot while Akiko is a chaste, shy girl who’s never been kissed.
  • 7 characters for the 7 deadly sins. (You can thank Danny DiManna for that idea. I still can’t figure out which character is which sin, though. Maybe Rev. Mifune could help explain?  –Jimmy)
  • Music is somewhat minimalistic for the most part. Not Ifukube or Sato. (It was Sadao Bekku. –Jimmy)
  • The hallucinations begin before they reach the island with the phantom ship. Perhaps an indication that Yoshida is already unhinged.
  • Fog is a common motif. It obscures. It clouds. Drug reference?
  • This film is Lost meets Gilligan’s Island with a Twilight Zone ending.
  • The set design for the ship is great. The mold everywhere. Unique. Like a haunted house. Reminiscent of classic Universal horror.
  • Is it possible this whole film is Akira Kubo’s fever dream? How much of it is true? There are things that don’t add up. (Given what we heard from Dr. Dourif, I’m pretty sure it was real. –Jimmy)
  • The mold is great foreshadowing for Matango.
  • Eyeless turtle: foreboding.
  • Matnago is said to be a radiation mutant. Anti-nuclear. Doesn’t explain everything.
  • Nationality of boat concealed. Communist and western. Even Japan. Humanity represented. No one is innocent.
  • Matango is the forbidden fruit. May eat everything else but that.
  • Plays on natural need—eating—and makes it scary. Do it and suffer. Much like Nightmare on Elm Street with sleeping. (“Never eat again…”. –Jimmy)
  • The location photography is amazing.
  • Is this island attracting boats to it and sinking them? Bermuda Triangle?
  • First Matango appears almost 43 minutes in.
  • Two characters fire at Matango but not sure they hit it or saw anything but audience sees mushroom goo on ground.
  • This film was almost banned because of the mushroom man make-up. Looked like bombing victims. (The Hibakusha, which we’ll be discussing in a future episode. –Jimmy)
  • Even the characters think they saw ghosts—but there are footprints.
  • Illustrates why William Golding had no girls in Lord of the Flies: aggravates things. Aggravates men. Unlike that story, they are just as corruptible. (To hear his full reasoning from the foreword to his book, watch this video. –Jimmy)
  • “Akiko…this is Mother.” (Clearly that was the mushrooms talking. Those lying Matango! –Jimmy)
  • Yoshida says frayed nerves make people see witches and devils. Tries to explain strange happenings away. (That just sounds like trick-or-treaters at Halloween. –Jimmy)
  • Yoshida and Mami have a full-on make-out session. Most sexual thing in a Honda film.
  • Koyama pulls rope as he falls. Lifeline. Symbolic. Body has bills strewn about him. Also symbolic. Died amassing useless wealth.
  • Mami’s wardrobe changes to reflect her allegiance. Green and plantlike.
  • One character eats Matango and has vision of dancing showgirls amid Tokyo neon. Drugs. Revelry. Opulence.
  • The Matango laugh was recycled later for Baltan on Ultraman. (And it’s just as disturbing coming from those big beetles! –Jimmy)
  • Sakuta runs, but he eventually jumps overboard. Then writes on wall that everyone else is dead. Betrayal.
  • The professor and Akiko decide to leave. Almost happy ending. Then mushroom people show up. Like a zombie movie. Night of the Living Dead? Hacks off an arm. (Maybe George Romero saw this movie? –Jimmy)
  • Seems a little convenient that he leaves on boat and gets found. Why take him to psychiatric ward?
  • Doctor says, “We are grateful that you were able to come back.” Are they speaking of him as a patient? (Another parallel to The Cabinet of Dr. Caligari. –Jimmy)
  • (In “The Voice in the Night,”) John and his fiancée are like the prof and student in the film: innocent but they succumb to temptation. And are corrupted spiritually and physically. (Read more about this story here. –Jimmy)

That does it for my notes this week.

Join us next Wednesday to hear the start of the “Daimajin Days” when Nathan’s friends Joe and Joy Metter returned to start their journey through the Daimajin trilogy. Then this month’s mini-analysis will be on Ishiro Honda’s other 1963 classic, Atragon.

As the Board says, “Together we can find a better way forward.”

Follow me on Twitter: @NasaJimmy

Follow the Board on Twitter: @MonsterIslaBOD

#JimmyFromNASALives
#WeShallOvercome

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Bonus Episode #4: Interview with Ben Chaffins

Hello, kaiju lovers!

As a special Fifth Wednesday Bonus Episode (which will become a regular feature of the show), I interviewed SciFi Japan writer Ben Chaffins about his new book, Discovering Tokusatsu. In it he chronicles his many quests to get interviews with high-profile people working in tokusatsu filmmaking. You’ll hear about how Ben got his gig at SciFi Japan, why he wrote the book, and how much of a “stan” he is for Ultraman: The Next and Ultraman Nexus (whose special effects director he interviewed for an exclusive chapter in this book).

Oh, and by the way, Ben’s Twitter profile pic is Ultraman Nexus with sunglasses. Deal with it! 😛 Follow Ben on Twitter and Instagram.

We’d like to give a shout-out to our Patreon patrons Travis Alexander and Michael Hamilton (cohosts of Kaiju Weekly); Danny DiManna (Godzilla Novelization Project); elizilla13; and Chris Cooke (host of One Cross Radio)! Thanks for your support!

You, too, can support us on Patreon!

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

Podcast Social Media:
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© 2020 Moonlighting Ninjas Media

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Episode 21: ‘Matango’ (Mini-Analysis)

Hello, kaiju lovers!

An artsy Japanese horror film about mushrooms based on a British short story?

That’s sounds insane enough to work!

Despite getting slapped with the schlocky English title, “Attack of the Mushroom People,” Matango ranks as one of director Ishiro Honda’s greatest achievements in tokustasu filmmaking. Screenwriter Takeshi Kimura considered it to be his magnum opus. It’s a story replete with subtlety and symbolism, an indictment of Japan’s newfound opulence and decadence in the early 1960s, and it’s as relevant now for any audience as it was back then. It’s such an important film, Nathan and his intrepid producer, Jimmy From NASA, interview the only scientist on Monster Island’s who’s brave and/or crazy enough to study the Matango—with frightening results! 

Featuring Daniel DiManna as the voice of Dr. Dante Dourif.

Episode image created by Michael Hamilton. Check out his podcast, The Kaiju Groupie.

This is meant to supplement this episode of Kaijuvision Radio: Episode 45: Matango (Attack of the Mushroom People) (1963) (Westernization and Globalization)

We’d like to give a shout-out to our Patreon patrons Travis Alexander and Michael Hamilton (cohosts of Kaiju Weekly); Danny DiManna (Godzilla Novelization Project); elizilla13; and Chris Cooke (host of One Cross Radio)! Thanks for your support!

You, too, can support us on Patreon!

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

Podcast Social Media:
Twitter
Facebook
Instagram

Follow Jimmy on Twitter: @NasaJimmy
Follow the Monster Island Board of Directors on Twitter: @MonsterIslaBOD

www.MonsterIslandFilmVault.com

#JimmyFromNASALives       #MonsterIslandFilmVault

© 2020 Nathan Marchand & Moonlighting Ninjas Media

Bibliography/Further Reading:

  • “Attack of the Mushroom People: Ishiro Honda’s Matango William Hope Hodgson’s ‘The Voice in the Night’” by Anthony Camara (Monsters and Monstrosity from the Fin de Siécle to the Millennium, edited by Sharla Hutchinson and Rebecca A. Brown)
  • “The history and current state of drug abuse in Japan” by Kiyoshi Wada (Annals of the New York Academy of Sciences, Jan 2011, vol. 1216, no. 1, p 62-72)
  • Ishiro Honda: A Life in Film, from Godzilla to Kurosawa by Steve Ryfle and Ed Godzisewski
  • “Ishiro Honda-thon Ep. 5: Matango (1963) Review” by Adam Noyes (AN Productions) (YouTube)
  • Kaijuvision Radio, “Episode 8: King Kong vs. Godzilla (1962)”
  • “Methamphetamine Solution: Drugs and the Reconstruction of Nation in Postwar Japan” by Miriam Kingsburg (The Journal of Asian Studies, Feb. 2013, vol. 72, no. 1, p. 141-162)
  • Mushroom Clouds and Mushroom Men: The Fantastic Cinema of Ishiro Honda by Peter H. Brothers
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