Thursday, October 22, 2015
Godzilla: King of the Monsters (1954)(Toho)
City Saved By Scientist's Secret Invention
Tokyo, Japan - Steve Martin - United World News - Chicago
(Fiction)
Our tale begins dramatically amidst the smouldering ruins of what was once a great city. Twisted girders, cracked, blistering sidewalks and the skeletal frames of demolished buildings paint a grim portrait of this smouldering memorial to the unknown. Tokyo, once a proud metropolis of six million people, is now a graveyard.
See Also: Gojira (Godzilla King of the Monsters) 3D Shadowbox Collage - One of a Kind Original Artwork
The mind is a curious thing. It takes so much for granted! Freedom, happiness, security....these are things we've lived with and accepted, but rarely appreciated. As I look across the crimson, still-smoking horizon, these ideals seem very far away, for what I see, and smell, and sense...is death. Perhaps I myself am dead, and this fiery, lifeless landscape is actually Hell! I don't know..I don't know anything anymore, except that I, as a man, as a member of the human race, have been dwarfed by a living nightmare. It has proven itself stronger, smarter...more powerful than the Earth itself! My world burns before me, and with it, my very soul.
My name was Steve Martin. I used to be a foreign correspondent for United World News. I was headed for a routine assignment in Cairo when I decided to stop off in Tokyo to see an old friend. But that was days ago...I was a man then.
Now I am part of the human wreckage, the rubble and blood and total destruction of last night. I am in a hospital, and all around me are the dead and the injured. Those who are alive are silent, thoughtless...they know it is only a matter of time before "It" strikes again.
People are walking by me very fast now. I can hardly see their faces. Perhaps it is just as well....what does the face of defeat look like, anyway? It couldn't be more sickening that the cold, blank expressions of the lifeless. But ....wait. That girl coming toward me-I know her! Why, it's..."Emiko, Emiko!"
"Steve, Steve Martin! Are you Badly hurt?"
"After last night I'm lucky to be alive. And your father....is he alright?"
"Yes! He's meeting with the security officials now. Don't move Steve, I'll try to get a doctor for you."
A doctor! Hah! What can a doctor do? Will he bring the city back? Will he bestow life upon upon those trampled and crushed and burned? What can anyone do now...now that Godzilla lives? Emiko means well, as do they all...but tonight he will return. Tonight we will not be as fortunate! Death stalks us all, in the furious, rampaging form of a behemoth such as modern man had never seen prior to last night. But wait - I am wrong? He had never been seen! But no one believed those sightings, those reports of a vengeful monster out of ancient myth and legend....it seems so long ago now, but I can still recall every horrifying moment as clear as crystal. A few days ago things were normal...
A small sailing vessel was drifting peacefully in calm water. Some of the men were on deck, staring into the infinite loneliness and wonder that was the ocean. How old the ocean was, they thought. And how mysterious. Suddenly a stark, glaring light flashed across the deck. The men rose instantly and looked about. Then their eardrums burst and their bodies crumpled before a sound like no other....a heavy, thundering roar like the wail of some unholy foghorn. Flames filled the air. The radio men tried to send for help but there wasn't enough time. In an instant, the vessel had disappeared beneath the cruel, burning waves...
When I finally arrived at the airport the following morning, I was greeted by Shegarito, Dr. Serizawa's trusted assistant. But before we could visit the good scientist, a Japanese officer interrupted our meeting and asked me to come to the security headquarters. Slightly annoyed at the curious request, I asked Shegarito to extend my apologies to Dr. Serizawa and reluctantly followed the officer into a small room. Although I could not understand all of it, I figured out that the reason for everyone's strange behavior this curious morning involved the sinking of that small sailing vessel...
My part in the confusion was finally made clear to me. A friendly, English-speaking Japanese official named Tomo asked me several questions about my flight. He was seeking answers to the perplexing enigma of that ship disaster! What could have caused it? A mine, or a collision perhaps...but when the ship's doomed radiomen sent a message through, it told only of a blinding flash of light.
It was a mystery, alright. The Japanese authorities were trying to solve that mystery by sending out a rescue ship to survey the disaster area.
That rescue ship was never heard from again.
While officials tried their best to control the panic elicited from these strange accidents, news of the disasters finally leaked out. A frightened public demanded an explanation! Scientists and government men were brought together to discuss courses of action and offer solutions. Among them was Dr. Yomane, Japan's foremost paleontologist, whom I had met through my friend Serizawa several years ago. If there was an answer to these mysterious sea disasters, it would come from these men.
After much desperate conversation, Dr. Yomane suggested to the officials that they question the natives of Odo Island, a small bleak, spot of land that was close to the area where the tragedies had taken place. Confused, but receptive, the authorities quickly agreed. I was allowed to tag along.
Odo was an industrious little island in the Pacific populated by several hundred natives who were now paralyzed with fear. These people were the only ones to see some of the fires at sea, as well as locate one survivor of a sinking. His visit, unfortunately, was a short one! As the Japanese officials descended upon the island’s small community, the natives became even more frightened. One babbled what everyone considered to be a “ridiculous” story to Tomo. Nervously, he informed the official that a horrible monster was responsible for all the disasters.
Too much sake, I thought to myself.
That evening I had the unique opportunity to witness a rare ceremony. The islanders were apparently performing an ancient folk-dance, and wore rather frightening reptile-like face masks. Tomo enlightened me as to an old Odo legend, which stated that somewhere off shore there lived a massive creature of incredible strength. Although this sounded silly to me at first, I was curious about the monster’s name and asked Tomo if he knew it. A native answered for him. The thing was called Godzilla.
Much later that night, Tomo and I were sleeping in a tent we had set up at the far edge of the island. Restless, I awoke to notice a peculiar flickering in our lantern. The very ground beneath us appeared to be quivering! Tomo and I wedged ourselves around our tent pole for support as wind and rain began to pound against us. Staring into the furious blackness, we could hear huts falling a people shouting. For this was more than just the wind and rain and lightening. Much more. I wasn’t sure just what it was. No one was sure. No one except the natives, and they were positive. They said it was….Godzilla!
It was decided that a return trip to Odo was necessary if the mystery of these unusual occurrences would ever be solved. Dr. Yomane himself would visit the island to search for signs of unusual phenomena. On the morning of the sailing, Pier “J” swarmed with well-wishers for the doctor and his party. But there was still a feeling of anxiety among the passengers. For every ship that had taken this course had vanished from the face of the Earth. Yes, there was a feeling of anxiety, but perhaps the two exceptions were Emiko and a young marine officer named Ogata. When I had last seen Emiko she had just been engaged to Dr. Serizawa; it was the usual triangle, only this time it was to play an important part in the lives of millions of people.
When the troupe finally arrived the next day, they discovered various large, radioactive openings in the soil of Odo Island. Dr. Yomane was stunned….they were the footprints of a living creature! Suddenly, Emiko pointed out something in the crack of the imprint. It was a trilobite, a three-winged worm thought to be extinct.
The shrill sounds of a native gong rang out across the peaceful morning silence and everyone began running toward the top of a hill. I hastily asked Tomo what was going on, but he simply insisted that we follow. Soon we were swept along with the frenzied natives in that strange exodus toward that mountain peak. From our position in the crowd, we could see that Dr. Yomane and his party were fairly close to the top. Then it happened. At first it looked like the mountain was moving….but this was no mountain. Nor was it anything else I could possibly imagine. Several jagged, pointed spines rose like majestic warriors from behind the hill! The horrified people cried out in fear and melted into the side of the mountain for protection. For this was Godzilla….an incredibly large, unbelievably massive prehistoric beast, and the most frightening thing I had ever seen in my life! Staring at the tiny human beings before it, the creature roared and bellowed in terrifying defiance. It was challenging us, challenging mankind itself for mastery of our world.
At a scientific conference held a few days later, Dr. Yomane, one of the eyewitnesses, lead the discussion. Of course, the question we were all asking ourselves was how this animal could reappear after all these years, and so close to the coast of Japan? The doctor suggested that some rare phenomenon of nature allowed this breed of the Jurassic Age to reproduce itself and, for a long span of time, the beast had no reason to reappear to the world. But now that analysis of radioactivity in the creature’s footprints showed the existence of Strontium-90, a product of the H-Bomb, it was Yomane’s considered opinion that Godzilla was resurrected due to repeated experiments with nuclear bombs.
A short while later I phoned my boss, George Lawrence, in Chicago and eagerly gave him the following headline: SECURITY DECIDES TO USE DEPTH BOMBS AGAINST GODZILLA. It would be the first real test of man’s defenses against this prehistoric foe!
In the midst of all the excitement, I finally contacted my good friend, Dr. Serizawa, but declined to see him that evening when he mentioned that Emiko was visiting. The marriage between Emiko and Dr. Serizawa had been arranged when they were both children, and while the girl wasn’t in love with the great scientist, she had great respect and admiration for him. It proved difficult for her to tell him she was planning to marry the young sailor, Ogata.
But what was more important and, indeed, far more surprising lay in the doctor’s mysterious laboratory. Before Emiko could explain her true feelings, Serizawa insisted she observe his new discovery. A large beautiful fish tank stood in the center of his lab, and the girl seemed enchanted with it. Then, Serizawa placed a strange pellet into the water and pulled Emiko away. Bubbles arose furiously from the capsule, and Emiko screamed in revulsion!
Whatever it was she saw, the scientist made her promise to tell no one of it.
By the end of the day, it was generally assumed that the underwater demolitions had ended the short but terrible reign of Godzilla. There was a feeling of relief throughout Tokyo, even celebration, but both the hope and the celebration were short-lived.
For the massive creature was soon sighted rising from the ocean outside of Tokyo! Within moments the city was aware that Godzilla was inside the harbor, and panic began to spread and mount to uncontrollable proportions. The monster slashed at the ocean as the Japanese military began firing. Their bullets and rockets had no effect whatsoever. With the thunder of some monstrous demon, the creature climbed upon land! It was like the end of the world for the seaside citizens of Tokyo. Godzilla crushed automobiles and small houses beneath his massive feet. An oncoming train was savagely attacked, its steel cars crushed within the ferocious jaws of the prehistoric horror. The monster left a legacy of terror and destruction before it finally turned back toward the sea. But we knew that he would be back soon to destroy us all unless some means were found to combat him.
Tokyo was quick to ready its defenses. The city was surrounded by high-tension electrical towers, and to get to the heart of the area, Godzilla would have to break through 300,000 volts of electricity! The officials were fighting against the clock to have everything ready by nightfall, and a general evacuation of all non-essential personnel was ordered. It was a monumental job, but a job that had to be done. By the early evening hours everyone was off the street. The news office commanded a good view of Tokyo and received all reports directly from security headquarters. Everyone in the city was on a watch a wait basis. The wait….was not a long one.
Like some monstrous denizen of Hell, Godzilla emerged from the ocean depths and walked toward the shore. Here in Tokyo, time has been turned back two million years as the creature stalked defiantly across a well-guarded landscape. He was as tall as a thirty-story building, and we gasped with terror as he approached the city’s main line of defense: the 300,000 volts of electricity strung around Tokyo as a barrier against Godzilla! The monster cautiously neared the wires. Explosion after explosion of electrical power began! It seemed for a while as if, at long last, something had finally worked in stopping the prehistoric leviathan. But then our hopes died with the next fatal blow. From out of the monster’s massive mouth came a stream of radioactive vapor! Spewing fire upon the life-saving electrical towers, the strong, steel girders became soft and weak, and began to melt. I could hardly believe what I was seeing. Now it seemed Tokyo had no defense!
The monster destroyed everything in its path. Nothing could withstand its other-worldly might! Buildings, bridges, aircraft, all were wiped from the face of the Earth by this incredible force of ancient nature. An entire tank battalion was sent out to point-blank firing range. The soldiers who commanded these defenses were incinerated in a matter of seconds! Death loomed over Tokyo. Godzilla roared and screamed his challenge into the fiery night sky, as if to alert man of his numbered days. And before I realized what was happening, the ceiling above me began to collapse, and I was soon buried under the wreckage.
Now, it’s a blurred memory as I lie here in the hospital.
“Hi Emiko”, I moan as the young girl’s vision comes into focus and wracks me from my tormented dreams. Her fiance is with her.
“Ogata!” I exclaim. “Anything new develop?”
Emiko answers before the sailor can even speak. “Nothing new will develop unless….I was shown a terrible secret, and was asked never to reveal it!”
I look the girl squarely in the face, and find my senses returning to me at long last. “Emiko”, I ask soberly, “If you can help, you must! Last night Tokyo was destroyed. Tomorrow it might be Osaka or Yokahama.”
“When I went to see Dr. Serizawa, I had intended to tell him of Ogata and me, but there was something he wanted to show me first…He had been experimenting with oxygen when he came upon a terrible chemical discovery: A way to destroy all oxygen in water, thereby disintegrating all living matter! An amount no larger than a baseball could turn Tokyo Bay into graveyard. Serizawa had found a terrible destructive power and until he could find a counteractive developed from his experiments, he didn’t want the world to know his secret. He swore me to silence!”
Ogata eyes his future wife nervously. “Emiko! We need Dr. Serizawa’s help. There is no other way!”
I nod in agreement, and then watch the young couple leave the hospital room.
I don’t know what went on when Emiko and Ogata went to see the great scientist. I only know that he finally did consent to let them use the weapon, after burning the formula for the deadly discovery in his fireplace. We all stand together now, united in our hope for the future.
The boat; finding the location of Godzilla; the oxygen destroyer; all these are ready. Serizawa is assisting Ogata in placing the weapon deep under water as an announcer aboard the ship eagerly asks the world to “please stand by”.
They’ve been under water for several minutes now. It seems like….wait! Serizawa seems to be having trouble! Ogata radioed that he refuses to come to the surface!
“Ogata, is it working!” Serizawa’s voice crackles over the speaker. He can see the horrendous creature approaching in the distance, already feeling the effects of the deadly weapon. As Ogata is pulled to the surface, he can see his comrade remove a knife and start cutting his own hose! “Live happily with Emiko.” He says.
The sea around us is erupting. We are motionless; still; waiting to see what happens next. Suddenly the monster appears! But he is not the terrifying sight that instilled fear and terror into our very souls as before. Godzilla is now bellowing his death throes. In an instant he disappears beneath the surface.
The menace is gone, and so is a great man. But now the whole world can wake up and live again, and perhaps now, with the example set by Dr. Serizawa, we can do so more wisely.
The original "Godzilla" was first released in Japan on November 3, 1954.
Tuesday, July 9, 2013
"Pacific Rim" Resurrects The Kaiju Film
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| Above, a movie theater with the King of the Monsters on the marquee in 1956. |
In it, the article states:
NEW YORK —The appeal of “Pacific Rim” isn’t complicated.
Like the kind of boyhood fantasy that delights in flying men and relishes dreams of dinosaurs, “Pacific Rim,” the latest film from director Guillermo Del Toro, is predicated on the simple, childlike thrill of seeing big ol’ robots and big ol’ monsters slug it out.
But while summer spectacles have grown ever larger in recent years, the monster movie - the original city-smashing genre - has mostly ceded the multiplexes to superheroes and more apocalyptic disaster films. But 14 years after Roland Emmerich’s forgettable “Godzilla” remake, Del Toro’s “Pacific Rim” constitutes a large-scale attempt to bring Japan’s beloved Kaiju movies - their monster films, of which Ishiro Honda’s 1954 “Godzilla” is the most famous - to American shores.
“Monsters have always spoken to a part of me that is really, really essential,” Del Toro, the Mexican director of the Oscar-nominated “Pan’s Labyrinth,” said in a recent interview. “All of my life, I felt out of place. The tragedy of every monster in every movie is that they are out of place. That’s the essential plight of monsters.”To read the article, go here.
Saturday, November 3, 2012
No one was sure. No one except the natives, and they were positive. They said it was….Godzilla!

GODZILLA IS DEAD!
City Saved By Scientist's Secret Invention
Tokyo, Japan - Steve Martin - United World News - Chicago
(Fiction)
Our tale begins dramatically amidst the smouldering ruins of what was once a great city. Twisted girders, cracked, blistering sidewalks and the skeletal frames of demolished buildings paint a grim portrait of this smouldering memorial to the unknown. Tokyo, once a proud metropolis of six million people, is now a graveyard.
The mind is a curious thing. It takes so much for granted! Freedom, happiness, security....these are things we've lived with and accepted, but rarely appreciated. As I look across the crimson, still-smoking horizon, these ideals seem very far away, for what I see, and smell, and sense...is death. Perhaps I myself am dead, and this fiery, lifeless landscape is actually Hell! I don't know..I don't know anything anymore, except that I, as a man, as a member of the human race, have been dwarfed by a living nightmare. It has proven itself stronger, smarter...more powerful than the Earth itself! My world burns before me, and with it, my very soul.
My name was Steve Martin. I used to be a foreign correspondent for United World News. I was headed for a routine assignment in Cairo when I decided to stop off in Tokyo to see an old friend. But that was days ago...I was a man then.
Now I am part of the human wreckage, the rubble and blood and total destruction of last night. I am in a hospital, and all around me are the dead and the injured. Those who are alive are silent, thoughtless...they know it is only a matter of time before "It" strikes again.
People are walking by me very fast now. I can hardly see their faces. Perhaps it is just as well....what does the face of defeat look like, anyway? It couldn't be more sickening that the cold, blank expressions of the lifeless. But ....wait. That girl coming toward me-I know her! Why, it's..."Emiko, Emiko!"
"Steve, Steve Martin! Are you Badly hurt?"
"After last night I'm lucky to be alive. And your father....is he alright?"
"Yes! He's meeting with the security officials now. Don't move Steve, I'll try to get a doctor for you."
A doctor! Hah! What can a doctor do? Will he bring the city back? Will he bestow life upon upon those trampled and crushed and burned? What can anyone do now...now that Godzilla lives? Emiko means well, as do they all...but tonight he will return. Tonight we will not be as fortunate! Death stalks us all, in the furious, rampaging form of a behemoth such as modern man had never seen prior to last night. But wait - I am wrong? He had never been seen! But no one believed those sightings, those reports of a vengeful monster out of ancient myth and legend....it seems so long ago now, but I can still recall every horrifying moment as clear as crystal. A few days ago things were normal...
A small sailing vessel was drifting peacefully in calm water. Some of the men were on deck, staring into the infinite loneliness and wonder that was the ocean. How old the ocean was, they thought. And how mysterious. Suddenly a stark, glaring light flashed across the deck. The men rose instantly and looked about. Then their eardrums burst and their bodies crumpled before a sound like no other....a heavy, thundering roar like the wail of some unholy foghorn. Flames filled the air. The radio men tried to send for help but there wasn't enough time. In an instant, the vessel had disappeared beneath the cruel, burning waves...
When I finally arrived at the airport the following morning, I was greeted by Shegarito, Dr. Serizawa's trusted assistant. But before we could visit the good scientist, a Japanese officer interrupted our meeting and asked me to come to the security headquarters. Slightly annoyed at the curious request, I asked Shegarito to extend my apologies to Dr. Serizawa and reluctantly followed the officer into a small room. Although I could not understand all of it, I figured out that the reason for everyone's strange behavior this curious morning involved the sinking of that small sailing vessel...
My part in the confusion was finally made clear to me. A friendly, English-speaking Japanese official named Tomo asked me several questions about my flight. He was seeking answers to the perplexing enigma of that ship disaster! What could have caused it? A mine, or a collision perhaps...but when the ship's doomed radiomen sent a message through, it told only of a blinding flash of light.
It was a mystery, alright. The Japanese authorities were trying to solve that mystery by sending out a rescue ship to survey the disaster area.
That rescue ship was never heard from again.
While officials tried their best to control the panic elicited from these strange accidents, news of the disasters finally leaked out. A frightened public demanded an explanation! Scientists and government men were brought together to discuss courses of action and offer solutions. Among them was Dr. Yomane, Japan's foremost paleontologist, whom I had met through my friend Serizawa several years ago. If there was an answer to these mysterious sea disasters, it would come from these men.
After much desperate conversation, Dr. Yomane suggested to the officials that they question the natives of Odo Island, a small bleak, spot of land that was close to the area where the tragedies had taken place. Confused, but receptive, the authorities quickly agreed. I was allowed to tag along.
Odo was an industrious little island in the Pacific populated by several hundred natives who were now paralyzed with fear. These people were the only ones to see some of the fires at sea, as well as locate one survivor of a sinking. His visit, unfortunately, was a short one! As the Japanese officials descended upon the island’s small community, the natives became even more frightened. One babbled what everyone considered to be a “ridiculous” story to Tomo. Nervously, he informed the official that a horrible monster was responsible for all the disasters.
Too much sake, I thought to myself.
That evening I had the unique opportunity to witness a rare ceremony. The islanders were apparently performing an ancient folk-dance, and wore rather frightening reptile-like face masks. Tomo enlightened me as to an old Odo legend, which stated that somewhere off shore there lived a massive creature of incredible strength. Although this sounded silly to me at first, I was curious about the monster’s name and asked Tomo if he knew it. A native answered for him. The thing was called Godzilla.
Much later that night, Tomo and I were sleeping in a tent we had set up at the far edge of the island. Restless, I awoke to notice a peculiar flickering in our lantern. The very ground beneath us appeared to be quivering! Tomo and I wedged ourselves around our tent pole for support as wind and rain began to pound against us. Staring into the furious blackness, we could hear huts falling a people shouting. For this was more than just the wind and rain and lightening. Much more. I wasn’t sure just what it was. No one was sure. No one except the natives, and they were positive. They said it was….Godzilla!
It was decided that a return trip to Odo was necessary if the mystery of these unusual occurrences would ever be solved. Dr. Yomane himself would visit the island to search for signs of unusual phenomena. On the morning of the sailing, Pier “J” swarmed with well-wishers for the doctor and his party. But there was still a feeling of anxiety among the passengers. For every ship that had taken this course had vanished from the face of the Earth. Yes, there was a feeling of anxiety, but perhaps the two exceptions were Emiko and a young marine officer named Ogata. When I had last seen Emiko she had just been engaged to Dr. Serizawa; it was the usual triangle, only this time it was to play an important part in the lives of millions of people.
When the troupe finally arrived the next day, they discovered various large, radioactive openings in the soil of Odo Island. Dr. Yomane was stunned….they were the footprints of a living creature! Suddenly, Emiko pointed out something in the crack of the imprint. It was a trilobite, a three-winged worm thought to be extinct.
The shrill sounds of a native gong rang out across the peaceful morning silence and everyone began running toward the top of a hill. I hastily asked Tomo what was going on, but he simply insisted that we follow. Soon we were swept along with the frenzied natives in that strange exodus toward that mountain peak. From our position in the crowd, we could see that Dr. Yomane and his party were fairly close to the top. Then it happened. At first it looked like the mountain was moving….but this was no mountain. Nor was it anything else I could possibly imagine. Several jagged, pointed spines rose like majestic warriors from behind the hill! The horrified people cried out in fear and melted into the side of the mountain for protection. For this was Godzilla….an incredibly large, unbelievably massive prehistoric beast, and the most frightening thing I had ever seen in my life! Staring at the tiny human beings before it, the creature roared and bellowed in terrifying defiance. It was challenging us, challenging mankind itself for mastery of our world.
At a scientific conference held a few days later, Dr. Yomane, one of the eyewitnesses, lead the discussion. Of course, the question we were all asking ourselves was how this animal could reappear after all these years, and so close to the coast of Japan? The doctor suggested that some rare phenomenon of nature allowed this breed of the Jurassic Age to reproduce itself and, for a long span of time, the beast had no reason to reappear to the world. But now that analysis of radioactivity in the creature’s footprints showed the existence of Strontium-90, a product of the H-Bomb, it was Yomane’s considered opinion that Godzilla was resurrected due to repeated experiments with nuclear bombs.
A short while later I phoned my boss, George Lawrence, in Chicago and eagerly gave him the following headline: SECURITY DECIDES TO USE DEPTH BOMBS AGAINST GODZILLA. It would be the first real test of man’s defenses against this prehistoric foe!
In the midst of all the excitement, I finally contacted my good friend, Dr. Serizawa, but declined to see him that evening when he mentioned that Emiko was visiting. The marriage between Emiko and Dr. Serizawa had been arranged when they were both children, and while the girl wasn’t in love with the great scientist, she had great respect and admiration for him. It proved difficult for her to tell him she was planning to marry the young sailor, Ogata.
But what was more important and, indeed, far more surprising lay in the doctor’s mysterious laboratory. Before Emiko could explain her true feelings, Serizawa insisted she observe his new discovery. A large beautiful fish tank stood in the center of his lab, and the girl seemed enchanted with it. Then, Serizawa placed a strange pellet into the water and pulled Emiko away. Bubbles arose furiously from the capsule, and Emiko screamed in revulsion!
Whatever it was she saw, the scientist made her promise to tell no one of it.
By the end of the day, it was generally assumed that the underwater demolitions had ended the short but terrible reign of Godzilla. There was a feeling of relief throughout Tokyo, even celebration, but both the hope and the celebration were short-lived.
For the massive creature was soon sighted rising from the ocean outside of Tokyo! Within moments the city was aware that Godzilla was inside the harbor, and panic began to spread and mount to uncontrollable proportions. The monster slashed at the ocean as the Japanese military began firing. Their bullets and rockets had no effect whatsoever. With the thunder of some monstrous demon, the creature climbed upon land! It was like the end of the world for the seaside citizens of Tokyo. Godzilla crushed automobiles and small houses beneath his massive feet. An oncoming train was savagely attacked, its steel cars crushed within the ferocious jaws of the prehistoric horror. The monster left a legacy of terror and destruction before it finally turned back toward the sea. But we knew that he would be back soon to destroy us all unless some means were found to combat him.
Tokyo was quick to ready its defenses. The city was surrounded by high-tension electrical towers, and to get to the heart of the area, Godzilla would have to break through 300,000 volts of electricity! The officials were fighting against the clock to have everything ready by nightfall, and a general evacuation of all non-essential personnel was ordered. It was a monumental job, but a job that had to be done. By the early evening hours everyone was off the street. The news office commanded a good view of Tokyo and received all reports directly from security headquarters. Everyone in the city was on a watch a wait basis. The wait….was not a long one.
Like some monstrous denizen of Hell, Godzilla emerged from the ocean depths and walked toward the shore. Here in Tokyo, time has been turned back two million years as the creature stalked defiantly across a well-guarded landscape. He was as tall as a thirty-story building, and we gasped with terror as he approached the city’s main line of defense: the 300,000 volts of electricity strung around Tokyo as a barrier against Godzilla! The monster cautiously neared the wires. Explosion after explosion of electrical power began! It seemed for a while as if, at long last, something had finally worked in stopping the prehistoric leviathan. But then our hopes died with the next fatal blow. From out of the monster’s massive mouth came a stream of radioactive vapor! Spewing fire upon the life-saving electrical towers, the strong, steel girders became soft and weak, and began to melt. I could hardly believe what I was seeing. Now it seemed Tokyo had no defense!
The monster destroyed everything in its path. Nothing could withstand its other-worldly might! Buildings, bridges, aircraft, all were wiped from the face of the Earth by this incredible force of ancient nature. An entire tank battalion was sent out to point-blank firing range. The soldiers who commanded these defenses were incinerated in a matter of seconds! Death loomed over Tokyo. Godzilla roared and screamed his challenge into the fiery night sky, as if to alert man of his numbered days. And before I realized what was happening, the ceiling above me began to collapse, and I was soon buried under the wreckage.
Now, it’s a blurred memory as I lie here in the hospital.
“Hi Emiko”, I moan as the young girl’s vision comes into focus and wracks me from my tormented dreams. Her fiance is with her.
“Ogata!” I exclaim. “Anything new develop?”
Emiko answers before the sailor can even speak. “Nothing new will develop unless….I was shown a terrible secret, and was asked never to reveal it!”
I look the girl squarely in the face, and find my senses returning to me at long last. “Emiko”, I ask soberly, “If you can help, you must! Last night Tokyo was destroyed. Tomorrow it might be Osaka or Yokahama.”
“When I went to see Dr. Serizawa, I had intended to tell him of Ogata and me, but there was something he wanted to show me first…He had been experimenting with oxygen when he came upon a terrible chemical discovery: A way to destroy all oxygen in water, thereby disintegrating all living matter! An amount no larger than a baseball could turn Tokyo Bay into graveyard. Serizawa had found a terrible destructive power and until he could find a counteractive developed from his experiments, he didn’t want the world to know his secret. He swore me to silence!”
Ogata eyes his future wife nervously. “Emiko! We need Dr. Serizawa’s help. There is no other way!”
I nod in agreement, and then watch the young couple leave the hospital room.
I don’t know what went on when Emiko and Ogata went to see the great scientist. I only know that he finally did consent to let them use the weapon, after burning the formula for the deadly discovery in his fireplace. We all stand together now, united in our hope for the future.
The boat; finding the location of Godzilla; the oxygen destroyer; all these are ready. Serizawa is assisting Ogata in placing the weapon deep under water as an announcer aboard the ship eagerly asks the world to “please stand by”.
They’ve been under water for several minutes now. It seems like….wait! Serizawa seems to be having trouble! Ogata radioed that he refuses to come to the surface!
“Ogata, is it working!” Serizawa’s voice crackles over the speaker. He can see the horrendous creature approaching in the distance, already feeling the effects of the deadly weapon. As Ogata is pulled to the surface, he can see his comrade remove a knife and start cutting his own hose! “Live happily with Emiko.” He says.
The sea around us is erupting. We are motionless; still; waiting to see what happens next. Suddenly the monster appears! But he is not the terrifying sight that instilled fear and terror into our very souls as before. Godzilla is now bellowing his death throes. In an instant he disappears beneath the surface.
The menace is gone, and so is a great man. But now the whole world can wake up and live again, and perhaps now, with the example set by Dr. Serizawa, we can do so more wisely.
The original "Godzilla" was first released in Japan on November 3, 1954.
Wednesday, December 7, 2011
Honda Estate vs. Toho: More Information

Here's a few more details (and confirmation that there is a legal action pending) from Godzilla historian Ed Godzisewski (right) that was posted at the Monster Zero message board:
Yes, there is a legal case ongoing in Japan. Has been for a while. I have heard about the case from Ryuji for a couple years. The family has preferred to just quietly pursue the case the way it should be done, in court. It all stems from the Japanese system that gives rights to writers (not directors).
The first ruling is due in February.
Looks like we won't have to wait too long.
Monday, December 5, 2011
Honda Estate vs. Toho: Delving Deeper
Above, the Godzilla statue at Toho Studios. Photo by Armand Vaquer.The story of the alleged lawsuit by the family of late director Ishiro Honda against Toho Co., Ltd. over the Godzilla copyright may have some legs after all.
Over on Facebook, some of us were mulling over the story.
It was asked by one participant: "Couldn't we have somebody in Japan verify if a Complaint has actually been filed? Those are a matter of public record·"
Noted Godzilla historian August Ragone replied that he had looked into it and he is currently "writing up something about this now [for his blog]."
Once he does, I'll post a link to his blog post. This should be interesting!
It appears we may be on the verge of learning something about Japanese copyright law.
Sunday, December 4, 2011
Honda Estate vs. Toho Ramifications?
Above, yours truly with the Godzilla statue at Toho Studios.The story of the alleged copyright lawsuit against Toho by the heirs of Ishiro Honda over the Godzilla character may have some big ramifications if 1.) the story is true or, 2.), they actually win.
The story does not sound Japanese to me. Maybe in America, perhaps (i.e., Bela Lugosi Jr.'s legal actions over his father's image and The Three Stooges).
If the story is true and Honda's heirs prevail and win the Godzilla copyright from Toho, could we see Noriaki Yuasa's estate taking similar action against Kadokawa Pictures (the successor company to Daiei) over the Showa Gamera and Shusuke Kaneko over the Heisei Gamera? Who knows what (or who) may come out of the woodwork?
It will be interesting to see how this plays out, if true.
Saturday, December 3, 2011
Ishiro Honda Family Suing For Godzilla Copyright
It has been reported that the family of Godzilla director Ishiro Honda is suing Toho Co., Ltd. for the copyright to the Godzilla character.
According to this article in Ridersrangersandrambles.com:
In a past case, the copyright for Godzilla was supposed to belong to the Honda estate, but Toho insists on having at least the merchandising rights to the character.
Personally, I don't see how Ishiro Honda or his family has any claim to the rights to the character as Honda was a staff director of Toho, unless there is some codicil in his contract with the movie studio giving him some rights. Then again, there may be something in Japanese law or case law that provides this.
To read the full article (with links to Japanese sites), go here.
Tuesday, September 7, 2010
Top Five Godzilla/Kaiju Books
by Armand Vaquer
With Christmas just around the corner, it is worthwhile to take a look at what English language, mass-market books to buy for the newbie or longtime kaiju fan.
Most of these books are still available through various sources such as Amazon.com, eBay, Barnes and Noble, Border's Books, etc.
So if you are wondering what to buy, here's my top five Godzilla books:

Number One. Eiji Tsuburaya: Master of Monsters by August Ragone is the top book to pick up without question. Ragone is thorough in his research on the genius of Japanese special effects with many rare photographs. Toho Co., Ltd. and Tsuburaya Productions cooperated in the production of this book and it shows! Hardcover.

Number Two. Japan's Favorite Mon-Star by Steve Ryfle is a valuable reference book on the history of the Godzilla movies. Although dated (this one cries out for an update as it ends with the 1998 U.S. Godzilla), Ryfle's research on the King of the Monsters makes this a must-have in your book collection. Softcover.

Number Three. Mushroom Clouds and Mushroom Men: The Fantastic Cinema of Ishiro Honda by Peter H. Brothers is the first (it came out last year) English language biography of Japan's top director of science-fiction and fantasy films. Although it has no photos and there's some glaring typos, this is a must-have book for G-fans. Softcover.

Number Four. Monsters Are Attacking Tokyo! by Stuart Galbraith IV is a collection of interviews of actors, directors, special effects directors and others organized by topic. Although the organizing could have been better executed (some fans feel it is too disjointed), it is a valuable resource as it includes interviews with some who have since passed on. Softcover.

Number Five. Godzilla On My Mind by William Tsutsui is a tome of what Godzilla means to fans. If you're looking for a filmography, this isn't the book for you. But if you're interested in Godzilla and his pop-culture influence, grab this book. Softcover.
Others

A Critical History and Filmography of Toho's Godzilla Series, 2d ed. by David Kalat. This edition just came out and I haven't read it yet. But, I am told that it is an excellent book on the Godzilla series. It is available at Amazon.com. Hardcover.

The Official Godzilla Compendium by J. D. Lees and Marc Ceracini is long out of print and if one can find one, it is generally pricey. It is a good introductory book aimed at the small-fry fan. It has reached the status of a collectors' item. Softcover.

The Monster Movie Fan's Guide To Japan by Armand Vaquer came out this year and is a travel guide to Japan tailored to fans of Japanese science-fiction and fantasy films featuring movie locations, attractions, transportation and accommodations. Magazine format.
Thursday, March 18, 2010
The Los Angeles Science Fantasy Society Meets Peter H. Brothers
Left, Peter H. Brothers as he gave his presentation to the L.A. Science Fantasy Society. Unfortunately, I forgot my camera and had to rely on my cell phone for this shot.The Los Angeles Science Fantasy Society Meets Peter H. Brothers
by Armand Vaquer
Peter H. Brothers spoke on his book on Japanese director Ishiro Honda, Mushroom Clouds and Mushroom Men: The Fantastic Cinema of Ishiro Honda, tonight before the Los Angeles Science Fantasy Society in North Hollywood, California.
He spoke on how he decided to write a biography/filmography on Honda and the journey he took in getting it into print.
His talk was well-received by the members of the organization, which has their own "clubhouse" property consisting of two buildings at 11513 Burbank Blvd., North Hollywood.
Joining us at the meeting was long-time kaiju historian Richard Pusateri (who had me sign his copy of The Monster Movie Fan's Guide To Japan). I also ran into a friend from my college days at the meeting.
Peter introduced me to the audience and had me hold up my copy of The Monster Movie Fan's Guide To Japan.
Tuesday, February 9, 2010
Peter H. Brothers's New Website
Peter H. Brothers's New Website
by Armand Vaquer
Every writer should have a website. And a new website has just opened up.
At long last, writer Peter H. Brothers has just set up a new website called Godzilla My Dreams. He's the author of the new book, Mushroom Clouds and Mushroom Men: The Fantastic Cinema of Ishiro Honda.
Included is a guestbook, gallery and store. Eventually, he will have exhibitions of Japanese science-fiction and fantasy films.
To check out Pete's site, go here.
Tuesday, January 12, 2010
The Peter H. Brothers Interview
The Peter H. Brothers Interview:
Mushroom Clouds and Mushroom Men: The Fantastic Films of Ishiro Honda
by Armand Vaquer
Longtime Godzilla fan Peter H. Brothers has completed his new biography/filmography on director Ishiro Honda. Recently, Peter discussed his book. It is available for purchase through www.authorhouse.com.
Q. Peter, congratulations on the publication of your new book, Mushroom Clouds and Mushroom Men: The Fantastic Cinema of Ishiro Honda. You must be proud of your completed work and relieved?
A. Thank you very much, but it’s not in my nature to be proud of anything I accomplish; it could always have been better. But yes, I am relieved that it is finally in print. I did do my best.
Q: Please tell us a little about yourself. What publications have you written for?
A: Well, I have loved Honda’s movies ever since seeing Godzilla, King of the Monsters! when I was a child; I was also fortunate to have seen King Kong vs. Godzilla, Atragon, Mothra, Varan the Unbelievable and Godzilla vs. the Thing in theaters during their initial runs. I have been writing articles on Japanese science-fiction films ever since Brad Boyle’s Japanese Giants in the early 1970s, but the vast majority of my writings have appeared in G-Fan.
Q: When did you decide to write a biography/filmography on Ishiro Honda?
A: In 1973 I was working at my first job when I thought about how nice it would be to write a book about Ishiro Honda. When no one had do so in the intervening 30 years, I mentioned my idea during a lunch I shared with Brett Homenick and Brant Elliott at a Japanese fantasy film convention. They gave me a great deal of encouragement to get the ball rolling.
Q: When did you start it?
A: In many respects I began writing the book as far back as 2000 when my first articles on Honda’s fantasy films were printed in G-Fan, although I didn’t know it then. The articles were in many ways embryonic versions of the chapters in the book to follow. It was not until late 2004 that I began to write the book in earnest.
Q: What was your original concept for the book?
A: I based much of the book’s format on Citadel movie personality books, which begin as biographies and then discuss the films in chronological order.
Q: What did you learn about Honda that was most surprising?
A: Just how loyal he was to his employer. After starting at Toho in the early thirties, Honda was drafted several times into military service, but each time he returned to work as an assistant director. As I mentioned in an unpublished early draft of the book:
In the spring of 1947, in what became known as the “Third Toho Dispute,” the studio fired some 1200 workers; the “official” reason given that the studio was now overstaffed. When asked years later to give his impression of the dispute, Honda said, “Well, we were union members, so we did what the union told us to do; but we were not all that excited about it. All we wanted to do was make movies.
“People suggested I transfer over to the New Toho, but I didn’t want to leave behind the people who were still with the old Toho. I questioned the whole concept of having to choose right or left, yes or no. I just wanted to make movies, but I didn’t want to dance to either company’s tune. I wanted to make something that would satisfy me, not necessarily something that would make me a lot of money.”
Kimi remembered those tense times: “We were living 10 minutes away from the studio, so our home became the rendezvous point for everyone. I cooked food with whatever we had and fed those guys.”
Director Kon Ichikawa – who would later direct The Burmese Harp and Fires on the Plain -- had broken with Toho, and visited Honda to see if he would join the staff at New Toho. Honda declined, preferring to remain with the original unit. The dispute eventually reached such proportions that American Occupation troops were called in to monitor the situation; fortunately, the strike was ultimately resolved without violence (the New Toho eventually declared bankruptcy in 1961).
Q: What source material did you rely upon while writing it?
A: A number of Japanese sources such as books written on Honda and the Toho fantasy films.
Q: Was this a solo effort or did you have help?
A: Originally I had hoped to work with Oki Miyano (who was the best translator I ever worked with as well as possessing a considerable amount of unique material on Honda). Unfortunately, we had different ideas on how the book should be written; plus there was a misunderstanding over an incident that occurred during an event at the American Cinematheque at the Egyptian theater in Hollywood, when he thought I was being rude to Mr. Inoue and Mr. Arikawa [while] being interviewed by Steve Ryfle before a screening of the American version of Rodan. Believing the lies being told about me, Miyano brought off contact. I regret it very much, because his information and input would have been invaluable for the book, but that was his decision, not mine.
Q: That’s unfortunate. So how were you able to translate the Japanese source materials?
A: With time and money, both of which are in short supply. I do not have the luxury of having a Japanese wife or girlfriend who will gladly translate for me for free. Over the years I would be introduced to Japanese transfer students whom I would pay to translate the material.
Even this lead to some difficulties, as translating Japanese into English is filled with many variables; often the material would be returned to me in English but in an almost jumbled state, so I had to try and sort it all out as to what was being stated. I used over half-a-dozen different translators for the book.
Q: What did you find the most difficult experience while writing it?
A: The most difficult experience was writing at home in my spare time, since I was also working a full-time job with the additional responsibilities that come with being a husband, a father and a dog-walker.
Q: What was the most frustrating aspect of writing this book?
A: Trying to get a mainstream publisher to print it. One sat on it for six months before telling me they were not interested.
Q: What were the most enjoyable aspects of writing this book?
A: It was always a joy to write. There would be days when I would be working a nine-hour day staring at a computer, get home bone-tired and only wanting to spend maybe a half-hour on the book. I would get started, look at the clock and two-to-three hours had gone by. That’s what threw me about writing the book, it was never a chore.
Q: You had a book deal with Midnight Marquee. What happened with that and why did you go with AuthorHouse?
A: It’s a rather involved story, but after sitting on my manuscript for three months before they even knew they had received it, I had to force the issue after an additional two months, at which time they did agree to publish it. However, their delay in getting me a contract -- plus the fact that they would not move-up the publishing date at my request (a concern as others were working on their own Honda book) -- forced me to seek publication elsewhere.
Q: Did you watch all of Honda’s movies, including the non-genre ones?
A: I wouldn’t have put a comma between “movies” and “including” but hopefully someday all of Honda’s films will be available in video, but the sad fact is that his non-genre films are rarely available on home video in Japan as he is considered only as a fantasy film director, even though those films include only half the total of all the films he directed; THAT would be my dream come true. Fortunately I was able to see Ise Shima, Farewell Rabaul, Eagle of the Pacific and Will You Marry Me?
As far as his fantasy films are concerned, I was already very familiar with all but two that I had never seen before writing the book: H-Man and Yog, two polar opposites if there ever were!
Q: What did you find most interesting about his non-genre movies?
A: There is still the same sense of calmly-determined understated craftsmanship; but, as was the case with all his films, if the project did not have an emotional heart at its core, it was not terribly interesting to watch, because Honda was not terribly interested in directing it.
Q: What are your favorite Honda genre movies?
A: Well, it all begins and ends with the original Godzilla, but I also love The Human Vapor as well as Godzilla vs. the Thing, Atragon and Rodan. I also get a kick out of The Mysterians and Varan.
Q: Did you do any research for your book while in Japan when you were there for G-TOUR?
A: No, I was too busy taking in the sights with my family; I was particularly disappointed we were not allowed to visit Toho Studios. What an experience that would have been!
Q: Well, we tried. Were you able to interview any of his associates?
A: Sadly, I do not have the money and the means to do so, and I have always been out of the loop when people have interviewed Honda’s actors; I always find out about it after the fact (although Brett Homenick was kind enough to forward some of my questions to Rhodes Reason when he interviewed him).
Q: Did you rely upon any American books or periodicals while researching your book? If so, which ones?
A: Magazines such as Famous Monsters of Filmland, Markalite, G-Fan, Fangoria and the like. David Kalat’s A Critical History and Filmography of Toho’s Godzilla® Series was an inspiration, as was the late Guy Mariner Tucker’s seminal work on the subject, Age of the Gods.
Q: Which did you find most useful?
A: Age of the Gods, which I frequently referred to.
Q: What was the process like when you were shopping your book around to different publishers?
A: Depressing and frustrating. Japanese fantasy films is a specialized market to begin with, and there was great difficulty in convincing publishers as to the legitimacy of the subject matter (for example, I submitted a proposal to Titan Books in England, but was told that – even thought the book fell within their parameters – it was not something they would be interested in). I contacted nearly two-dozen publishers, of which only four agreed to read the manuscript.
Q: What are your five favorite Ishiro Honda movies?
A: Well, again, I wish I could see them all, but Farewell Rabual should be available on Criterion; for that matter, Toho should show some guts and release Abominable Snowman on home video, it is a stunning film.
Q: Would you attempt another book? If so, what would the subject be?
A: Only if conditions warrant it. I am considering a book on the making of the first Godzilla film (another topic long overdue in book form) as well as a book on my idol, actor Bela Lugosi (incidentally, I was delighted that the book became available on Lugosi’s birthday – October 20th – as well as in the 55th anniversary year of the release of the original Godzilla. The book may still be available in 2011, which is the Centennial of Honda’s birth.
Q: Who designed the cover?
A: That’s a picture of my wedding reception! Seriously, the publishing house referred me to a public-domain pictorial site called “Jupiter Images.” It was up to me to pick out two images I could use for free, and the mushroom cloud was a cinch. However, pictures of Toho’s Mushroom Men are rare (and copyrighted), so I had to go with zombies, but their silhouettes can be loosely-interpreted as Mushroom Men during their transformation phase.
Q: Who came up with the title, Mushroom Clouds and Mushroom Men: The Fantastic Cinema of Ishiro Honda? I thought it was pretty clever.
A: A fellow I work with named Ryan Eden came up with the book’s snazzy title. Ryan is also a fan of the genre, and I asked him to come up with a title that would hint at themes common to Honda’s fantasy films. The title conveys not only the nuclear bomb connection (a theme so prevalent in Honda’s films) but also one of his most famous movies (Ryan’s original title was Mushroom Clouds and Mushroom People, but I changed “People” to “Men” for a better rhythm).
Q: Is there any aspect of Ishiro Honda that the reader's attention should be drawn to?
A: I think if there is one word that best describes Honda the man and Honda the professional, that word is "integrity." This I feel is true of not only him but of his collaborators: Tsuburaya, Ifukube, Tanaka and all the rest. They loved and respected their profession, and were not only grateful but keenly aware of their responsibilities as filmmakers. To a man, their motto was: "Give the audience its value and a good show." And they always did. The results may not have been totally satisfactory, but the effort was always there. This I believe is the key to their long lasting legacy.
Q: Do you have any messages to the G-fans out there and why they should buy your book (besides helping to put food on your table)?
A: Be the best move they ever made. Seriously it was always my attention to bring to light and hopefully the mainstream media's attention why Honda should be taken seriously as an artist and a filmmaker. His works have lasted through the decades and have made the cinema richer by his marvelous craftsmanship. There is a great deal of information on Honda never before seen in English book form, and although I originally intended it to be "definitive," I am hopeful it will get the dialogue going; I am also delighted to see so many of his films recently coming out in their Japanese versions on American DVD. I never thought I would ever see that in my lifetime. It's wonderful!
By "food on the table" I presume you mean my making money from the book. Surely you jest. Money was never my intention, or fame. It may interest you to know that shortly after I decided to write the book, you put me into contact with "G-Author Steve Ryfle." I was very excited and keen to get his approval and encouragement. Instead, Mr. Ryfle tried to talk me out of writing the book on the premise that I would not make a lot of money from it. Now I understand -- according to what I've been told -- Mr. Ryfle is currently working on a book on Ishiro Honda. Hmmm....
No, money was never an issue with me -- unless you count the change I have spent on not only doing the research but in getting the book printed. Just to break even, Mushroom Clouds and Mushroom Men will have to make it on the New York Times Bestseller list, and I don't see that happening. The important thing was to get the word out on Honda to both those familiar with his films and to those unfamiliar with his films; giving some respect to a man who has always deserved it.
If I have at least accomplished that -- and people find the book entertaining and worth their time and money -- I can take some satisfaction in that I have hopefully done right by a man whose example I tried to follow: Ishiro Honda.
UPDATE: Autographed copies of Mushroom Clouds and Mushroom Men: The Fantastic Cinema of Ishiro Honda are now available on eBay.
Saturday, November 14, 2009
A Get-Together Celebrating Peter H. Brothers' Book
by Armand Vaquer
Getting together with friends is a good thing. Celebrating a friend's new book made it even better.
Peter H. Brothers has a new book out. It's called Mushroom Clouds and Mushroom Men: The Fantastic Cinema of Ishiro Honda. It is a biography/filmography of the most celebrated director of Japanese science-fiction and fantasy films, Ishiro Honda.
Today, several of us gathered at Peter's home in Agoura Hills, California for a little celebration of his book's "going live" (i.e., offered on the market) through his publisher, AuthorHouse and through Amazon.com (see photos).
We discussed the trials and tribulations (and joys) of getting a book out into print. Originally, Peter's book was accepted by a publisher, but their schedule was too lackadaisical for Peter's taste (he discusses all this at-length in an upcoming G-FAN interview). Rather than let things languish, he elected to go the self-publishing route.
To be honest, although he would have preferred to have gone through a conventional publisher, he is pleased at the end result. The book does look good and, it is being offered at Amazon.com. The arrangement offered him more control over the resulting product. So, as far as he's concerned, he's satisfied that his years of work is seeing the light of day.
While there, I showed the group the initial layouts and cover of The Monster Movie Fan's Guide To Japan and they were complimentary.
Peter and I may join forces at next year's Monsterpalooza in Burbank and have a table set up to sell our publications.
Now the task of promoting it begins!
Tuesday, October 20, 2009
Mushroom Clouds and Mushroom Men: The Fantastic Cinema of Ishiro Honda

Mushroom Clouds and Mushroom Men: The Fantastic Cinema of Ishiro Honda
Peter H. Brothers's book, Mushroom Clouds and Mushroom Men: The Fantastic Cinema of Ishiro Honda is now available!
The book is now available at AuthorHouse. Here's what they say about it:
Here, for the first time in English print, is the inspiring story of a humble and soft-spoken man who became one of the most-prolific directors in the history of fantasy films. Raised in a primitive Japanese village by a Buddhist monk, Ishiro Honda fell in love with films at a young age and soon enrolled in film school with the intent of one day becoming a director. Called to enlist in the Imperial Japanese Army druing World War II, he returned with a knowledge of the futility of war and a dread of the atomic age. A dedicated craftsman who directed over 80 films during a remarkable 60-plus year career, Honda is undeservedly remembered mostly as the "greatest director" of the famous Japanese monster film series; however, he was in fact much more. Utilizing a wide-variety of source material never before assembled into one volume, Mushroom Clouds and Mushroom Men is an objective critical analysis and definitve study of a man whose fantasy films -- when seen in their original versions -- are "beautiful nightmares" of quality and subtext which transcend the visceral thrill of watching monsters destroying cities. Honda's admirers include George Lucas, Martin Scorsese and Steven Spielberg and his films are masterpieces of entertainment that have enthralled audiences for generations . . . and will for generations to come.
To place your order, go here. It will be soon available at Amazon.com.
Saturday, July 25, 2009
Peter H. Brothers' Ishiro Honda Bio To Be Published
Above, Kumi Mizuno and director Ishiro Honda during filming of "Monster Zero." I guess Mizuno was quite a handful to direct.Peter H. Brothers' Ishiro Honda Bio To Be Published
by Armand Vaquer
To quote a line from The Mysterians, "Good News! Good News!"
I received the following message from Peter H. Brothers:
The publisher has decided to publish my Ishiro Honda book.
It's in the early stages yet; no contract or release date and there will be many details and possibly more delays, but they have agreed to publish it.
I will keep you posted, and thanks many times over for your encouragement and support.
As mentioned previously, Peter had been working on his biography/filmography on Ishiro Honda for the past several years.
Details will be posted here when they are finalized.
Tuesday, April 7, 2009
Ishiro Honda Bio Being Negotiated

Above, Skip Peel, Peter H. Brothers, J. D. Lees and Armand Vaquer in Kyoto, Japan, August 2004 during G-TOUR.
Ishiro Honda Bio Being Negotiated
by Armand Vaquer
Peter H. Brothers is currently in discussions with a publisher on his biography/filmography on Japanese giant monster director Ishiro Honda. Several publishers have expressed interest in the book and negotiations are currently underway.
Above, Ishiro Honda with special effects director Eiji Tsuburaya during the making of the Toho's classic "Godzilla" in 1954. Toho Co., Ltd. photo.Honda was the director of classic Godzilla movies and other Japanese science-fiction and fantasy films of the 1950s and 1960s beginning with Godzilla in 1954. His last Godzilla movie was Terror of Mechagodzilla (Mekagojira No Gyakushu) in 1975.
Brothers had been working on his book for the past several years and is currently a contributor to G-FAN magazine. He received several nominations for a Rondo Hatton Award for his articles.
He also does some small-theater acting work in his spare time.
Tuesday, May 13, 2008
Destroy All Monsters - Rare Godzilla vs Manda Footage
Sources: Baradagi1985 / Godzilla Society of North America - Forums
One of the members of the Yahoo Group (His handle is lbh66622001), The Godzilla Society of North America, was keen in spotting this on the UK version of Youtube. The sequence shows some deleted footage from "Destroy All Monsters' in which Godzilla and Manda fight each other during their attack on Tokyo. According to the person who found the footage, "The rumor is that one day Mr. Honda got bored during shooting and decided to stage a little tussle between Godzilla and Manda." My guess would be that the footage came from a Japanese DVD release, but I don't know that for sure. Maybe one of these days I will fork out the $50 and get the import DVD for the movie, like I have always wanted to.
See Also: The King Of Monsters Sings Opera In Waiting For Godzilla /G-FEST XV News Release /Hitomi Muto Talks About Her Grandfather Eiji Tsuburaya / Toho Sues Subway Over Monster Sandwich Add / 3D Godzilla Film In Production / Godzilla vs The Gryphon - Jeff Farley's Godzilla Sculpt / G-FEST XV Guests /G-FAN Special Update /An Exclusive! Godzilla 94' Page 60 / Comic Book Artist Dave Stevens Passes Away At Age 52 / Godzilla Takes Out A Drunk In Bangkok / Ghidorah The Three-Headed Monster (1964) / Mothra vs Godzilla (1964) /Gigantis The Fire Monster
Wednesday, April 9, 2008
Ghidorah The Three-Headed Monster (1964)
San daikaiju: Chikyu saidu no kessen / Ghidrah: The Three-Headed Monster (1964)
AKA: The Biggest Battle on Earth (1964), The Biggest Fight on Earth (1964), Earth's Greatest Battle (1964), Ghidrah, The Three-Headed Monster (1964), Ghidorah (1964), Gojira Mosura Kingugghidorah: chikyu saidai no kessen (1971), The Greatest Battle on Earth (1964), Monster of Monsters (1964), Three Giant Monsters: The Earth's Greatest Decisive Battle (1964)
Directed By: Ishiro Honda
Cast:
Yosuke Natsuki as Detective Shindo
Yuriko Hoshi as Naoka Shindo
Hiroshi Koizumi as Professor Miura
Akiko Wakabayashi as Mas Selina Salno, Princess of Sergina
Emi Ito as Shobijin (Twin Fairy)
Yumi Ito as Shobijin (Twin Fairy)
Akihiko Hirata as Chief Detective Okita
Hisaya Ito as Malmess, Chief Assasin
Minoru Takada as Chairman of the Board
Runtime: 92 Minutes Japanese Original, 73 Minutes Japanese 1971 Reissue, 85 Minutes USA Version
Color by Eastmancolor
Sound: Mono
DVD Release: June 5th 2007 (USA) Order Ghidorah, the Three-Headed Monster from Amazon $13.99
The information listed here comes directly from the original press release from Ghidrah: The Three Headed Monster (1964)
The balance of the universe has been upset by the entrance into earth's atmosphere of a brilliant meteorite. The people are totally unprepared for the shock of seeing a three-headed monster with wings, flames spewing forth from its multiple mouths, emerge from the fireball from outer space. It is GHIDRAH! Its giant wings lift it into flight as it soars off to ravage the planet Earth.
Godzilla and Rodan are reactivated from hibernation because of this upset in the balance of the universe.
Royal Princess Salno of Selgina, a small country between the two worlds, appears before the unbelieving people as a beautiful Prohetess (EIKO WAKABAYASHI) and proclaims herself to be a Martian. Naoko (YURIKO HOSHI), an enterprising girl reporter , is the only person to befriend her until Detective Shindo (YOSUKE NATSUKI), the reporter's brother, takes her into protective police custody to guard her against a group of thugs, headed by Malness (HISAYA ITO) who are determined to kill her.
Naoko takes the prophetess to Mt. Fuji where Ghidra does battle with Godzilla, Rodan and Mothra, the massive caterpiller who comes to their assistance.
NEW MONSTER PROVES THREE HEADS BETTER THAN ONE
It was bound to happen! Forget the axiom that two heads are better than one. The very latest in world destroyers is one head up on it as proven in "Ghidrah - The Three Headed Monster" the new Tohoscope / Eastmancolor thriller which opens at the..(Insert Theatre Name) ..Theare on..(Insert Opening Date).. Those veteran one headed monsters, Godzilla, Rodan and Mothra are on hand to learn this new lesson the hard way.
Purely an outer space product, Ghidrah comes equipped with four legs (?), a set of coliseum size wings and multiple mouths that spew out three times as much destruction at the crack as the earth born monsters can do singly in a month of Sundays. The obvious solution is for Godzilla, Rodan and Mothra to stop tearing at each other's throats long enough to put their combined heads together to drive the foreigner out of their territory, which means our of this world.
Shinichi Sekizawa, an expert on the extra-curricular activities of delinquent monsters, conjured a screenplay which affords Godzilla and Rodan with scenes to exhibit their individual specialties, than adding Mothra to combine their talents for the inevitable showdown with Ghidrah on the slopes of Mt. Fuji. The built-in violence of each contestant automatically brings about a smash climax when irresistible forces meet an immovable object and the earth literally trembles from the impact.
"Ghidrah - The Three Headed Monster" was produced by Tomoyuki Tanaka for the Toho Company. A Walter Reade-Sterling presentation, it is being released through its Continental Distributing Division which hasto acknowledge that three heads are better than one.
Summit Meeting of Monsters Saves Earth
It's not the leaders of nations who gather for a Summit Meeting at Mt. Fuji to save the world, but three infamous monsters....Godzilla, Rodan and Mothra..when they attempt to conquer an "outsider" in "Ghidrah..The Three Headed Monster" the new Tohoscope / Eastmancolor thriller which opens at the...(Insert Theatre Name)..Theatre on....(Insert Opening Date)...
Each a specialist in destruction, it takes a bit of doing on the part of strategists to convince the world levelers that their own existences are threatened by the arrival from outer space of a behemoth that has three heads working for it and some new intergalactic techniques to use in wiping out a planet. Once united in a common cause, the monsters whip up the most incredible battle scenes yet to be seen on the screen.
Master special effects creator, Eiji Tsuburaya, is again responsible for the action which calls for the realistic destruction of ships at sea, the city of Yokohama and villages unfortunate to be in the path of the havoc-bent monsters. Directed by Ishiro Honda, renowed for his contributions to this specialized field of science fiction motion picture making, "Ghidrah - The Three Headed Monster" was produced by Tomoyuki Tanaka for the Toho Company. It is being released by Continental, a division of Walter Reade-Sterling, Inc.
"Ghidrah - The Three Headed Monster" the Eastmancolor thriller which opens at the...(Insert Theatre Name)...Theatre on....(Insert Opening Day)..., brings up a reverse question, is it fiction or fact?
"Way out" science fiction magazines and cartoons of a decade or two ago have been proven to be amazingly accurate in predicting the future. Today, they are being examined with a new respect. Too many of their space predictions have developed from fiction to fact.
Two veterans of the science fiction field director Ishiro Honda and special effects expert Eiji Tsuburaya have been making motion pictures which deal with monsters created by the imbalance of nature through the radio-active results of the atom and hydrogen bombs. According to them, man's experimentation with the inner secrets of the Universe created a breed of monsters such as Godzilla, Rodan and Mothra. Enlarged beyond human imagination, they have inflicted their monstrosities upon trembling peoples, cities and nations. Nuclear defense devices used against them strengthens rather than diminishes their powers. The latest of the teams fertile imaginations deals with a meteorite which manages to pierce earth's atmosphere without being consumed by the friction. Once settled on the new planet, it cools off and goes through an incubation period. The disturbed elements of nature are the midwife to the strangest creature yet to be born on earth. The metallic shell splits in half and a tremendous fireball roars into the sky becoming GHIDRAH, the monster to end all monsters. Equiped with four legs (again..?), coliseum sized wings and three heads, no spanking is necessary for it to breath out fiery flames from each of its mouths as it surveys a new world to ravage.
Like the radio-active fallout which can have freakish genetic effects on humans, could a disruption caused by man-made satellites and space crafts wandering into space cause a shift in the solar order of wandering meteorites so that they are diverted to a new gravitic earth force? If so are they capable of bringing foreign life to this planet?
The reality of that threat is yet to be seen. However, the Toho Production deals with the problem as if it has already occured. They have lined up three of earth's most formidable monsters...Godzilla, Rodan and Mothra ..to challenge the intruder from space. Born to destroy anything that stands in their paths, their showdown with Ghidrah is fore-ordained. Technically and dramatically, "Ghidrah - The Three Headed Monster" is the company's most ambitious project to date.
Filmed in Tohoscope. "Ghidrah - The Three Headed Monster" was produced by Tomoyki Tanaha (Tomoyuki Tanaka) and is being presented by Walter Reade-Sterling through its Continental Distributing Division.
These three articles come directly from the movies press book that was printed in 1965. I find it amazing how it is mentioned more than once that Ghidrah has four legs, though it doesn't, and how the cast and producer's names are often misspelled. I guess that is just how it went back in the 1960's.
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