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| 12/01/02: | |||||||||||||||||||||
| SPACE BATTLESHIP YAMATO: THE MOVIE Discovering the Roots of STAR BLAZERS Author: Bob Johnson Source: Voyager Entertainment DVD Release
Before we look at Voyager's releases, we must first go back three decades to see where all this started. In October of 1973, final planning began on a television series about a space-faring WWII Japanese Battleship, the Yamato, based on designs by up and coming manga artist Leiji Matsumoto and conceived by veteran producer Yoshinobu Nishizaki. What set this series apart from animated shows that came before it was that the entire run would consist of a single, episodic storyline. Whereas other anime at the time had a consistent plot running in the background and usually wrapped things up by the end, the episodes were not necessarily in a certain, predetermined order. For SPACE BATTLESHIP YAMATO, each episode would further the storyline along to the end in a continual arc. Even though the Yamato itself provided the name for the series, most of the emphasis would be focused on the crew of the space cruiser and how they dealt with the long voyage from Earth to Iscandar and back in a race against time. In the year 2199, invaders from the planet Gamilus are attacking Earth. Bombarding it with lethal, planet bombs, the invaders soon turn the Earth into a smoldering, radioactive wasteland. The Human Race is forced to move underground where it builds an entire subterranean civilization. However, the radioactivity is slowly seeping down into the Earth. The population only has about a year to live. A message comes from Stasha of the planet Iscandar, offering a device that would cleanse the world of the radioactivity and allow humans to return to the surface and continue their lives. The message, delivered by Stasha's sister, before her untimely death on Mars, also contains plans for a Wave Motion Engine that would make the long journey to Iscandar, 148,000 light years away, possible. Using the shell of the Japanese battleship, the Yamato, which sunk in a furious battle against US forces in World War II, a powerful space voyaging craft is created and a crew is assembled to save the Earth. However, they have to make the long journey there and back in less than one year. At the same time, they must brave encounters along the way with Gamilus forces and their allies, as well as the rigors of space travel, homesickness, frayed nerves and the mystery of the great unknown. The series debuted on the Yomiuri TV Network on October 6, 1974. The ratings, at a low of 6%, were less than impressive and the series was cut short, lasting only 26 episodes. The series went somewhat unnoticed by the general Japanese television audiences, since it was up against the highly-rated anime series, HEIDI: GIRL OF THE ALPS (Heiji Arupusu-no Shojo). After Nishizaki convinced the network to rerun the series, a loyal following started to grow, small fan clubs sprang up across Japan. September 10, 1975: reruns of SPACE BATTLESHIP YAMATO began showing on Hokkaido Sapporo TV and the fan clubs started to become epidemic. Also in 1975, Nishizaki and crew edited together episodes of the series into a 98-minute feature film for international audiences retitled SPACE CRUISER YAMATO and in some territories, simply SPACE CRUISER. An English-language voice track was recorded in Hollywood and the feature showed in theaters throughout England, France, Italy, Germany and Holland. Following the international success of STAR WARS, and to beat the American hit into Japanese Cinemas, a longer feature was put together for Japanese release, featuring the series' original ending. Coming in at a more respectable 130-minutes, the SPACE BATTLESHIP YAMATO movie was released to Japanese theaters on August 6, 1977. Released by Toei Motion Picture Company, the feature played through October 28. During that run, it attracted a staggering 2,300,000 moviegoers! On the day before its premier, lines of anxious Yamato fans wrapped around the block at many theaters. Yamato-mania had begun, and launched the enormous Anime Boom of the late 1970s, the fallout of which is still being felt to this day. The success of SPACE BATTLESHIP YAMATO would lead to two more series, a made for television movie, another TV movie compiled from episodes of the second series and three theatrical features. Each incarnation pushed the boundaries of animation and affected changes in styles and formats in the Japanese animation industry on more than one occasion. In the wake of the Stateside windfall created by STAR WARS, Claster Productions picked up the first two series for television syndication, renaming the series STAR BLAZERS. As STAR WARS paved the way for YAMATO in the US, it was a strange twist of fate, as many influences from YAMATO can be noted in the STAR WARS movies. Not the least of which was George Lucas' self proclaimed "invention" of outer space dogfights between jet-like space ships. Another glaring similarity can be noted between the trashcan shaped R2D2 of STAR WARS and the YAMATO robot, Analyzer (AKA IQ9). Due to these and other similarities, STAR BLAZERS was looked on in the US by some as a series copying STAR WARS, when it could be argued that the reverse was true. YAMATO producer Nishizaki launched Voyager Entertainment, Inc. in 1989 with the express purpose of bringing STAR BLAZERS and YAMATO to US home video (at the time, VHS). The two original STAR BLAZERS series were released, as well as a third series (consisting of the series YAMATO III). Also released on VHS were the YAMATO feature films and the TV movie, YAMATO: THE NEW VOYAGE. Now, all are getting face-lifts and are being released on DVD for the first time in the US, with all the trimmings. So far, the two series of STAR BLAZERS have been released (QUEST FOR ISCANDAR and THE COMET EMPIRE), with the third series coming in 2003. Each disc contains extras not available on the VHS versions, including maps of the Yamato's voyages, crew biographies and interviews with some of the voice actors. All the series are dubbed in English. Just released from Voyager is the first feature film that sparked the fire, SPACE BATTLESHIP YAMATO: THE MOVIE. The movie is in Japanese with English subtitles for the Japanese impaired. Mastered from the same source as the VHS release, the DVD is sharp and clear and contains some very interesting extras that no fan of YAMATO or STAR BLAZERS will want to miss. The DVD is presented in standard, 4:3 ratio and is not letterboxed. This is a disappointment as the Japanese version is 16:9. The picture quality is sharp, the source print taken from the same master used for the VHS release. The image is equivalent to similar releases such as Rhino's BATTLE OF THE PLANETS or GIGANTOR. However, the Japanese version, being digitally remastered from the original negatives, has a cleaner, sharper image. The movie is in Japanese with English subtitles. The subtitles are not removable, since they were permanently added to the original video master. This was done for the VHS release. Since it the same source was used, it was not changed for the DVD. The original Japanese trailer for the feature is included with English subtitles. This seems to be a prerequisite for DVDs these days. However, there are also some other great additions: According to the DVD notes, when the movie was first shown on Japanese television in 1978, it had to be shortened for broadcast. A new, condensed version of the encounter with Stasha on Iscandar was created specifically for this showing. Other sources have stated that this version was shown in smaller Japanese theaters, which wanted a shorter version, known as a "Roadshow Version". This version was created in 1975 and was further altered to create the English version used for overseas export. In the alternate ending, instead of meeting face to face with their benefactor, Stasha appears as a hologram, since she has already died, giving them the radioactive neutralizing agent and sending them on their way as the crew of the Yamato gives her a 21-gun salute. This drastically changed the ending of the film, which originally contained a reunion between first mate Susumu Kodai and this lost brother, who was thought to have been killed in a battle with a Gamilus fleet near Earth, and his brother's subsequent decision to remain with Stasha on Iscandar. This new sequence is presented in its entirety on the DVD. A page by page reproduction of the original program book is also part of the extras. As you click through the pages, you can also check out closer details or select a text option that presents an English translation of all the materials. Finally, a YAMATO Promotional History is featured. It includes reproductions of all the posters and promotional materials associated with the feature, as well as a 14-part textual history of the movie from the 1973 inception of the television series through the theatrical release and its first showing on Japanese TV in 1978. SPACE BATTLESHIP YAMATO: THE MOVIE is a glimpse into a big part of the history of Japanese animation. The film itself, being a condensation of 26 half-hour episodes into one, two-hour and ten minute movie, seems a bit rushed at times as it tries to detail the long voyage through space. However, the drama, action and character development are still there from the original series and in watching this, fans can detail the changes and differences between the original SPACE BATTLESHIP YAMATO and its US incarnation, STAR BLAZERS. In addition to VHS and DVD releases, other STAR BLAZERS merchandise is becoming available through Voyager Entertainment as they continue to bring Matsumoto and Nishizaki's classic universe to fans throughout the world. Check out what's available at www.starblazers.com. Through these and future releases from Voyager Entertainment, we're off to outer space! |
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| 11/14/02: | |||||||||||||||||||||
| Kadokawa Daiei Motion Picture Co., Ltd. to produce GODZILLA VS. GAMERA! Translation & additional information: August Ragone Source: Evening Fuji Online
This month, Kadokawa Publishing's head, 58 year-old Maihiko Kadokawa, launches his own film studio -- the "Kadokawa-Daiei Motion Picture Company." To assist him in this new venture, Kadokawa has hired 65 year-old Kazuo Kuroi, President of Kinema Jumpo, as the company's Chairman. Kinema Jumpo is Japan's oldest and most respected film critique magazine. The Evening Fuji tapped Chairman Kuroi for his comments, "Every year, we will aim to produce two to three large-scale films [in addition to smaller productions]." One of the first of these large-scale productions, the new company plans on remaking one of the original Daiei hits, DAIMAJIN. It was also revealed that they are in negotiations with the Toho Motion Picture Company to co-produce GODZILLA VS. GAMERA. The original Daiei Motion Picture Company was founded in 1942 as "The Greater Japan Motion Picture Company," under President Masaichi Nagata. Together, they produced a number of hits both domestically (with such series as ZATOICHI) and internationally (with award-winning films such as RASHOMON and THE GATE OF HELL -- the first Japanese film shot in color). Due to lax business policies and mismanagement, the studio closed its doors in 1971. Tokuma Shoten Publishing Company purchased the studio, and its remaining holdings, in 1974, and limited production began anew. A year after the passing of Tokuma's president, Yasunari Tokuma (who loved the old Daiei films), the publishing giant transferred the property and holdings to Kadokawa. According to Kadokawa Publishing, Daimajin could be stomping his way onto the screen again! Despite the scandals caused by the controversial original president of Kadokawa Publishing, Haruki Kadokawa, the company continued to move forward in film production. As a result, the company moved its film production division from the main branch to subsidiaries "Asmic Ace Entertainment" and "Tosca Domain." Now, Kadokawa moves the new Daiei company to the forefront. "We will strive to develop as a real force in the motion picture business," announced CEO Maihiko Kadokawa at the press conference on the new company, and with Chairman Kuroi, this movie maverick is looking to move fast and furious within the first month of business, and is not wasting any time. The foundation of the policies concerning operation are, according to Chairman Kuroi: 1. Make the Kadokawa Group the number one film production company in Japan and produce two to three lavish and large-scale films per year, released nationwide, in addition to three or four more modest productions for smaller releases. 2. The productions of original made-for-video release, as well as programs and movies made-for-television. 3. Acquisition and distribution of foreign films for the Japanese market. 4. Business management of Daiei Motion Picture Studios in Chofu, Tokyo. "Following in the footsteps of Nagata's Daiei and Tokuma's Daiei, we are positive in our forward momentum, based on the former's great successes. It was also the late President Tokuma's desire to bring back DAIMAJIN, to experience the many successes that Toho's Godzilla, and Daiei's Gamera franchises have enjoyed. We also hope to produce a lavish movie spectacle, in which those two monsters will finally meet in battle." Back in 1990, former President Tokuma announced the planning of a new DAIMAJIN film at the Yubari Film Festival, to be co-produced by Golden Harvest and starring Kevin Costner [source: Kinema Jumpo magazine]. As unlikely as that seemed, it was almost a reality, until Golden Harvest backed out (Daiei licensed the TEENAGE MUTANT NINJA TURTLES films for Japan from Golden Harvest). Fortunately, for all of mankind, this version of DAIMAJIN was never produced. Now, with Japanese special effects masters like Shinji Higuchi, such a new version of DAIMAJIN could be realized like never before. Backed by Kadokawa-Daiei's promise of large-scale spectacles, with lavish budgets, this could become a reality faster than a dethroned princess can evoke the evil side of Shino. But, will such a film be as powerful as the original films without the music of Akira Ifukube? If the new Daiei follows through, we shall see. As for the proposed GODZILLA VS. GAMERA, at the time of publication, representatives from Toho were not tapped for comments on the proposed match of the century -- could GODZILLA VS. GAMERA be the 50th Anniversary Godzilla film for 2004? One must wonder if Shusuke Kaneko's phone isn't already ringing... Meanwhile, Kadokawa-Daiei is not wasting any time, the infant motion picture company has already acquired several foreign films for Japanese distribution, including new Chinese and French films (for release this coming year's Golden Week celebrations). Also, commencing this coming March, the entire Daiei Studios will be completely renovated, to meet with today's standards in motion picture production. "The Kadokawa-Daiei Motion Picture Company will be the final word in visual production. With the active personnel interchange throughout our Kadokawa Group of companies, we will maintain a fresh and active stance, which is not currently evident in the [Japanese] film industry." But still, with the current non-ambitious nature of the current Japanese film industry, the abilities of Chairman Kuroi will be under harsh scrutiny from this point forward. Can the new Daiei raise the bar, for not only itself, but for the Japanese film industry as a whole? Will Daimajin march again? Will Gamera finally challenge Godzilla? Only time will tell. Special thanks Aaron Smith from Monster Zero News and to Kayo Misawa Holden for bringing the original article to our attention. |
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| REVIEW: GODZILLA against MECHAGODZILLA More Potential than is Realized Author: John Lipartito Source: Monster Zero News
As always at TIFF, before the film showing was a stage appearance by Cast and staff including producer Shogo Tomiyama, director Masaaki Tezuka, VFX supervisor Yuichi Kikuchi, actors Akira Nakao, Shin Takuma, and idol star Yumiko Shaku. Like last year, everyone talked a little about their involvement in the film and shared their hopes that we would enjoy their work. The last actor to speak was Nakao (best known to fans as General Aso from the Heisei series) and before he stepped back, the MC was bold enough to ask him if there would be another Godzilla film after this one, to which he replied, "I hope so," an answer that commanded a full house of wild applause. To read the rest of this story at Monster Zero News, click here! |
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| Tokyo International Film Festival Godzilla X MechaGodzilla November 2, 2002 Author: Norman England
For Godzilla fans living in Japan there is but one date circled on the calendar - that of the Tokyo International Film Festival. The biggest film event in the nation, featuring a bevy of motion pictures from not only Japan but around the world, it's under this auspicious setting that Toho unveils its latest Godzilla effort. And as an international event, Western Godzilla fans get the added benefit of a subtitled screening, making it all the more memorable.
T.I.F.F. is held in the Tokyo ward of Shibuya at Bunka-mura Hall. The screening itself is given inside Orchard Hall, a 2,000 plus capacity auditorium. With the doors set to open at 2:30 pm and Shibuya a five-minute train ride from my local station, I was able start the day off leisurely with a few Godzilla CDs to get myself in the mood. Weather wise, things started great. The morning sky was a fine blue with clean white clouds whisking high above. Yet while beginning fine, by the start of the show the sky had grown overcast, which is typical of Tokyo's schizophrenic weather. Arriving to Shibuya at noon, I met up with friends John and Hiro at the famous Hachiko statue. The story of Hachiko, about a dog that waited faithfully for his master, is something of a local legend. For kaiju fans the statue is noted by its appearance in the Shibuya GAMERA 3 battle scene when it's seen engulfed in flame. On this day the small dog was shrouded in a banner advertising the T.I.F.F. show.
Milling around the Hall's overhanging entrance and decked out in a snazzy new suit was longtime Godzilla producer Shogo Tomiyama. I hadn't seen Mr. Tomiyama in two months and welcomed the chance to catch up on things. He was looking fit and much more relaxed than during production this past summer. Checking in with the Toho publicity people, I received my comp ticket. Normally I'm let in early to pick my own seat, and I always choose some no nonsense one like front and center. Because of this year being assigned seating I was tossed upstairs on the second tier balcony. At 2:15, I joined a group of twenty or so reporters. Led into the empty theater by a Toho publicist, we received a run down on the show, which actors would be present, and the order of their presentation. While staking out spots around the stage, the general audience was let in. With my photo taking spot secure, I went to drop my bag on my seat. Walking upstairs, I noticed a couple of friends standing inside the second floor café. In the group were kaiju artist Yuji Kaida and FX film critic Morihiko Saito (who wrote the GMK making of book published by Sonorama last year). Here too were GMK FX director Makoto Kamiya, Gamera FX director Shinji Higuchi, Gamera / GMK FX cameraman Satoshi Murakawa and his GMK assistant camera person Yoko Itakura. I hadn't seen Yoko in a year. The last time we spoke she was planning to move to NY City to further her camera studies, but alas, she said that the World Trade Center incident has put this plan on hold. Director Higuchi looked his usual beatnik self. He mentioned he is making the final changes on his first directorial effort, a movie featuring teen idol singing group Mini-Moni, an offshoot of the hugely successful Morning Musume. Breaking away, I dashed up another flight only to be greeted by the shocking sight of GXMG assistant directors Shimizu and Okamoto decked out in spiffy suits. A big switch from the scruffy look they sport during filming. They were acting as greeters for the staff.
As I recovered my spot against the lip of the stage, the final bell rang signaling the start of the show. It was 3 pm on the nose. Taking the stage were the two women who have been emceeing the event since G-2000. After their welcome they announced the show's special guest presenters. Under loud applause, the guests walked on stage. From let to right, they were producer Shogo Tomiyama, FX director Yuuichi Kikuchi, actors Shin Takuma, Yumiko Shaku, Akira Nakao, and director Masaaki Tezuka. First up to deliver his greeting was Mr. Tomiyama. Here are clips from each address: Shogo Tomiyama: "The Godzilla film we aimed for is a monster movie that is not just cool looking, but one that will move your heart. I'd like to thank the people from the self-defense force, and also the Godzilla Supporters who ran really hard at Hakkeijima on that super hot day." Masaaki Tezuka: "I heard it was very difficult to get tickets to today's show. All you fans who love Godzilla, it is you who supported us and made it possible for us to finish this film." Yuuichi Kikuchi: "I think that in this film the passion and energy of the creators really comes across." Yumiko Shaku: "I play the role of Akane Yashiro, a special agent in the defense army. I hope that you can enjoy and feel the strength of the woman that I play." Shin Takuma: "I was in a Godzilla film in 1984. It's been 18 years since then and I really felt my age!" Akira Nakao: "This is my fourth Godzilla film; seven years since the last one. Now I am playing the prime minister of Japan. Recently we haven't had too many good prime ministers, so I play him as a decision making, courageous man. Unfortunately, because I play him, he comes across as rather slack. But enjoy the film anyway!" I don't want to sound sexist or anything, but Yumiko Shaku looked fantastic! Her snug black sweater fit perfectly, and she was cheerful and exuberant at all times. Yumiko's a real gem of a woman. For whatever reason, each actor was asked to make some comment concerning baseball player Hideki Matsui's appearance in the film and give his or her impression of the then rumor that he's to play in New York next season. As a non-sports fan I was a bit annoyed to see special attention given to such an obvious publicity gimmick.
A moment later, from behind Godzilla came MechaGodzilla. As the silver and blue kaiju snuck up, the emcee yelled for Godzilla to be wary of the approaching adversary. Just when MechaGodzilla was to strike, he accidentally toppled over. In a flash Yumiko rushed to his aid. It was hilarious to see this petite beauty struggling to lift the large MG suit. Quickly, others jumped to action, righted the suit, and the battle was back on! This was followed by the obligatory group photo session. Once done, I high tailed it back to my seat. Before going any further, I should point out that the purpose of this article is to report on the show. It's not a film review per say. Why? As someone partially involved with the production (I was on hand for 40 of the film's 60 days of shooting), it's difficult for me to assess the film impartially, I think. But to be fair to readers who want to know something of the film, I should pass along some thoughts and information. So, with that in mind, here goes: First, this is the basic plot of GXMG: Since the original Godzilla attack on Japan (where he was done away by the Oxygen Destroyer), the nation has been ransacked from time to time by giant monsters such as Mothra and the Green Gargantua (shown in clips from the original films). To combat them, the Japanese nation established a special division of the armed forces called "Anti-Megalosaurus". Key to their arsenal is the maser weapon, a super laser cannon. Highly successful, it vanquished many giant monsters. When Godzilla mysteriously returned in 1999, it was deployed again. But the weapon proved no match for Godzilla, and the kaiju could not be stopped. Fearing another return of Godzilla, the government assembled a team to create "Kiryu" (which means "machine dragon" in Japanese), or, as nicknamed by its builders, MechaGodzilla. The movie's human drama centers on Akane Yashiro (Yumiko Shaku). Once in charge of the maser tank, she caused an accident during Godzilla's 1999 raid that resulted in the death of several members of her squadron. Reduced in rank and given a desk job, she must work hard to prove herself fit for duty once again. Necessary to the creation of Kiryu is Tokumitsu Yuhara (Shin Takuma), a scientist who has perfected a method of grafting DNA with mechanical apparatus. He is recruited by the government to transform DNA recovered from the left over skeleton of the original Godzilla. With him is daughter Sara (Haruna Onodera), who, due to the loss of her mother, wants all fighting and death making ceased - including the tactics against Godzilla, a creature who's existence she blames on adults and their desire for war. The movie follows the creation of MechaGodzilla and its deployment against Godzilla.
The establishment of Yashiro's mishandling of the maser tank is well done and the character is provided with a good backdrop. Unfortunately, it quickly gets bogged down in tripe when after joining the elite squad of Kiryu (the name is also used for the team assigned to pilot MechaGodzilla) one of the members openly challenges her because his brother was killed in the accident she caused. It was obvious right away how this plot point would play itself out and, disappointingly, did so as expected. Shin Takuma's performance as Professor Yuhara was natural and enjoyable. On the set Takuma was always kidding around and seemed hardly serious about the production. I was expecting this to come through in his performance. Thankfully it didn't. While his personality is carefree and playful, his work is that of a pro. Thus, his character enjoys a sense of humor while being serious at the same time. In this regard, the film is bolstered by his performance. While also delivering a solid performance, the biggest disappointment for me was Yumiko Shaku. Though I don't fault Yumiko, rather the not fully developed script. Like Kiriko in GXM, hers is a two-dimensional military type. Though some dialogue is present to flesh out the character, it's more like something dropped in and is hardly evident on screen. But then this could be attributed to her character being a military type. Ones like Takuma's are given the chance at being human. Military types are always having to posture, and huff around. Too bad. Yumiko was one of my favorite people on the set of GXMG. She is warm and kind, and has one of the most insanely funny laughs I have ever heard in my life. It's a shame these qualities weren't captured in the film.
GXMG is chock full of cameos. GMK FX director Makoto Kamiya can be found near the beginning. G-2000's Takehiro Murata is seen picking up dropped cans in a scene when the maser tank rolls through Shinagawa. In the maser cockpits are suit actors Kitagawa and Ishigaki, as well as FX director Kenji Suzuki. And of course director Tezuka makes his now traditional end-of-film appearance. Tezuka's direction is just a notch up from his work on GXM. Another disappointment, as I expected more. However, one scene came across quite effective. As it involves a major turning point for Yumiko's character, I'm not going to describe the scene, but it is emotional and does shows that Tezuka is growing as a director. The FXs, while terrific in spots, are often sub par. There is constant matte matching problems and on several occasions the elements themselves don't fit proportionately. That is, when something is flying away, the background doesn't match the increase or decrees in the size of the matted object. And before people start screaming that they should have brought back the GMK team (a film whose FXs are superior) it should be pointed out that the GXMG team is essentially the same team. However, some key men were not asked back. Conspicuously absent is Hajime Matsumoto, who is without a doubt the finest FX supervisor in Japan today. GXMG sorely misses his talented guidance, which his work on the Gamera series/CROSSFIRE/The Ring series/GMK and many others prove. So, what is the problem with GXMG's FX sequences? Nothing unusual to Godzilla: a lack of time and budget. GXMG has just enough to show that the staff is on the right track but because of various restrictions, the staff is denied the chance to truly strut their stuff. But there is some good stuff here. I particularly like the scenes of Godzilla in the rain, and though they were hell to film, looked terrific on screen. Also, the maser tank is a sight to behold. With its design nearly identical to the original, it's a good example of the phrase, "if it ain't broke, don't fix it." Another key element to a Godzilla film is its music. While I'd like to comment on it, I feel I shouldn't. Orchard Hall has some of the worst acoustics I've encountered and it would be cruel to judge Ms. Ohshima on what I heard this evening.
I'm not saying messages are unimportant. They are. But it's how you do them. Take the original STAR TREK series. One of its themes is how mankind, if getting its act together, will enjoy a harmonious civilization in the future. While Captain Kirk occasionally goes over the top with hammy monologues, the theme is shown in his and other characters' attitude and in how they carry themselves. Not some "lesson" where everything stops and you find yourself lectured at. This is how I felt when GXMG went into its "life being precious" bit. Another problem I had is that Godzilla is never clearly defined. Its nuclear origin is there, but who this new Godzilla is and what his motivation is, I couldn't figure out. He just comes ashore, raises hell, and then leaves. Maybe I missed something, but its connection to the original Godzilla eluded me. Even during the production when I found myself puzzled over certain story elements, staff members I drilled were unable to explain. For otaku fans, this is hardly a problem, I think, as they can just fill in the blanks with their own take on Godzilla. But even so, the ones I spoke to after the screening said they were unable to connect with the Godzilla they saw on the screen this night. But this might be because, in truth, GXMG focuses more on MechaGodzilla than Godzilla; it's essentially the story of MechaGodzilla. Tsutomu Kitagawa's performance as the Kaiju King is surly his best to date (lack of character definition not withstanding). One scene that stood out for me is when Godzilla is taking hits off a maser weapon. By the reaction, it looks like he really is being blasted. This is because not only is the FX convincing, but also because of the way Kitagawa performs in the suit. I also like how prior to Godzilla's ray blast, the fins "spark" and a loud popping sound charges the air. It is a nice rethinking of a traditional element. And do I really need to go into how glad I am to see the return of Kumi Mizuno? In the end, I have to rate GXMG a mid-level entry in the series. Depending on your taste, it will fall either just above or just below Tezuka's GXM. As for the inevitable comparison to GMK, I feel that, like comparing GXM to GMK, it is something better left to the fanboy press. The two filmmakers, Masaaki Tezuka and Shusuke Kaneko represent two takes on the Godzilla legacy. Neither is right, and neither is wrong.
Sara actress Haruna Onodera was also on hand, and she took a moment to stop and offer me a proper military salute. This was her "thing" on the set of GXMG. One afternoon Shin Takuma taught her the correct way to salute and after that it was how she occupied all her free time. Haruna was with her mom, a quiet woman, one atypical of the crafty image associated with stage moms. Hitting the lobby, I bumped into live-action cameraman Masahiro Kishimoto. His fourth Godzilla production, Kishimoto is one of the most outgoing men I know in Japan and is extremely passionate about his profession. He went on about having recently given his approval to the mastering of the TV version of GMK, which is to air later this month in Japan (sans 9 minutes of footage). Millennium series/Gamera series FX scripter Junko Aoki was in typical form. With a wide smile offsetting her tired eyes (scripter is one of the most mentally demanding jobs on the set, doubly so for FX) she quietly complained about the short, hectic preproduction time allotted GXMG. A hand on the shoulder drew my attention to GMK/GXMG actor Takeo Nakahara, who wanted to introduce me to his wife. In GMK he played the captain of the Aizu Battleship and in GXMG he is a high level military official. Up next was Kyoko Kitahara, music producer for Toho. During a visit to the GXMG set by both she and composer Michiru Ohshima, she extended an invitation to the film's scoring session. She took this time to apologize because at the last moment the session was rescheduled to Russia.
The front of the theater was a madhouse. Director Tezuka was surrounded by fans clamoring for autographs. I began talking with Kikuchi, but this proved impossible. In no time, a cue formed in front of the first time FX director. Suitmaker Shinichi Wakasa and producer Tomiyama worked the crowd as well, signing heaps of the special program pamphlets passed out before the show. I chided G-2000/GXM FX director Kenji Suzuki over his small cameo in GXMG. The former male model acted surprised that I was able to find him in the film. I introduced my friends John and Hiro to Yoshida and Ohashi, and the two drooled typical fan boy praises over the suit actors GMK and Gamera appearances. group this meant it was time to travel over to Shinjuku's Kabukicho for the after screening party. A small get-together given by Mr. Iwai of the Godzilla Supporters group, it was an invitation only dinner held in a private room of an upscale restaurant. Arriving at seven, we were seated with Tezuka, Kikuchi and several GXMG ADs and designers.
During the night Tezuka asked how I felt about his including me in a shot of an early evacuation scene. Yeah, I was happy. Though quick, I could just pick myself out before the scene switched. I asked about his daughter Arisa. "I worked her in three times!" He boasted. Accusing him of nepotism, Tezuka let out a large laugh. It wouldn't be a Japanese party without a game, and we were submitted to a round of bingo. Godzilla related presents were lumped on a table near the front and with cards in hand we did our best to win something. But with more gifts than guests, everyone was guaranteed to win something. Tezuka's prize was a small Bandai Angilas and Kikuchi picked out a GMK Godzilla. As a writer, I took a box of Godzilla pencils. I spent much of the evening talking to Tezuka's first AD Kaneshige about the positive and negative aspects of working at Toho and going over the merits and demerits of the newest film. We were later joined by FX AD Shimizu and his wife. She has small roles in both GMK and GXMG. A real life TV announcer, in GMK she plays the reporter announcing the coming of the Mothra egg in Kyushu. In GXMG she has a small scene in the beginning playing (what else?) a reporter. The party ended at ten. The group stumbled outdoors to find that it had begun to drizzle. I thanked Iwai and Hico for the fun evening, and then thanked Tezuka and Kikuchi for all their kindness during the film's shoot. I arrived home close to eleven completely worn out. And there you have it, another great T.I.F.F. premier, another Godzilla film. As is the case every year, no one knows at this time whether the series will continue or not. I hope it does. T.I.F.F. has become an annual tradition for me and I just don't think life in Japan will be the same without it. More Exclusive photos from Norman England: |
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| "Just Imagine... A Japandroid!" JINZONINGEN KIKAIDA comes to Region-1 DVD! Author: August Ragone Source: Generation Kikaida/JN Productions & The Honolulu Advertiser
Kikaida's mission: to reunite Mitsuko and Masaru with their fugitive father, and bring down the sinister Dark Destruction Corps. This underground organization comprised of monster androids, is masterminded by the evil Professor Gill, who plots to take over the world through violence and subversion. Only Kikaida stands in his way. But, like all legendary heroes, Kikaida has a flaw: an incomplete "Conscience Circuit," which keeps him from being the "perfect android" -- a flaw that Professor Gill can exploit... Created on the heels of KAMEN RIDER, SUPERHUMAN BAROM-1 and HENSHIN NINJA ARASHI, by Ishimori Productions and Toei Studios, JINZONINGEN KIKAIDA (Kikaider: The Android of Justice) was a 43-episode smash hit during the "Henshin Boom" on Japanese television in the early 1970s. Not long after, KIKAIDA was broadcast with English subtitles on Stateside Japanese-language stations in Honolulu, San Francisco and Los Angeles. In Hawaii, the series became a massive success, akin to the "Batcraze" caused by the original BATMAN series in the 1960s. Thousands of fans came out for personal appearances by the characters and stars of the series. The KIKAIDA LP record sold thousands of copies. This caused a flood of similar shows to be imported and subtitled by KIKU-TV during the 1970s. But none of them captured the hearts and minds of Hawaii's children like KIKAIDA did. Why? While KIKAIDA didn't have the budget to realize the ambitions of Ishimori's Dark Destructoid designs, as was achieved with KAMEN RIDER, KIKAIDA still had as much action, spirit and kinetic energy as its sister series. But, KIKAIDA had something more important: a plot that was full of heart and soul, well-defined characters (whom you cared about), engaging subplots, and an amazing score by Michiaki "Chumei" Watanabe. So, its no wonder that scores of children around the world who saw KIKAIDA, loved the show unconditionally, warts and all. Many of them have waited more than two decades, hoping to see their red and blue hero again. While Toei Video in Japan released the series on both VHS and laserdisc in the mid-1980s and early 1990s, non Japanese-speaking fans have had to settle for funky, fuzzy, muddy and mis-translated grey-market tapes. But, no more! JN Productions, who have been providing Japanese programming for Honolulu's legendary KIKU-TV for more than three decades, has recently brought back Toei's legendary superhero teleseries KIKAIDA (1972-1973) and KIKAIDA-01 (1973-1974) to resounding success on Hawaiian airwaves. Not only are the kids who grew up watching back in the 1970s becoming fans again, but their children have also taken to the show as they did, almost thirty years ago. Hawaii's new "Kikaidamania" has exploded across the islands, resulting in personal appearances by the original stars, Daisuke Ban (who played "Jiro") and Shunsuke Ikeda (who played "Ichiro"), promotional events, a TV special, new and original KIKAIDA merchandise, and an official website "Generation Kikaida" (generationkikaida.com). KIKU-TV and JN Productions are currently re-running the original KIKAIDA series weekday afternoons, while there are two back-to-back episodes of KIKAIDA-01 on Sunday nights. KIKAIDA is everywhere! Or so it would seem in Hawaii... Mainland fans who also watched the series as children, might moan "That's great and all, but I don't live in Hawaii... So, how can I see KIKAIDA again?" Well, it's time to prepare for the best news yet: JN Productions is producing and distributing the original KIKAIDA series on Region-1 DVD, painstakingly remastered by JN Productions from Toei's original 16mm prints -- and those outside of Hawaii can purchase their very own copies, direct from the Generation Kikaida Online Store website, which opened for business on October 15th. "It always surprises me how many Kikaida fans are out there," JN Productions' Joanne Ninomiya told the Honolulu Advertiser last Tuesday. It was she who licensed KIKAIDA for Hawaii back in 1974 and now. "Boys who were between 3 and 12, when Kikaida first hit television in 1972, are still carrying the torch today. These guys keep coming back now, always wanting to be a part of the renewed popularity. Girls grow up, leaving behind their Barbie dolls, but boys will be boys -- they still love KIKAIDA." Star Daisuke Ban, was in Honolulu on Tuesday to help launch the DVD. He told the Hoholulu Advertiser: "I'm overwhelmed and gratified by all the attention from the Hawai'i fans. In the beginning, we knew the story was universal -- good vs. evil -- and the theme of the imperfect man trying to be perfect and fighting the bad guys was perfect from the start, 28 years ago." According to the Honolulu Advertiser, JN Productions worked with 16mm film from Toei for broadcast, transferring them to Beta SP broadcast video. For the DVD, JN Productions' computer-savvy editor Robby Gaskell transferred the Beta SP masters to digital video. So, the look and sound are bound to be amazing. Pomai Souza, the founder of the Tokusatsu Planet group on Yahoo!, had this to say about the audio and video transfers, "Crisp, clear picture -- it couldn't get any better than this from '70s cut masters (I could zoom in with my DVD remote and see alot of details on the costumes that I'd NEVER see on a VHS tape!)." "The Slow-motion advance is smooth, with no obvious frame transitions (really cool when you want to get a good look at that funny looking nozzle coming out of Blue Buffalo's mouth in the flame-throwing scene). Dynamic audio sound -- the "punch and kick" foley sounds come through the speakers almost as if Green Mantis were right there in my living room." In KIKAIDA DVD Volume 1, you can see Kikaida in all his red-byte-and-blue glory! This DVD contains the first five episodes of the original KIKAIDA series from 1972! Watch Kikaida battle the sinister Dark Destruction Corps and Professor Gill, inlcuding the first wave of Dark Destrutoids: Gray Rhino King, Green Mantis, Orange Ant, Blue Buffalo and Yellow Jaguar! Fans in Hawaii can purchase their own copies at Tower Records, Borders, Sam Goody, Sam's Club, Wal-Mart, Shirokiya, Long's, of the Generation Kikaida Online Store. Suggested retail price is $24.95. KIKAIDA Volume 1 includes these features: For more details and information on how you can purchase your own copy, go to: www.generationkikaida.com or contact JN Productions at 808-836-0361. Special Mahalo goes out to Chance Gusukuma of JN Productions. |
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DAIMAJIN DVD REVIEW Rubbersuit/AD Visions DAIMAJIN BOX SET Author: John Cassidy
THE MOVIES DAIMAJIN Originally known in the US as MAJIN: MONSTER OF TERROR, this film was the first, and arguably the best, of the trilogy. The story deals with the young prince Tadafumi, who, along with his sister Kozasa and guardian samurai Kogenta, hopes to regain his village 10 years after his father, Lord Hanabusa, was betrayed and killed by the chamberlain Samanosuke. Samanosuke had put all of the villagers into cruel slavery, and outlawed the worshipping of the Daimajin, which supposedly caused earthquakes that sounded like huge footsteps. Kogenta and the two children had retreated to the temple of the elder priestess Shinobu, located in a mountain where lies the giant shogun- like statue of Daimajin. Once Kogenta and Tadafumi are caught by Samanosukeís men, Shinobu tried to warn the chamberlain that Daimajin would become enraged and trample the kingdom if the prayers are stopped. Samanosuke then kills Shinobu, and had his men locate the statue of Daimajin to destroy it. They find Kozasa and a little boy (whose father and mother died under Samanosukeís reign), who are forced to locate Daimajin for them, but an unearthly force kills the men when they tried to destroy the statue. Desperate, Kozasa prays to Daimajin to save her people, and eventually, he comes to life, thus beginning the destruction of Samanosukeís kingdom! Samanosukeís own comeuppance at the hands of Daimajin is simply memorable. THE WRATH OF DAIMAJIN/DAIMAJIN IKARU Originally known as RETURN OF THE GIANT MAJIN, the second film (also the first one I saw) is similar to the first storywise, but has more suspense and swordplay. Daimajin's "face" transformation (from his dormant stone face to that of an angry green demon face) is somewhat different from the first film, but far more impressive! Another memorable scene is where Daimajin, approaching the village, parts the great lake (just like in THE TEN COMMANDMENTS)! The performers include veteran Koujirou Hongou, Shiho Fujimura, Kouichi Uenoyama (Makoto Arai from INAZUMAN FLASH) and Takashi Kanda. THE RETURN OF DAIMAJIN/DAIMAJIN GYAKUSHUU Known as MAJIN STRIKES AGAIN in the US, the third and final entry of the series is quite different from the first two, but nonetheless spectacular. The film's heroes are four little boys, who are determined to rescue their fathers, who are among slave people in a village on the other side of Majin Mountain (from which Daimajin came and caused chaos at the film's beginning). The leader of the boys is played by Hideki Ninomiya, who played young Tadafumi in the first DAIMAJIN; He also played Gam in AMBASSADOR MAGMA/THE SPACE GIANTS. In the village, the slave people are forced to work around a sulfur pit by yet another nasty shogun. But just because children are the main characters does not mean one should automatically dismiss this film! And remember that this is a Daimajin film, meaning that this film is just as dark and depressing as the other two films. The acting by the kids is just as flawless as their grownup counterparts (and one of the kids meets a sad fate in the middle of the film)! Once again, the special effects are incredible, and Daimajin's lengthy rampage at the climax makes this closing film all the more grand! The three Daimajin films are not your average giant-monster-on-the- loose fare, and thus stand out from the rest of the genre! Dark, depressing and vengeful, the films are top-notch and each has memorable traits that stand out in their own unique way! The films are directed by veterans Kimiyoshi Yasuda, Kenji Misumi and Kazuo/Issei Mori (all of whom have worked on the famous Zatoichi and Kyoushirou Nemuri film series; Misumi also directed some of the Lone Wolf & Cub movies). All three films have a brilliant, cataclysmic music score by maestro Akira Ifukube and beautiful SPFX by Yoshiyuki Kuroda, which, scary as it seems, surpass even the best FX by Eiji Tsuburaya! The actor in the Daimajin suit is Riki Hoshimoto, who also appeared as the villainous Suzuki in the Bruce Lee film, THE CHINESE CONNECTION. PICTURE All three movies are featured in their original Daieiscope 2.35:1 aspect ratio, but the transfer is not anamorphic, and there is some slight grain in the picture. Nevertheless, the transfers still hold their own against even the best imported print. The print is still colorful and vibrant, and is a major step above any VHS copy. AUDIO Featured in its original Japanese language, the movies' mono soundtracks are still in top form. CONTENT Disappointingly, there are not as many extras as Daiei's DVD set. None of the original theatrical trailers were used. The DVD for DAIMAJIN contains one trailer, a new one that ADVisions put together themselves. The disc for THE RETURN OF DAIMAJIN contains ADVisions' trailers for DESTROY ALL MONSTERS, THE HYPNOTIST, PARASITE EVE and GAMERA: GUARDIAN OF THE UNIVERSE. Nevertheless, each DVD has chapter stops (roughly 8 on each). SUBTITLES Perhaps the most unique part of the collection! The subtitles are mainly yellow, but white subtitles are used for when two characters speak in one scene. Also, a large font is used for the titles. The movies can be viewed without subtitles (but the only major drawback brings us to the next section...). CHANGES The following changes have been made to the film prints: ALL The Daiei logo at the beginning is video-subtitled on the print. However, the titles of all three films remain intact. DAIMAJIN The opening credits are faded out in gray and replaced with video-generated credits. THE WRATH OF DAIMAJIN Opening credits are the same case with DAIMAJIN. The film fades out before the original Japanese "The End" title, followed by video generated credits of the A.D. Vision staff. THE RETURN OF DAIMAJIN As the movie's credits are at the end, the film aptly freezes over a shot of the snowy mountains, over which video generated credits of both the cast/crew and the A.D. Vision staff scroll up. OVERALL Purists of the Japanese versions of the film would probably be frustrated with the changes made to the prints, and lack of any real extras, but I will say that this DVD set is still recommendable to the average American viewer. I found it much better and less heavy-handed than the lazy print that Media Blasters used for their GAPPA DVD! And for a price like $23 for all three discs, you can't go wrong! If you can't afford Daiei's more expensive but economic import DVD set, this box set by Rubbersuit Pictures/A.D. Vision is quite a shoe-in! If you like the DAIMAJIN trilogy, chack out our H!O FLASBACK article by Ed Godziszewski, Daiei's Idol of Terror: DAIMAJIN, THE AVENGING GOD... |
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GIGANTOR! - The Power is in Your Hands...and Now on DVD! Author: Aaron Cooper Henshin! Online Exclusive 
Rhino Home Video is unleashing one of those 'sparks', the much beloved GIGANTOR, to DVD on October 22nd. GIGANTOR (original title: Tetsujin 28-go) was the brainchild of Mitsuteru Yokoyama and released in Japan in the mid-1960s with 96 episodes over 2 series. Delphi Associates, Inc. acquired the rights for broadcast in the United States and would release 52 episodes over two seasons starting in 1966. The story is simple enough: Gigantor was a huge robot controlled by young Jimmy Sparks, the son of the robot's creator. Using a remote-control joystick, Jimmy would send the huge fighting machine into battle against hostile aliens, enemy robots, and anything else the Earth would need defending against. Jimmy had help in a memorable supporting cast such as Inspector Blooper and Dick Strong. GIGANTOR featured a new and distinctive look that many American cartoons lacked at the time, using impressive camera angles and cinematic sensibility. It also featured one of the catchiest theme songs of all time, cementing its place in the minds and hearts of that generation, and many to come. Now, all generations can revisit this classic with the new-to-DVD release of GIGANTOR PART 1 by Rhino Home Video in cooperation with Fred Ladd, director, writer and producer of the English adaptation of GIGANTOR. This 4-disc set contains 26 uncut, black and white episodes in numerical order based on airdate from GIGANTOR Season One. DVD extras include an interview with Fred Ladd, who also provides an interesting commentary on three episodes (The 'Spider Series': episodes 3, 4, and 5). Other extras include an interview with anime historian Fred Patten and a text piece entitled "Renegade Master", a portrait of Gigantor's original creator Mitsuteru Yokoyama that originally appeared in Manga Max Magazine. A photo gallery is also advertised, but on the advance copies I watched, I wasn't able to find it (yet). Quite possibly, it's a hidden feature. The episodes feature new digital transfers from original 16mm film. The transfers look great, with good contrasts between the black, white, and gray shades. Some imperfections and softness can be seen once in a while, obviously due to the age of the original film elements. This can particularly be seen during the opening title sequences and occurs in increments throughout the series. Yet with many other classic TV shows lost to age and misuse, it is nice to see some care was taken to preserve this show as well as it is. Another nice surprise is the sound. The soundtrack is sharp and clear, not muddied in any way. All voices and sound effects come out nice and even. Though not advertised, it seems obvious some sort of re-mastering was done on the soundtrack. It should be noted that the equipment used to review the DVD set was a 32" Sharp TV with a Panasonic DVD-CV37 DVD player, and a 19" Phillips TV using a Playstation 2 as a DVD player. Playback may vary on an individual basis depending on equipment used. The DVDs also feature animated menus that capture the flavor of the series. Some purists may scoff at the lack of a Japanese soundtrack. Yet it would be unreasonable to expect one for this DVD release, as the English adaptation of GIGANTOR actually begins at episode 27 of the original TETSUJIN 28-go series due to an editorial decision of Television Corporation of Japan, the original animation producers of TETSUJIN 28-go. A Japanese language track with subtitles on GIGANTOR could be confusing to Western audiences. It is obvious though that Rhino Home Video acknowledges and cares about what fans look for in English adaptations of Japanese programming. This release of GIGANTOR proves this with the inclusion of a biography of creator Mitsuteru Yokoyama and the history of Japanese animation by Fred Patten. Rhino has also proven themselves with their excellent releases of BATTLE OF THE PLANETS on DVD, which not only includes the English episodes, but also the original Japanese episodes of SCIENCE NINJA TEAM GATCHAMAN with English subtitles that BATTLE OF THE PLANETS was derived from. GIGANTOR PART 1 contains over 650 minutes of episodes and extras and has a suggested retail price of $59.95. It will be released on October 22nd, 2002 and can be found at most DVD retail outlets. The Rhino Home Video website (www.rhino.com) will also have it for sale. GIGANTOR holds a special place in the history of Japanese animation and no fan should miss out on this treasure trove of classic TV. The bar of excellence has been raised for quality DVD releases of favorites both old and new, and thankfully Rhino Home Video has met those expectations with style! (Special thanks to Lana Berman of Rhino Media Relations) For more information on the history of GIGANTOR, check out this article originally featured in Markalite issue 2. |
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Official Word on ULTRAMAN TIGA! Author: Bob Johnson Source: 4Kids Entertainment
A mere four weeks after its initial premier, ULTRAMAN TIGA was changed from a twice a week schedule to a single episode each week, at a later time. Backroom whispers and internet posts that the sky is falling ensued, so Henshin! Online went right to the source, for the official explanation. As reported earlier by Henshin! Online, the target audience for ULTRAMAN TIGA was initially the 6-9 year old age group. However, 4Kids has found that older viewers are tuning in. According to Colleen Nuskey, Marketing Director in charge of ULTRAMAN TIGA for 4Kids, "Ratings for ULTRAMAN TIGA have been fairly good, especially in light of the new Fox Box network. However, we've found that Ultraman has been skewing a bit on the older side and we feel that the 11:30am time slot is best for the Ultraman audience." All of the shows in the Fox Box schedule are new and untested. 4Kids continues to try to find the right fit for each show. "The fact that Ultraman is currently only scheduled once a week instead of in the original two timeslots, is merely a programming change in an effort to see when and where the shows perform best." Colleen explains. "As with all networks, programming changes are common and we juggled our entire Saturday morning block - not just Ultraman". Colleen promises that Henshni! Online will be updated of future changes. For now, the best way to support ULTRAMAN TIGA is to watch the show and get as many people as you can to do the same. 4Kids is committed to ULTRAMAN TIGA and is looking for the best fit for the show within their line-up. Keep your eyes on Henshin! Online for the latest information and continue to support Ultraman as you've done in the past. Everything will be just fine... |
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EIGHT MILLION GODS Miyazaki's SPIRITED AWAY comes to America Author: Keith Aiken Source: Official Walt Disney Publicity Material
SPIRITED AWAY is the eighth feature film from writer/director Hayao Miyazaki, working once again with veteran animation producer Toshio Suzuki and composer Joe Hisaishi. After joining Toei Animation Company in 1963, Miyazaki became friends with animator Isao Takahata (GRAVE OF THE FIREFLIES). By the late 1960s they had both gained enough seniority and experience that Takahata was made director of Toei's 1968 feature, THE LITTLE NORSE PRINCE, with Miyazaki as scene designer and key animator. The film's success convinced them to leave Toei to work at smaller studios that would allow more creative freedom. Miyazaki first came to the public's attention with the 1979 feature, THE CASTLE OF CAGLIOSTRO (available on US DVD from Manga Video). Miyazaki was given carte blanche to write the story and redesign the popular manga and anime character Lupin III for the film, which became a smash hit in Japan and at several international festivals. That same year, Tokuma Soten Publishing Co, one of the largest publishing companies, released the first installments of Miyazaki's science fiction manga NAUSICAA OF THE VALLEY OF THE WIND. The series drew such a positive response that Tokuma quickly grew interested in financing a feature based on the material. Miyazaki worked with a small animation staff to produce the film, drawing the storyboards and much of the key animation himself. Released in March 1984, NAUSICAA OF THE VALLEY OF THE WIND (eventually released by New World Pictures as WARRIORS OF THE WIND in the US) became the most successful animated film in Japan to that time. It convinced Tokuma Publishing to finance the creation of a new animation studio managed by Miyazaki, Takahata, and Suzuki. The studio, which opened in 1985, was named Studio Ghibli. Ghibli is an Italian word meaning "hot desert wind'. The term was coined in World War II to describe Italy's scouting planes in North Africa. Miyazaki, a vintage aircraft buff, thought the name was perfect for the studio he hoped would be a "hot wind into the world of Japanese animation". Miyazaki's studio lived up to its name. Beginning with LAPUTA: CASTLE IN THE SKY in 1986, Ghibli has produced an average of one feature per year, usually alternating between those created by Miyazaki and those by Takahata. Virtually all of Studio Ghibli's twelve animated features have been critical and commercial successes worldwide and rank among Japan's all-time box office champs. SPIRITED AWAY continues that tradition. In addition to winning top honors at the Berlin Film Festival, the film was voted Best Asian Film at the 2002 Hong Kong Film Awards, won the Audience Award for Best Narrative Feature at the 45th Annual San Francisco Film Festival, and won Best Picture and Best Song and the 25th Nippon Academy Awards. It is also the highest grossing film in Japanese box office history with a total of 29.3 billion yen ($234 million) to date. SPIRITED AWAY surpasses the two previous record holders; TITANIC at 26 billion yen ($208 million) and Miyazaki's previous film PRINCESS MONONOKE at 19.3 billion yen ($154 million). It is also the only film to break the two hundred million dollar barrier prior to its US release. SPIRITED AWAY is a wondrous fantasy about a ten year old girl named Chihiro, who is whisked away to a spirit world and must learn to overcome her fears and face unique challenges in order to save her parents and herself. Miyazaki says "Up to now, we have made one film for very young children, MY NEIGHBOR TOTORO. We made another film in which a boy sets out on a journey to find a lost city, LAPUTA: CASTLE IN THE SKY, and we made a film in which a teenage girl learns to be herself, KIKI'S DELIVERY SERVICE. However, we have not made films for girls around the age of ten." "In my grandparents' time, it was believed that gods and spirits existed everywhere. in trees, rivers, insects, wells anything. My generation does not believe in this, but I like the idea that we should treasure everything. In fact, in Japanese, there is an expression- 'yaoyorozu no kami'- which means 'eight million gods'. However, as far as I know, no one has actually seen any of these gods and spirits. So I had to make up their faces and shapes. Some of them are based on beliefs, traditions, legends, and other materials. For example, it is generally believed that a river god is a snake or dragon." "The film is set at a hot springs bathhouse frequented by various Japanese gods and spirits", the director continues. "I always wanted to stage a film in such a strange place. I suppose the gods of Japan go to a hot springs bath and resort to rest their bodies for a couple of days like we do." Miyazaki's films are always built around strong characters, and SPIRITED AWAY features some of the most strikingly original characters ever seen. At the center of the tale is Chihiro, the ten year old heroine. She begins as a rather sulky, spoiled child with a tendency to panic when things go wrong, but she develops the ability to remain calm when others are not. "I do not like weak female characters." says Miyazaki "I think, in a sense, things have become boring with so many strong males being held up to us as heroes. In reality, the males have lost the battle! It's the females who are really tough these days." "Our story is one in which the natural strengths of the character are revealed by the situations she encounters. I wanted to show that people actually have these things in them that can be called on in extraordinary circumstances. This is how I wish my young friends to be, and I think this is how they themselves hope to be." Chihiro meets a variety of beings in the spirit world, including Haku, a mysterious boy with magical powers; Lin, the tough bathhouse girl who teaches her the rules of survival; Kamaji, The wise, spidery boiler man; and Boh, the giant-sized baby boy. Even more fantastic are Kaonashi (aka No Face), the mysterious semi-transparent figure who poses a danger to anyone who approaches him; an army of animated soot-balls; and the Stink-God, a lumpish creature coated in foul-smelling sludge. Ruling over all is Yubaba, the greedy, short-tempered boss of the hot springs. Her powers, including the ability to change into a bird to spy on others, enable her to control all who dare stand her way. US Version Disney began it's association with Studio Ghibli in 1996 when Michael O Johnson (then president of Buena Vista Home Entertainment Worldwide) negotiated a deal to bring nine of Miyazaki's films to audiences throughout the world. The first of these was KIKI'S DELIVERY SERVICE, released to home video in 1998. KIKI entered the Top Ten on the Billboard sales chart and sold over a million copies. Miramax Films, a division of Disney, handled the 1999 theatrical release of PRINCESS MONONOKE. Despite critical praise the film faired poorly at the US box office due to limited distribution and little or no publicity or marketing. Since then, Disney has been quiet about their plans for the other Miyazaki films. Now, in conjunction with the arrival of SPIRITED AWAY, Disney's Home Entertainment division has announced plans to release several of the director's earlier titles to home video and DVD starting in late 2003. Three of America's top animation filmmakers headed up the effort to bring SPIRITED AWAY to English-speaking audiences. Executive producer John Lasseter, producer Don Ernst and director Kirk Wise were responsible for crafting an English script that would be faithful to Miyazaki's original, and casting an ensemble of voice actors that would retain the flavor and talent of the Japanese version. Lasseter explains, "We're incredibly busy at Pixar, but when I was asked to help with this I said 'yes' without hesitation because I wanted to see this film come to America. I wanted it to happen in a way that would be really respectful of the masterpiece Miyazaki created. He is one of the greatest filmmakers of our time and he has been a tremendous inspiration to our generation of animators." "I worked closely with Kirk Wise, who was in charge of directing the English voice cast and supervising the writers to get the words to fit with the mouth movements that were animated. Kirk directed them in such a beautiful way that the result is perfectly natural." "We all had the same goal: to protect Miyazaki's vision and to bring it, in it's complete intact form, to American audiences. We're really proud of the results. We didn't cut it; we didn't change anything about it. We just translated the script from Japanese to English, made sure that it was all in a language we could understand, and cast the right actors." Wise concurs, "Casting is half the battle. If you can cast right, everything falls into place. I think the casting choices really made the process easy and we ended up with a great ensemble of actors." The impressive vocal cast includes Daveigh Chase, Suzanne Pleshette, Jason Marsden, Susan Egan, David Ogden Stiers, Lauren Holly, Michael Chiklis, John Ratzenberger, and Tara Strong. Working on a very tight schedule, Wise collaborated with the husband-and-wife writing team of Donald and Cindy Hewitt. The writers would usually be present at the recording sessions in order to massage the dialogue with the mouth movements. Wise would allow the actors to hear the original Japanese track to get a sense of the character's emotional level. This helped them stay true to the spirit of Miyazaki's direction. "The hardest part of the process was the technical part, things like having to shave syllables and little rewrites along the way to make sure we matched the original lip synch," Wise recalls. "Coming from an animation background, I'm really sensitive to this. If we did our job right, the audience will forget they're watching a film that was originally in Japanese. You completely get wrapped up in the story and the beautiful visuals take over." SPIRITED AWAY opened on September 20, with additional screens added on the 27th. For the weekend ending Sept 29 Boxofficeguru.com reported Spirited Away expanded from 26 to 53 locations and grossed $527,719 for a $9,956 average. The PG-rated animated feature bumped its cumulative box office take up to $1.1M. This puts its per screen average just below the #1 film, Sweet Home Alabama and just above The Tuxedo, or actually in second place for the weekend Disney has also prepared a subtitled version which will be available at select theaters. BIOGRAPHIES HAYAO MIYAZAKI (Director/Writer): Born in Tokyo in 1941, Miyazki has created some of the most admired and influential animated films of recent decades. Beginning with THE CASTLE OF CAGLIOSTRO in 1979 he has directed such impressive films as NAUSICAA OF THE VALLEY OF THE WIND (1984), LAPUTA: CASTLE IN THE SKY (1986), MY NEIGHBOR TOTORO (1988), KIKI'S DELIVERY SERVICE (1989), PORCO ROSSO (1992), and PRINCESS MONONOKE (1997). His unbroken string of hits continues with SPIRITED AWAY (2001), the most successful film ever released in Japan. Miyazaki tends to work in an unusual style for a studio picture: "I don't have the story finished and ready when we start work on a film, " he says. "The story develops when I start drawing storyboards. The production starts very soon thereafter while the storyboards are still developing. We never know where the story will go but we just keep working on the film as it develops." In contrast to the system used by American studios like Disney, Miyazaki creates the animation before recording the dialogue. This process allows him to fit the dialogue to the performance onscreen. He states that SPIRITED AWAY is "For the people who used to be 10 years old, and the people who are going to be 10 years old." TOSHIO SUZUKI (Producer): Born in 1948 in Nagoya, Suzuki joined Tokuma Shoten Publishing Company and in 1978 he helped launch the monthly animation magazine ANIMAGE. In the mid 1980s Suzuki became increasingly involved in the productions of Miyazaki and Takahata, and in 1985 helped co-found Studio Ghibli. For the next several years he continued working in publishing while producing features for Ghibli, including NAUSICAA OF THE VALLEY OF THE WIND (1984), LAPUTA: CASTLE IN THE SKY (1986), GRAVE OF THE FIREFLIES (1988), MY NEIGHBOR TOTORO (1988), KIKI'S DELIVERY SERVICE (1989), PORCO ROSSO (1992), POMPOKO (1994), WHISPER OF THE HEART (1995), PRINCESS MONONOKE (1997), and SPIRITED AWAY (2001). Suzuki went to work full-time for Studio Ghibli in 1989. JOE HISAISHI (Composer) Born in Nagano in 1950, Hisaishi garnered wide acclaim for his film score to NAUSICAA OF THE VALLEY OF THE WIND (1984). He has worked on every Miyazaki film since. He has also contributed scores to many of director 'Beat' Takeshi Kitano's films, including SONATINE (1992), FIREWORKS (1997), and KIKUJIRO (1999). Hisaishi has won the Japan Academy Award for Best Music in 1992, 1993, 1994, and 1999. US CREW *JOHN LASSETER (Executive Producer) is the award-winning director, animator, and Executive Vice President of Pixar. He directed TOY STORY (1995) the first feature-length computer animated film, A BUG'S LIFE (1998), TOY STORY 2 (1999), and executive produced MONSTERS, INC (2001). DONALD ERNST (Producer) has been involved in production at Disney for over 12 years. His credits include ALADDIN (1992), and FANTASIA 2000 for IMAX. KIRK WISE (Director) has co-directed three Disney animated features; BEAUTY AND THE BEAST (1991), THE HUNCHBACK OF NOTRE DAME (1996), and ATLANTIS: THE LOST CONTINENT (2001) VOICE TALENT DAVEIGH CHASE (Chihiro): On doing a movie that she heard originally in Japanese, Chase notes, "It was different from my previous voice-over roles, because Chihiro is already animated. I had to match the speed of my voice to the character's lips.and still sound real. It was a bit tough at times, to fit in all the words and keep it real, but I did it, and it was definitely fun to do!" Chase earned rave notices for her vocal performance in LILO AND STITCH (2002). Television credits include ER, THE PRACTICE, and TOUCHED BY AN ANGEL. Film credits include DONNIE DARKO. Daveigh Chase will next be seen as Samara, the updated version of Sadako in DreamWorks remake of the Japanese horror classic THE RING. SUZANNE PLESHETTE (Yubaba, Zeniba) began her career on Broadway before going on to star in films like Alfred Hitchcock's classic THE BIRDS. Pleshette may be best known for her six-year run on THE BOB NEWHART SHOW. Regarding her voice work in SPIRITED AWAY, Pleshette says "Acting is acting. I still have to give a full performance; I have to know who I am and what's happening emotionally at the time. The difference is, here I have to time it. The hard thing is hearing Japanese in my ear, and having to lip-synch English words to the mouth that was synched to the Japanese words. Talk about schizophrenic!" JASON MARSDEN (Haku) has appeared on BOY MEETS WORLD, BLOSSOM, ALLY McBEAL, DEEP SPACE 9, and the features WHITE SQUALL and MR SATURDAY NIGHT. He will next be seen playing Burt Ward in the CBS movie BACK TO THE BATCAVE: THE TRUE ADVENTURES OF ADAM WEST AND BURT WARD. In describing his SPIRITED AWAY character Marsden notes, "We don't know what side Haku is on. He's sort of helping Chihiro but you don't know what his motives are. Is he being genuine or just trying to earn points with his boss?" "He's fourteen so I had to young him up a little, and yet not make him as energetic as most fourteen-year-olds. It's like he has a very old soul, he rules with quiet authority. He's very monotone, very down, very stern." SUSAN EGAN (Lin) provided the voice of Megara in Disney's HERCULES and won critical acclaim on Broadway for her performances in CABARET, BEAUTY AND THE BEAST, and BYE BYE, BIRDIE. On television, Egan starred on NIKKI and has appeared on PARTY OF FIVE, ALL MY CHILDREN, and DREW CAREY. Egan wasn't worried about bringing her own interpretation to a character that was previously voiced by another actor. "Even though the movie's been a huge success in Japan with a different woman playing Lin, there's a lot of room for different choices in the characterization. It's not just a matter of translating the movie; it's also translating the culture so Americans can relate to the Japanese sensibility. My Lin is definitely more down and dirty, more streetwise, with lots of humor and sarcasm." DAVID OGDEN STIERS (Kamaji) has worked for Disney on 5 animated features, several of which were directed by Kirk Wise. "He's my good luck charm," Wise explains. "I would use him in anything that I do and he was great as Kamaji, the wise and businesslike tender of the furnace." The versatile actor is well known for his Emmy nominated stint on M*A*S*H. Other credits include THX 1138, BETTER OF DEAD, DOC HOLLYWOOD, THE MAJESTIC, and STAR TREK: NEXT GENERATION. LAUREN HOLLY (Chihiro's Mother) has built an impressive resume of credits, including PICKET FENCES, CHICAGO HOPE, DUMB AND DUMBER, DRAGON: THE BRUCE LEE STORY, WHAT WOMEN WANT, and THE ADVENTURES OF FORD FAIRLANE. MICHAEL CHIKLIS (Chihiro's Father) won an Emmy award for his role on the FX Channel's police drama THE SHIELD. Previous credits include the John Belushi biopic WIRED, the title role of THE COMMISH, and Curly in the ABC movie THE THREE STOOGES. JOHN RATZENBERGER (Assistant Manager) is the only actor to voice a role in all four Pixar features. He received a special request from John Lasseter to work on SPIRITED AWAY. Best known as Cliff Clavin on CHEERS, Ratzenberger has an extensive list of credits that include GANDHI, SUPERMAN, SUPERMAN II, and THE EMPIRE STRIKES BACK. He has moved on to writing, producing, and directing and has formed his own company, Fiddlers Bay Productions. TARA STRONG (The Baby Boh) voiced the title role in the animated series HELLO KITTY. Her ability to create strange, humorous voices can be heard on several TV series, including RUGRATS, THE POWERPUFF GIRLS, BATMAN, and KING OF THE HILL. Feature film credits include SENIOR TRIP and 101 DALMATIANS. |
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THE BANDAI SPREAD FOR THIS YEAR! Another Henshin! Online exclusive Author: Keith Aiken Sources: Bandai, Monster Zero, Zidaikan, Various Japanese material translated by John Cassidy
Further details on the upcoming releases are available on the Bandai promotional flyer, translated below: BANDAI GODZILLA LINEUP 2002 THE ULTIMATE MECHAGODZILLA IS BORN! GD-45 Chougoukin (Die-Cast) Mechagodzilla -With heavy die-cast metal, a metal-bodied shining "Mechagodzilla" is produced! -Full body painting & fully super-articulated joints! -And the replaceable-armor gimmick also gives the figure a complete reappearance! -Product size is 170 millimeters 4,800 yen Product still pending Sack Box pending No batteries needed In stores mid-December SOUND & ACTION! SOUND MONSTER KING GODZILLA 2003 -Internal sound gimmick and fully posable Godzilla. -Scaled at 160 mm, in scale with the Die-Cast Mechagodzilla figure. 1,600 yen Sack Box In stores late November More info still pending. MOVIE MONSTERS SERIES GODZILLA 2003 210 mm tall 1,800 yen In stores mid-November MECHAGODZILLA 2003 220 mm tall 1,800 yen In stores mid-November MECHAGODZILLA 2003 (Unarmed Version; Without Cannons) 220 mm tall 1,800 yen In stores mid-December MECHAGODZILLA 1975 Approximately 170 mm tall 700 yen In stores mid-November TITANOSAURUS Approximately 170 mm tall 700 yen In stores mid-November FIRE RODAN (Reissue) Approximately 240 mm wide 700 yen In stores mid-November MOGUERA (Reissue) Approximately 170 mm tall 700 yen In stores mid-November GODZILLA JUNIOR Approximately 150 mm tall 700 yen In stores mid-November MAGNET-POWERED SD GODZILLA RUNNING TOYS Godzilla and Mechagodzilla (both versions) 980 yen (set?) Additional releases include: HIGH GRADE GODZILLA SERIES 9 Godzilla 2003 Mechagodzilla 2003 Fake Godzilla 1974 (the disguised Mechagodzilla with damaged 'skin') Mechagodzilla 1974 King Seesar 1974 Flying Mecha King Ghidorah 1991 Available in December CLEAR ORANGE BARAGON 2002 This figure was released as a promotional exclusive for a toy exhibit in Myokokogen. Since the exhibit is a long bullet-train ride from Tokyo, the hall is encouraging attendance by selling the Orange Bandai Baragon (along-side of a Marusan Godzilla and Gamera figures) to visitors of the exhibit. Limited to 2,500 1,500 yen in price Detail of figure GLITTER GMK GODZILLA 2002 This mail-order exclusive from was offered in issue #48 of Hyper Hobby Magazine. The figure is reported to be molded in a translucent vinyl with a black paint inside the body and orange inside the dorsals fins. The vinyl also sports a coat of glitter on the outside - reminiscent of the "Ressurected Godzilla '93" from Bandai's 1996 Godzilla Forever line. While issue #48 contained the order form, the figure is said to be shipping in December. To see a large image (163k) of the two-page Hyper Hobby spread, click here Henshin! Online would like to thank Bandai for providing photos and information. Also special thanks to Katsu of JustBe Toys and Bob Eggleton. |
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MASKED RIDER RYUKI Toei Sends The 1970s Hero Into The 21st Century Author: Paul Sullivan Sources: Space Magazine Uchusen (Bi-Monthly), Volumes 99- 102, TV Magazine Volumes 3~9 (2002 Edition), TV Asahi's Kamen Rider Ryuki Page, Toei TV's Kamen Rider Ryuki Page, and various.
The early release preview pictures of Ryuki stirred up debate in fan circles due to his grill-covered face, obscuring the large, insectoid eyes the Riders are known for, and his dragon-based (as compared to a grasshopper or other insect) design. While some were instantly drawn to the new look, others detested it and questioned just what the designers were thinking when they came up with it. What came next was, in a lot of ways, the deciding moment for many about how to look at this new Rider Series; the very controversial statement issued by one of the major creative minds behind the show revealing that Ryuki would feature 13 different Kamen Riders, and that they would fight to the death until only one was left standing. The article went on to describe how the show would knock down the traditional image of the Riders as heroes, and would present us with Riders that weren't so good and didn't always do the right thing. While evil Riders and villains imitating the Rider style are nothing new to the franchise (as shown in the forms of the very popular Shocker Rider from the original series, as well as Shadowmoon from KAMEN RIDER BLACK and it's follow-up series; among others) the idea of completely original characters that would choose to be good or evil but ultimately die anyway came as a shock. Many fans were used to nearly invincible heroes that had suffered enough already to become who they were and as Riders, could do no wrong and always rode off into the sunset at the end. After this, many fans became split on their opinions of the show. There are some who so vehemently hate RYUKI that they have declared it an affront to the entire Kamen Rider Series, and undeserving of even being considered a Kamen Rider show at all. By contrast, there are others who have accepted the series even more, seeing RYUKI as an underdog who is being unfairly judged based solely on "traditions" and "rules" set by previous series. And then there are the rest (yours truly included) who are pretty much undecided, not quite sure of what to make of this new series but still watching since, hey, it may be a little different but it's still KAMEN RIDER RYUKI, and happy with just that. Love RYUKI or hate it, there is no denying it has made something of an impact on Kamen Rider fans everywhere. For folks who haven't seen or even heard of RYUKI, or just barely heard of it, you're probably wondering just what the big deal is. Who are these 13 Riders? What is this Mirror World thing anyway? And why do they keep running around sticking all those cards into swords, staffs and gauntlets to do stuff? Well, hopefully this little overview of the general storyline and the Riders will help explain a bit: THE STORY There exists a parallel universe, a nearly reverse image of our own: The Mirror World. It's basically a reflection of our world, with one major difference; instead of humans, strange "Monsters," based on real and fantasy animals and creatures, populate the Mirror World. These Mirror World Monsters all seem to share some common traits; they're all pretty vicious, and they all have an apparent biomechanical makeup. They also have the ability to cross over into our world, but only for a short time. Their reason for this is still a mystery, but it seems their intention is to take human beings back into the Mirror World and absorb them as energy, to grow stronger. This, of course, isn't good for our world. As if things weren't bad enough, the Mirror World is in danger of collapsing and disappearing for good, and its residents are getting restless. Enter Shiro Kanzaki (Kenzaburo Kikuchi), a scientist who discovers a way to cross the void into the Mirror World. Shortly thereafter, Shiro vanishes, but soon begins reappearing to selected individuals, giving out 13 mysterious card decks. These decks will allow their owner to become "Kamen Riders," warriors who can enter and exit the Mirror World from our world like the Monsters, but only for a limited amount of time. He also gives them one command: Fight. Fight the other Riders to be the last one standing! THE KAMEN RIDERS The Kamen Riders in RYUKI are individuals who gain their powers from the card decks created by Shiro Kanzaki. The cards are used in battle to summon up the Rider's Monster Companions (whom they make a "contract" with to join their side) and to activate various weapons and powers when in the Mirror World. It should be noted that the deck is also the Rider's life insurance; if it is destroyed or they lose their Contract Card, they will be vulnerable to being hunted down by their own former Monster. Assuming, of course, they have already made the contract with a Monster. If not, they will be in a very weak "Blank" form (thus far we have only seen Ryuki himself in this state). The Riders appear to function only in the Mirror World, as they must transform (via an individualized "Henshin" pose) in front of a reflective surface, which they then use as portal to enter the reversed Mirror World. The Riders can only survive for a limited amount of time in the Mirror World; otherwise their very being begins to deteriorate. Every Rider thus far has a "Vaizaa" (Visor), which they can place the cards in to activate their powers. The "Final Vent" card allows them to perform a deadly, often fatal, finishing move. Also, every Rider uses the same method of transportation, the Ride Shooter Motorcycle, to enter the Mirror World (though sometimes they can just walk/run in, and recently, Kamen Rider Knight has gotten his own personal set of wheels; more about that below.) There are both "good" Riders as well as "evil" ones, and some in the middle that just don't care either way. The Riders are ordered to fight each other, with the promise that the last Rider standing will gain some kind of wish as the prize. Of course, this hasn't stopped some of the Riders from joining forces and ganging up on the others as well as the evil, untamed Monsters that travel back and forth between the worlds, taking innocent victims with them. So far, 10 of the Riders have been revealed, 8 in the TV series and 2 introduced in the movie, and an upcoming special to be aired on Thursday, September 19th promises to premiere the final 3, as well as having all 13 of the Riders appear. |
