Monday, March 18, 2024

FAIL SAFE! Reconsidering an American Classic with a Japanese Connoisseur of Cinema!

Hiroshi Kashiwabara. Photo by Brett Homenick.

Tonight (Monday, March 18), I paid a visit to Hiroshi Kashiwabara's cafe to participate in an event focused on a classic movie. (If you know anything about Kashiwabara-san, you know about his extensive fondness for American oldies.) The topic of the evening was the Sidney Lumet thriller Fail Safe (1964).

Some of the memorabilia on display. Photo by Brett Homenick.

It's always been fascinating to me (in a less-than-positive way) that Dr. Strangelove (1964) is regarded as an all-time classic while Fail Safe has largely been forgotten. I first saw Dr. Strangelove circa December 1996 when I was going through my Kubrick-Is-God phase (through which most teenage boys eventually have to pass). That and The Shining (1980) were the two Kubrick films I had the most trouble getting into. (I'd throw in 1962's Lolita, too, but does a film that minor even rate?)

I just never found Strangelove particularly clever or funny. It has its moments (most of which I found out later were improvised), but I'd be hard-pressed to call it one of the best films of 1964, let alone of all time.

Even more memorabilia! Photo by Brett Homenick.

Around August 1997, I saw Fail Safe for the first time on late-night cable TV. It was everything that Strangelove wasn't. I've since read that audiences of the time avoided Fail Safe because they supposedly found the subject matter humorous in the wake of the Kubrick film, but I certainly wasn't laughing. (Heck, I wasn't laughing the first time around, watching the genius auteur's would-be comedy.) Fail Safe kept me on the edge of my seat, and ever since that evening I've considered it the superior film.


Anyway, a funny thing happened this evening. When I entered the venue, I noticed a few attendees giving me a quizzical look. One of them asked Kashiwabara-san if I was an actor. He explained who I was, after which I confirmed to the folks in attendance that I'm indeed not a performer.

When the discussion of the film ended, Kashiwabara-san asked me to stand up, and he proceeded to tell the gathered attendees about more about me. I wasn't expecting to be put in the spotlight, but it's always flattering. Afterward, a few attendees expressed interest in seeing my interviews, so I shared the URL for Vantage Point Interviews with them. They seemed impressed!

Tonight was a fun night of film discussion. Many thanks to Kashiwabara-san for making it possible!

Sunday, March 17, 2024

Celebrating an American Classic with Three Tsuburaya Productions Legends!

Masao Nakabori. Photo by Brett Homenick.

Today (Sunday, March 17), I received a very kind invitation from former Tsuburaya Productions script supervisor Atsuko Tanaka to join a special event in Jimbocho. The topic of the event was a breakdown of the various film techniques used to create Citizen Kane (1941), hosted by Japanese cinematographer Masao Nakabori. 

What made this invitation special in particular is that she offered to meet me about 40 minutes before the start of the event so that we could spend some time together prior to the event. She also invited me to the after-party, which was even more generous of her. But, as it turned out, that wasn't all.

Atsuko Tanaka. Photo by Brett Homenick.

She told me that another Tsuburaya Productions script supervisor, Noriko Shishikura (a.k.a. Noriko Suzuki) would be joining her. Shishikura-san doesn't do many appearances at events in Japan, and I'm not aware of her appearing at any other gathering. Suffice it to say, it was a rare opportunity!

Miyanobu Inori. Photo by Brett Homenick.

First, let's take a closer look at the day's VIPs. Atsuko Tanaka is a former Tsuburaya Productions scripter (known these days as a script supervisor), who worked on Ultra Q (1966), Ultraman (1966-67), Ultra Seven (1967-68), The Space Giants (1966-67), and Kaiju Booska (1966-67). In fact, when I showed her my Kaiju Booska DVD sleeve for her to sign, she was quite amused by it.

With Noriko Shishikura.

Masao Nakabori is a cinematographer whose credits include UltramanUltra SevenOperation: Mystery! (1968-69), Silver Kamen (1971-72), and Ultraman Taro (1973-74). On the big screen, Mr. Nakabori frequently collaborated with director Akio Jissoji, including the films Tokyo: The Last Megalopolis (1988) and Ultra Q: The Movie (1990).


Noriko Shishikura (born in 1937) has worn many hats in the Japanese film and television industry, having worked at different times as a scripter, screenwriter, director, and a producer. She was formerly married to Ultra-series director Toshitsugu Suzuki.

Atsuko Tanaka signs a Kaiju Booska DVD sleeve. Photo by Brett Homenick.

As a scripter, Shishikura-san has worked on Ultra QUltramanUltra SevenSilver KamenTokyo: The Last Megalopolis, and a bevy of Nikkatsu films from the 1960s, going as far back as 1961. After that, she directed Ultraman: Great Monster Decisive Battle (1979), which is essentially a clip show of previous Ultraman episodes with some new footage edited into it.

Noriko Shishikura signs an Ultraman DVD sleeve. Photo by Brett Homenick.

She also produced the Tsuburaya Productions TV series Star Wolf (1978), Nobuhiko Obayashi's Cute Devil (1982), Ultra Q: The Movie, and Ultraman Tiga (1996-97), though only with director Jissoji.


An even bigger surprise was meeting Miyanobu Inori, who worked on three Akira Kurosawa movies in the camera and electrical department. Inori-san had a few stories to share about his experiences. 

On Dreams (1990), the staff had to create realistic-looking cherry blossoms. Kurosawa was pleased with the results and gave about one bottle per six staff members of White Horse, Kurosawa's favorite whiskey, for a job well done.


For the scene depicted on the poster of Rhapsody in August (1991), Inori-san was personally involved in putting film lights under the water to create the desired effect. (I didn't realize one would even do such a thing!)

Kurosawa liked shooting from far away with a zoom lens. On Madadayo (1993), there was an open set in Gotemba for a scene that took place right after the war. As you might imagine, it's difficult to light a scene from far away. They used a spotlight, with which the actors were fine. But Kurosawa didn't like it because it was too shiny and didn't look realistic.

A lot to write about, but that only scratches the surface! I had a great time today, and I must thank Tanaka-san for the invitation. It was truly remarkable!

A Special Evening with the Actor Behind 'Megalon's' Goro Ibuki!

Katsuhiko Sasaki. Photo by Brett Homenick.
 
On Saturday, March 16, I was lucky enough to have dinner with Toho actor Katsuhiko Sasaki, the star of several 1970s-era tokusatsu productions at the studio. Sasaki-san is best known for headlining Godzilla vs. Megalon (1973) and Terror of Mechagodzilla (1975).


We met at Futako-tamagawa Station and headed to a restaurant that Sasaki-san is quite fond of. We spent at least two hours there, and the conversation covered a wide range of topics. I was especially interested in Sasaki-san's memories of filming Evil of Drcaula (1974) and how unexpectedly difficult and dangerous it was. The fight scene with Toshio Kurosawa was already tough, but having to film the scene in which Sasaki-san's character drowns was much more dangerous. 

Katsuhiko Sasaki signs autographs. Photo by Brett Homenick.

Sasaki-san also reminisced about his father, actor Minoru Chiaki, and how director Akira Kurosawa scouted him while watching him perform onstage as part of the Bara-za theater company. Sasaki-san enjoys Ikiru (1952) among his father's Kurosawa's films.


I must say that Sasaki-san was quite generous when it came to signing things. I brought a bevy of Megalon-related items to sign, and Sasaki-san graciously signed everything I wanted. Definitely a one-of-a-kind gentleman!

In particular, I was extremely glad to add his signature to my Blu-ray sleeve of Megalon that already featured that autographs of Yutaka Hayashi and Hiroyuki Kawase. With Sasaki-san's signature, I now have the autographs of all three leads of the film on that Blu-ray cover. Suffice it to say, it's one of my favorite pieces.


I should also point out that Sasaki-san paid for our dinner, which, again, was very kind of him. It's this level of generosity that I will miss after I leave Japan. 


As we were walking back to the station, I reminded Sasaki-san that Megalon was my first Godzilla movie, to which he patted me on the back. It was a small gesture, but, when considered through the prism of my personal history with the genre, it means a lot. This was truly an evening I'll always remember. Many thanks to Sasaki-san for making it possible!

Saturday, March 16, 2024

Where'd Godzilla Go?

All that's left of Godzilla outside Tokyo Midtown Hibiya. Photo by Brett Homenick.

While browsing social media the other day, I saw a post from someone who shared a photo from the recent Hibiya Meets Godzilla exhibit just outside Tokyo Midtown Hibiya. This individual speculated that someone at Toho must have seen Godzilla Minus One's below-the-line, technical category win at the Oscars, shrugged, and put up a completely irrelevant bust of the original Godzilla from 1954 to "celebrate." 

Well, having stopped by Tokyo Midtown Hibiya on Friday night (less than a week after the Oscars aired), here's all that's left of the "celebration." It was rather short, don't you think?

(Spoiler: It was always scheduled to end on March 10.)

A Great Time with the Screenwriter Who Helped Launch Godzilla's Millennium Series!

Hiroshi Kashiwabara. Photo by Brett Homenick.

After meeting Kazuomi Sasai on Friday, March 15, I immediately met up with screenwriter Hiroshi Kashiwabara. I was pleased to have the opportunity to sit down and chat with Kashiwabara-san, as it had been far too long since we last had such a chance.

I was bowled over when Kashiwabara-san brought out his "going away" present for me -- the Godzilla vs. Mechagodzilla II (1993) script that producer Shogo Tomiyama gave him in order to prepare for writing the screenplay for Godzilla vs. SpaceGodzilla (1994). It is certainly a privilege to own this bit of Toho history!

Hiroshi Kashiwabara with his copy of the Godzilla vs. Mechagodzilla II (1993) script. Photo by Brett Homenick.

We discussed several topics -- everything from Godzilla Minus One (2023) to the state of American politics. But the conversation mostly centered around movies.

Kashiwabara-san named his three favorite actors in order for me, which was the first time I'd heard his list. They are: 1. John Wayne, 2. Steve McQueen, and 3. Burt Reynolds. I never realized that Kashiwabara-san was a big Burt Reynolds fan, but there you go.

Hiroshi Kashiwabara signs the script. Photo by Brett Homenick.

He told me his favorite Reynolds movies were The Longest Yard (1974) and Hustle (1975). I wasn't aware of Hustle and thought he might have meant Boogie Nights (1997). He said he likes that one, too, but that Hustle was a separate film. I had to look it up!

Kashiwabara-san didn't know the English title Deliverance (1972), so, when I showed him the Japanese translation, he shared his admiration for that film, too. That one is probably my favorite Burt Reynolds film.


When we were wrapping up, Kashiwabara-san took a photo of me on his phone with the MG script, as well as a photo of the two of us together. Remember what I said about when VIPs want photos with you?

And, after all that, Kashiwabara-san also signed some SpaceGodzilla memorabilia for me. What a cool guy!

Photo by Hiroshi Kashiwabara.

As we were leaving, much like Asada-san before him, asked me if I knew who Troy Donahue was. Of course, I now know all about his song about Palm Springs!

Many thanks to Kashiwabara-san for his unparalleled generosity. I'm so proud to have that script!

A Visit with a 1960s-Era Musician and Actor!

Kazuomi Sasai with a signed copy of Ring of Memories (1968). Photo by Brett Homenick.
 
On Friday, March 15, I had the distinct privilege of spending an afternoon with actor and musician Kazuomi Sasai (born November 12, 1944), a member of the 1960s musical group Village Singers. He served as the bassist for the band for about three and a half years. According to Japanese Wikipedia, he left the group in 1969 but eventually rejoined the group in 2002. 

Notably, he is the son of film producer Hideo Sasai, who was most closely associated with Nikkatsu, but has also produced films at Toho and Shochiku.

Kazuomi Sasai with a signed copy of Lemon in the Rainbow (1968). Photo by Brett Homenick.

I'd met only one member of the band before this -- Yutaka Hayashi. I have to admit that my interest in the Village Singers is more related to their movie appearances in the 1960s rather than their music, but both are still intriguing to me. 

In fact, I brought two DVDs with me for Sasai-san to sign -- Ring of Memories (1968) and Lemon in the Rainbow (1968). Both films, in which the Village Singers more or less play themselves, were produced by Shochiku. 

Kazuomi Sasai in Toyosu. Photo by Brett Homenick.

We met near Toyosu Station and made our way to a nearby Starbucks. I got a hot chocolate, and Sasai-san got a coffee. We discussed numerous topics. Sasai-san hasn't seen Godzilla Minus One (2023) but is aware of the success it's had around the world. 

Sasai-san also told me that his favorite type of movies are suspense ones, like the works of Alfred Hitchcock.


When I asked him if he liked The Beatles, Sasai-san mentioned he prefers The Rolling Stones and Creedence Clearwater Revival. I share that opinion, so I asked Sasai-san if he knew the CCR song "The Midnight Special." I was surprised to hear that his band had actually performed it once. When I asked if there was a recording of it, he said it was just a live performance and not included on any album. Ah, well.

When I originally made plans with Sasai-san, I budgeted about two hours, though I was confident I wouldn't need that much time. To my surprise, we actually did! We hung out for the entire two hours. After Starbucks, we moved on to Hama-sushi, a conveyor belt sushi restaurant, where I ate a bowl of ramen.

As we were leaving the sushi restaurant, Sasai-san listed many Southern California towns, even pointing out that former President Nixon used to live there. 

After I got home, I found another message from Sasai-san, offering to get together much closer to me in the next couple of weeks. Of course, I'd love to do that! It was great to meet him, and I look forward to meeting him again very soon.

Thursday, March 14, 2024

See Godzilla Battle Kiryu in Shinjuku!

The new Godzilla vs. Kiryu diorama at the Hotel Gracery Shinjuku. Photo by Brett Homenick.

Until April 23, the 8th floor of the Hotel Gracery Shinjuku will be hosting a wonderful diorama featuring Godzilla's squaring off against Kiryu. It was quite a dynamic sight to behold, so let's let the photos do the rest of the talking. Enjoy!