DEEP DIVE: Was King Ghidorah's Gold Color Inspired by an Animated Soviet Film?

Keiko Suzuki in January 2019. Photo by Brett Homenick.

Earlier this year, I was interviewed for a documentary (Keizo Murase: The Last Monster Maker) on the life and career of the legendary suitmaker Keizo Murase. While looking over some old notes in preparation for the interview, I found that I had uncovered some fascinating information several years before and never even realized it. Let's start with the source of this information: Keiko Suzuki.

Keiko Suzuki worked under Eiji Tsuburaya as his script supervisor from the late 1950s through most of the '60s. Born Keiko Hisamatsu, she would go on to marry future Tsuburaya Productions producer Kiyoshi Suzuki. Ms. Suzuki joined Tsuburaya's tokusatsu team on The Three Treasures (1959), which she remembered as the longest SFX shoot at Toho, spanning four months. She passed away on May 23, 2024.

Keiko Suzuki with Teruyoshi Nakano (left) and Takashi Naganuma in January 2019. Photo by Brett Homenick.

On January 13, 2019, I spoke with Keiko Suzuki about several topics, one of which was her recollections of the creation of King Ghidorah. I knew that she and Mr. Murase had completely different memories of King Ghidorah's original color, so I wanted to get her take. Even though it wasn't a formal interview, I took contemporaneous notes on the discussion, which serve as the basis of the material below.

When Eiji Tsuburaya showed her the King Ghidorah suit painted blue for Ghidrah the Three-Headed Monster (1964), Ms. Suzuki was surprised to see it designed that way. The kaiju was supposed to be a space monster, yet it had been colored blue, which she didn't think was the right presentation.

Kin is the English word "gold" in Japanese. Ms. Suzuki pointed out that King Ghidorah was from Venus (Kinsei in Japanese) and that the Japanese word kin is even right there in its name, King Ghidorah. According to Ms. Suzuki, blue had already been used for the Yamata no Orochi in The Three Treasures (1959), so a new look was in order.

King Ghidorah heads on display in April 2019. Photo by Brett Homenick.

When Ms. Suzuki suggested to Tsuburaya that it should be gold, Tsuburaya apparently stopped what he was doing and left. Shortly thereafter, the suit was painted gold.  

Additionally, Ms. Suzuki revealed that she had been partially inspired by a Russian film she had seen with a golden bird and had the idea in mind to use that color for something eventually. While she didn't remember the name of the film, she remembered that the plot was based on Leo Tolstoy's short story "Ivan the Fool."

The movie that most closely matches Ms. Suzuki's description is The Hunchback Horse (1947), an animated Soviet movie that features a brightly-colored firebird. 

The firebird from the Soviet film The Hunchback Horse (1947).

Why did this tidbit fly right over my head? I'd read for years about how partial inspiration for King Ghidorah came from a 1956 Soviet flick that featured a three-headed dragon, so, without checking it out, I figured that must have been what she was talking about. (I mean, how many Russian movies could have influenced a Japanese monster?!) I'm glad I finally did my homework and ferreted this one out. Better late than never, as they say.

Of course, much of this depends on whose memories are more accurate. Both Keizo Murase and Keiko Suzuki have since passed away, and it's not very likely we'll ever get a definitive answer. Ms. Suzuki's memories are detailed and consistent, but Mr. Murase was probably in a better position than anyone else to know what King Ghidorah's original color was. I can't side with anyone in this dispute; all I can do is share what they have said.

Keizo Murase, Legendary Kaiju Suitmaker, Passes Away at 89

Keizo Murase in October 2020. Photo by Brett Homenick.

Longtime kaiju suitmaker Keizo Murase passed away on October 14 at 8:21 p.m. at the age of 89. According to news reports, the cause of death was decompensated cirrhosis of the liver. 

Keizo Murase poses with an old friend in April 2019. Photo by Brett Homenick.

Murase-san's credits in the word of tokusatsu as a suitmaker are second to none. But I'll let the master himself tell his own story in my interviews with him, which can be read here and here. Those Q&As tell Murase-san's story better than I possibly could in this blog post.

Keizo Murase in March 2016. Photo by Brett Homenick.

To the best of my knowledge, I first met Murase-san at an event in May 2013. I subsequently met Murase-san in and around Tokyo numerous times and enjoyed interviewing him at his company more than once.

Keizo Murase chats with kaiju beam animator Sadao Iizuka in March 2016. Photo by Brett Homenick.

While I wasn't as close to him as I was with other Godzilla series alumni (as I recall, we spoke on the phone only once, and I received a New Year's greeting card from his company once or twice), I always enjoyed his friendly presence at the events his attended.

Keizo Murase poses with Ultra-series director Toshihiro Iijima in March 2016. Photo by Brett Homenick.

When I first interviewed him in April 2018, I remember he essentially showered me with gifts, presenting me with a Cast Co. bromide card set with photos from his career, as well as a copy of his book. It was a gesture I've always remembered and appreciated.

Keizo Murase in March 2016. Photo by Brett Homenick.

After the interview, which was held in Murase-san's workshop way out in Mizuho, Tokyo, I still had to teach a group lesson on the 10th floor of the Shinjuku Sumitomo Building (the same structure Godzilla crashes into after his first encounter with the Super X) that evening. Murase-san, who picked my translator and me from the nearby train station in his car, drove us back to the station when we were finished. Miraculously, I somehow made it to the lesson literally in the nick of time. Had I arrived even a minute later, I would have been late. It still amazes me how perfect the timing was, given the distances (and various modes of transportation) involved. 

Keizo Murase at his workshop in February 2024. Photo by Brett Homenick.

My last encounter with Murase-san was in February of this year, just before I left Japan. I visited his workshop one more time to interview him again about his career. Even after the third interview, I still didn't get to cover all the topics I would have liked, but I was and still am grateful to have had the opportunity. The interview probably won't be published for quite a while (I have a massive backlog), but I look forward to getting it published sometime in the future.

With Keizo Murase in February 2024.

When I visited Murase-san that day, he was riding high on the fact that he had been selected to receive a special award at the Japanese Academy Film Prize on March 8 for his contributions to Japanese cinema. The timing of that award was impeccable, and I'm proud that Murase-san was able to receive such a prestigious accolade in his lifetime.

With Keizo Murase in March 2016.

While we were taking photos after the interview in February, Murase-san grabbed his phone and asked his son to take a picture of the two of us together. I've said it before, but it's always cool when a VIP asks to take a photo with you. 

With Keizo Murase in October 2020.

Murase-san created some of the most fantastic images of my childhood, and it was my privilege that I was able to spend some precious moments in his company. Rest in peace, Murase-san. 

ULTRAMAN UNMASKED! Spending a Memorable Evening with the Superhero from M78!

Bin Furuya. Photo by Brett Homenick.

On Saturday, March 9, I attended another special event headlined by the original Ultraman suit actor Bin Furuya. Furuya-san got his start as a Toho New Face in 1960 alongside future Ultraman (1966-67) cast member Masanari Nihei. 

By the time I arrived, the first half of the event was already winding down. I brought a few items for Furuya-san to sign (two vintage Ultraman cards along with a vintage Ghidrah the Three-Headed Monster one), and luckily there was still time to get them signed. Afterward, we posed for pictures with Furuya-san.

Bin Furuya. Photo by Brett Homenick.

When that portion of the event wrapped, Furuya-san asked me to join him onstage (to the extent you could call the platform he was standing on a stage, I suppose) and asked me to say a few words to the gathered audience in Japanese, which I did my best to do. He then said a few words of his own, which, as you'd expect, were very heartfelt and generous.

After that, we moved on to the dinner event. Furuya-san sat down next to me early on and asked me about where I'd be living in California.

Bin Furuya. Photo by Brett Homenick.

We used the little dishes holding various food items to represent various cities, and I essentially made a map of California (and even Arizona and Nevada), using the dishes to mark the location of the cities, such as Los Angeles, San Francisco, Phoenix, Las Vegas, etc. I pointed out how far it would take to drive from my home to these particular places, which was something Furuya-san was particularly curious about.

One of the dishes contained radish, and, when my tablemate encouraged me to eat it, I said, "Daikon haiyu," which means "radish actor" in Japanese. A "radish actor" in Japan means a rather stiff performer, which got a laugh out of Furuya-san. (I certainly wasn't talking about him!)

Given that this was an event with Furuya-san, the topic of James Dean eventually came up. Furuya-san mentioned the film East of Eden (1955) in Japanese, so I mentioned how to pronounce Eden in English, which (naturally) is a bit different from the Japanese way. Furuya-san seemed interested to learn the English pronunciation and repeated it a few times during the evening.

While we were sitting next to each other, Furuya-san took out his phone and asked the person sitting across from us to take our photo. I've said it countless times before, but it's always a blast when one of the guests at events like this wants to get a photo with you.

During the evening, Furuya-san mentioned the sheer number of actors I've met throughout the years and how many autographs I've gotten. He seemed quite impressed, especially with some of the rarer folks who don't usually do events. Well, it's a lot of fun!

We also spent a little bit of time talking about Furuya-san's days as a New Face at Toho and some of his early roles at the studio. Of course, he doesn't remember much about some of his more obscure appearances, like Gorath (1962), very well. Then again, he was essentially an extra during that time, so what would there be to say after all these years?

We also reminisced about the time Furuya-san visited Gifu Prefecture in 2013. Someone at the table asked me if that was the first time I met Furuya-san, but it certainly wasn't. By that time, I'd traveled halfway across the world with him!

At the end of the evening, Furuya-san asked me to stand up and again addressed the audience with me next to him (though, technically speaking, I was positioned in front of him this time). Suffice it to say, it was a great evening with a great gentleman, whom I hope to visit again very soon.

ULTRAMAN FLIES AGAIN! Another Fun Evening with the Superhero from M78!

Bin Furuya. Photo by Brett Homenick.

 

Last night (Saturday, February 17), I attended another event with Ultraman suit actor Bin Furuya. I arrived late due to my work schedule, and by the time I arrived the festivities were already winding down. Luckily, I was able to attend the after-party that started immediately thereafter. 

When Furuya-san arrived at the izakaya for the after-party, he asked me to stand up and proceeded to tell the folks in attendance about my March plans. He also shared a story about going to a restaurant in Chicago with Akira Takarada and me, recalling how much I ate and drank there. Well, it was a fun memory for me, too!

Furuya-san sat with my table two separate times during the evening, during which he was seated directly next to me. We talked about his interest in James Dean, the movie Shane (1953), and Japanese pro wrestler Rikidozan. There was also a fascinating talk about some of his recent signing events. 

Funnily enough, Furuya-san  recalled the time he called me on my cell phone when I happened to be on a date with a girl in December 2021. I guess he thought things were a lot more serious between her and me than they actually were! (But, hey, who could blame him?)

It was also pretty fun to hear Furuya-san use more English words. I'd actually never heard him use so many before. It was quite fascinating to hear due to the fact that it's rather rare in my experience.

Furuya-san was also great about putting his arm around your shoulder or making physical contact in some other way. After all, who wouldn't want to get that kind of affirmation from Ultraman himself?

Suffice it to say, it was another fun evening with the man from M78. Of course, my interest in Furuya-san is as much rooted in his early Toho roles as it is with his more impressive turns at Tsuburaya Productions, but I'll happily take both. Many thanks to Furuya-san for another great evening!

Revisiting Yokohama Marine Tower (and Other Locations)!

The exit that takes you to Yokohama Marine Tower. Photo by Brett Homenick.

During King Ghidorah's raid on Yokohama in the popular Godzilla series entry Ghidrah the Three-Headed Monster (1964), the space beast's gravity rays destroy a tower in one of the film's most impressive effects shots. That structure is Yokohama Marine Tower.

Yokohama Marine Tower is accessible by taking Exit 4 from Motomachi-Chukagai Station on the Minatomirai Line. It's only about a minute walk from the station. It's also very close to Yamashita Park. Best of all, it's so big that it's impossible to miss!

I paid my first visit to the tower in a few years, and it was a great opportunity to take in the sights again. While I didn't enter the tower, just seeing it from the outside was enough for me. After all, that's how we see it in Ghidrah! 

While in the area, I also saw Cosmo Clock 21, which is a humongous Ferris wheel, and the InterContinental Yokohama Grand, both of which appear in Godzilla vs. Mothra (1992). Also nearby was the Yokohama Bay Bridge, which is a GMK: Giant Monsters All-Out Attack (2001) location.

It was a lot of fun to see these places again in person. Here's what I saw. Enjoy!

The Cosmo Clock 21 (the Ferris wheel on the left) and the InterContinental Yokohama Grand (the crescent-shaped structure on the right). Photo by Brett Homenick.

The Yokohama Bay Bridge. Photo by Brett Homenick.

Celebrating the New Year with a Toho VIP!

Toru Ibuki. Photo by Brett Homenick.

Tonight (Wednesday, January 10), I had the distinct privilege of spending the evening with former Toho actor Toru Ibuki. Would you believe it had been about five years since I last met him? Ibuki-san turns 84 at the end of the month, and I was pleasantly surprised to see that he was still looking well. 

Toru Ibuki signs autographs. Photo by Brett Homenick.

Ibuki-san stays healthy by going for long walks and doing squats every day, which is hard even for me at my age!

I was able to attend a beginning-of-the-year party, at which Ibuki-san was the guest of honor. Ibuki-san and his daughter gave me a Godzilla-themed T-shirt as a gift, which I wasn't expecting but was more than pleased to receive. In honor of Ibuki-san's upcoming birthday, I presented him with not one but two omiyage boxes.

Of his own movies, Ibuki-san named Operation Enemy Fort (1962) as his favorite, as well as talking about some of his memories of Frank Sinatra in America. I asked Ibuki-san if he'd seen any movies recently, which he hasn't. I also enjoyed speaking to Ibuki-san's daughter on a wide range of topics.

Naturally, I couldn't resist bringing a few items to get signed, which Ibuki-san graciously did. The items were Blu-ray sleeves (of Godzilla vs. the Sea Monster and Terror of Mechagodzilla), as well as Godzilla Store cards of Sea Monster and Monster Zero. I told the attendees that Ibuki-san had a beard in Terror of Mechagodzilla, and, when I asked him if it was a real beard, he said it was.

The party lasted just over two hours, and I enjoyed every bit of it. I can't tell you how good it was to see Ibuki-san again after such a long time. It felt even better to see that he was doing well. Tonight was certainly an evening for the history books.