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 Ultraman, Ultra Seven, Operation: 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 Q, Ultraman, Ultra Seven, Silver Kamen, Tokyo: 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!

Attending an Event with a Legendary Nikkastu Actress!

Makiko Aoi. Photo by Brett Homenick.

Tonight (Friday, February 23), I braved freezing-cold temperatures to attend an event with former Nikkatsu actress Makiko Aoi. I'd previously met Aoi-san only once before, and -- believe it or not -- it was almost exactly five years ago in February 2019. Time sure does fly, doesn't it?

Even though today was a national holiday in Japan, I still had to work, so I arrived much later than everyone else. But I still got to spend nearly two hours at the venue, which was more than sufficient. Actually, things went much better than I could have expected! 

The event was organized by fans of the late Nikkatsu actor Keiichiro Akagi, who is often called the James Dean of Japan. Akagi was at the height of his popularity when he died in a car accident at the age of 21 in 1961, and he still has a dedicated fan following in Japan to this day.

But what about the evening's guest of honor? Born on May 26, 1940, Aoi-san started her acting career in the late 1950s. She soon joined Nikkatsu Studios, and her acting credits include Seijun Suzuki's The Boy Who Came Back (1958), the genre-ish The Woman from the Sea (1959), and I Hate But Love (1962) with Japanese superstar Yujiro Ishihara.

Even though it's not something I usually do at such events, I presented Aoi-san with a box of chocolates shortly after I arrived. She was quite surprised and told me she happens to love chocolate, so I guess it was a smart move on my part after all! Aoi-san wasn't sure whether she should accept it, though, as it was from a famous brand, but I assured her it was my privilege to give it to her, so she ultimately put it in her backpack. 

During the evening, I asked Aoi-san if she had any memories of director Suzuki to share, but she told me she didn't remember working with him. Of course, actors and actresses were extremely busy in those days, and oftentimes movie productions would blend together.

When the topic of tokusatsu came up (as it usually does when I'm in the conversation), I was surprised to see that Aoi-san knew the Mothra song as sung by The Peanuts, even singing a couple of lyrics of it. But she wasn't familiar with the movie itself, which, again, is understandable.

A small photo album was passed around during the evening, which featured many photos from Aoi-san's life and career. Some were production stills from her Nikkatsu heyday; others were personal photos taken during the 1980s and '90s, featuring the likes of fellow Nikkatsu performers Akira Kobayashi and Tamio Kawachi. 

At one point, when Aoi-san was about ready to eat her dinner, she accidentally dropped her chopsticks on the ground. So I immediately got up and brought her a new pair. Hey, it was the least I could do for her!

As if all that weren't enough, I was invited to ride in the taxi with Aoi-san, her assistant, and another attendee to the station after the event. Suffice it to say, it was an offer I couldn't refuse. Afterward, I tried to contribute my share of the taxi fare but was declined. What kindness!

It also so happened that we would all get on the same train, though we would eventually change at different stations. But, as we were waiting to get on the train, Aoi-san's assistant said the other attendee and I were their bodyguards. Now there's a job I'd certainly take!

All in all, the evening far exceeded my expectations, and I'm glad that an unexpected schedule change allowed me to attend. It was certainly one for the history books!

Yoko Yamamoto, Star of Nikkatsu's Kaiju Feature 'Gappa,' Passes Away at Age 81

A 1977 portrait of actress Yoko Yamamoto on display at the Yamamoto Noriten shop in Nihombashi, Tokyo. Photo by Brett Homenick.

Actress Yoko Yamamoto passed away on February 20 at a hospital in Atami, Shizuoka Prefecture (where she had been living since turning 70), at the age of 81. The exact cause of her passing has not been disclosed, with most sources simply reporting that it was due to an illness. Notably, she appeared on the television talk show Tetsuko's Room on February 2, and, according to media reports, her passing was sudden and unexpected by those who knew her. The same articles indicate that a funeral has not yet been held.

Yoko Yamamoto welcomes you to the Yamamoto Noriten shop in Nihombashi. Photo by Brett Homenick.

Yoko Yamamoto was born on March 17, 1942, and joined Nikkatsu Studios in 1963 (debuting in 1964) as part of the studio's 7th New Face class. While never quite reaching the levels of stardom attained by some of her contemporaries like Sayuri Yoshinaga, she went on to star in Nikkatsu's sole kaiju outing, 1967's Gappa the Triphibian Monster (a.k.a. Monster from a Prehistoric Planet). Also in 1967, Yamamoto signed a contract with Yamamoto Noriten, a company that specializes in seaweed products.

The Guinness World Records certificate om display at the Yamamoto Noriten shop in Nihombashi, Tokyo. Photo by Brett Homenick.

Almost 60 years later, Yamamoto remained the face of the company. In November 2009, she was officially recognized by Guinness World Records as being the longest-serving house model for the same company. In 2023, she celebrated her 60th anniversary in the entertainment business.

A 1975 portrait of actress Yoko Yamamoto on display at the Yamamoto Noriten shop in Nihombashi, Tokyo. Photo by Brett Homenick.

In March 2018, I visited the Yamamoto Noriten shop in Nihombashi and took some photos relevant to Ms. Yamamoto's career, which you can see in this blog post. While I never had the privilege of meeting Ms. Yamamoto in the flesh, I've always enjoyed her performance in Gappa, which is a perennial favorite of mine.

A 1975 portrait of actress Yoko Yamamoto on display at the Yamamoto Noriten shop in Nihombashi, Tokyo. Photo by Brett Homenick.

RIP, Yoko Yamamoto.

Seeing 'Branded to Kill' in 4K in Ikebukuro!

Branded to Kill (1967) at the Shin Bungeiza. Photo by Brett Homenick.

On Sunday, November 5, my friend Jacob and I attended a screening of Nikkatsu's Branded to Kill (1967), Seijun Suzuki's stylish crime thriller at Ikebukuro's Shin Bungeiza theater. The film was represented in a 4K remaster that looked absolutely perfect on the big screen. 

Branded to Kill at the Shin Bungeiza. Photo by Brett Homenick.

I first saw the movie circa 2013 on DVD. Honestly, I wasn't that impressed with the movie at the time. I could recognize the talent and hard work that went into it, but I felt the story itself was rather boring. The story simply couldn't hook me. 

Actress Anne Mari. Photo by Brett Homenick.

Unfortunately, I had the same reaction this time. The visuals were excellent, but the story was lacking. It just never grabbed me, and by the end I was getting a bit bored. I wish I could love it like most other film fans do, but I don't. I find it a rather tiresome exercise in style over substance.

Actress Anne Mari. Photo by Brett Homenick.

The highlight, however, was the Q&A with actress Anne Mari after the screening. She couldn't always answer the interviewer's questions -- admitting multiple times that she just couldn't remember what happened in those particular instances -- but she was in great spirits and was a joy to see. When the audience was taking photos, my friend Jacob waved to her, which caused her to notice us. She asked us from the stage if we could understand Japanese, to which I gave her a thumbs up or an OK gesture (can't remember which) to tell her we were fine. 

I'd met Anne Mari at two previous events, so this was my first time to see her in person since late 2017. I wish I could have had the chance to speak with her personally, but you can't win them all. It was lovely just to see her again.

An Evening with a 1960s Nikkatsu Starlet!

Masako Izumi. Photo by Brett Homenick.

Well, it had been a long time, but it was well worth the wait! Tonight (Saturday, June 10), I attended a special event with former Nikkatsu Studios actress Masako Izumi. The last time I met her was just before the pandemic, so it had been several years. But it was wonderful to see her again, and it felt like no time had passed at all.

Masako Izumi poses with a poster for Monument to the Girls' Corps. Photo by Brett Homenick.

Izumi-san (born in 1947) began her acting career in 1958 and quickly became a star when she signed with Nikkatsu Studios in the early 1960s. At Nikkatsu, she starred in such films as Toshio Masuda's tragic World War II drama Monument to the Girls' Corps (1968) and Seijun Suzuki's Tattooed Life (1965).

Masako Izumi. Photo by Brett Homenick.

Even after so long, she recognized me when she saw me and asked me how I'd been, which was a pleasant surprise. I can't say I always get recognized, and, given that nearly three and a half years had passed since we last met, you can never be sure. 

I was fortunate to sit across from Izumi-san during the dinner portion of the event, which made chatting with her easy. And chat we did! Izumi-san was full of energy and didn't let up the whole evening. I asked her about working with director Toru Murakawa on Monument to the Girls' Corps (on which he was an assistant director), as well as the time she was being considered for the role in Akira Kurosawa's Sanjuro (1962) but ultimately couldn't participate because she was signed to Nikkatsu. (The role eventually went to Reiko Dan.)

Izumi-san felt lucky to join Nikkatsu, as she liked the youth pictures they were producing. It was a good fit for her, so feels she ended up at the right studio. Still, I'm sure any actor would consider a role in a Kurosawa movie a plus for his or her resume. We also joked around about various random things, including her dislike of shochu, and it was all a lot of fun. Honestly, it was the most fun I've had at an event like this in a while. Izumi-san is truly something else!

When I left, I approached Izumi-san to let her know. She extended her hand to me, and we shook hands. She also said the Japanese equivalent of, "See you again." I certainly hope so. Tonight was a lot of fun, and I definitely want to do it all over again!

An Evening with a Nikkatsu Legend!

Setsuko Ogawa. Photo by Brett Homenick.

Tonight (Saturday, March 18), I had the privilege of spending the evening with former Nikkatsu actress Setsuko Ogawa. Honestly, I'm not that familiar with her acting work, but she appeared in a couple of works that are quite interesting, so I was intrigued to meet her.

Ogawa-san was born on March 21, 1951, and began her acting career in 1971 at Nikkatsu. After getting married, she quit acting in 1975 but has since joined a talent agency and has started to pursue acting once again. 

She mostly appeared in the racier Nikkatsu movies of the era. One such title is Hellish Love (a.k.a. Erotic Bride from Hell, 1972) in which she plays the ghostly titular character Otsuyu. She also appears in the Toho jidai geki Slaughter in the Snow (1973), as well as the Lone Wolf and Cub (1973-76) TV series as Sayaka Idebuchi.

I arrived late to the event due to my work schedule. Ogawa-san was surprised to see an American at the event and gave me a brief greeting in English. A bit later on, she asked me why I was there, to which I replied that I'm a fan of Hellish Love. I also admitted that I'm not nearly as familiar with Nikkatsu's '70s output as others at the event. 

I found Ogawa-san extremely friendly and charming. Some actresses can be a bit snooty, but Ogawa-san wasn't that way at all. She seemed genuinely interested in me and asked me a bit about myself. I certainly appreciated that. As luck would have it, the Laputa Asagaya will be screening some of Ogawa-san's films starting next month. One of her fans gave me a flier for the film program, and Ogawa-san graciously signed it for me. One of the movies screened will be Hellish Love, which I hope to see there.

I got to ask Ogawa-san a few questions about her career, especially about Hellish Love. She said it took about a month to film the movie. I asked her how she felt about doing her love scenes, and she said she hated doing them. (I can see why she quit acting as soon as she did!) I pointed out the movie Legend of the Sex Thief in Edo (1973), in which she stars, will be playing at the Laputa Asagaya, but she told me she didn't remember it, reminding me that it was a long time ago. I would imagine those kinds of movies start to blend together after a while.

And there you have it! I really didn't know what to expect when I arrived, but I was pleased to find that Ogawa-san was a friendly guest who was well worth meeting, even if I wasn't all that familiar with her filmography. I certainly hope to meet her again in the near future!

A Dramatically Good Dramatic Reading!

Masanori Machida. Photo by Brett Homenick.

On Sunday, October 30, I took in yet another dramatic reading by actor Masanori Machida, one of my favorite people to visit in Japan. Machida-san always gives it his all, and this time was no exception.

After the performance, I spent some time chatting with Machida-san, who again told me a bit about an upcoming tokusatsu project he appears in that will come out fairly soon. I look forward to seeing it! He also mentioned a Q&A event that he will be participating in during the month of November.

 

I also asked Machida-san to sign a couple of items, which he did with no hesitation -- a really cool guy! As you can see from these photos, he enjoys mugging for the camera. He's always a blast to see, and I look forward to the next time I can!

Nikkatsu Studios in Chofu!

The entrance of Nikkatsu Studios. Photo by Brett Homenick.

I hadn't been to Nikkatsu Studios in many years when I visited the studio again on September 30. The studio certainly isn't glamourous, as you will see in the photos. But it's always fun to see where some great movies were made, including Gappa the Triphibian Monster (a.k.a. Monster from a Prehistoric Planet, 1967). Enjoy!

Bringing a Special Item to Machida-san's Event!

Masanori Machida. Photo by Brett Homenick.

Have I mentioned how busy the day was? Sunday, September 25, was capped off by my attendance at another one of Masanori Machida's dramatic readings. This time, I made sure to bring the LaserDisc of Monster from a Prehistoric Planet (a.k.a. Gappa the Triphibian Monster, 1967) that used to belong to the late Toho SFX director Teruyoshi Nakano for him to sign.

He was quite surprised to see it, although it took him a moment to realize what it was. I made sure to point out where he was on the cover (as the young native boy Saki). As you can see, he posed for photos with it pretty enthusiastically.

After posing with the LaserDisc for photos, I asked him to sign it, which he graciously did. At first, I asked him to sign the front cover, but he was reluctant to do that, as it might waste such a rare item. I didn't think it would, but I saw his point, so I asked him to sign the back instead, which he did.

Masanori Machida signs the back of the LaserDisc. Photo by Brett Homenick.

Afterward, we had a nice chat about an upcoming project of his that will be coming out. He shared a bit more information about it, which sounded rather exciting to me. I look forward to seeing it when it's ready! 

Boy, having to type all this out is just as tiring as the day itself was. But what a day it was!