HAPPY BIRTHDAY, KENJI SAHARA: MAY 14, 1932 Actor and Star of RODAN & THE MYSTERIANS

お誕生日おめでとう、佐原健二さん!


Kenji Sahara & Yumi Shirakawa in Ishiro Honda's THE H-MAN (1958).

「美女と液体人間」THE H-MAN (1958)

Shirakawa's Beauty is threatened by Tsuburaya's Beast.

THE H-MAN

Bijo to Ekitai Ningen, Toho, 1958, 87 minutes
Director ISHIRO HONDA • Visual Effects Director EIJI TSUBURAYA



Often woefully mistaken for a rip-off of Irving S. Yeaworth Jr.’s THE BLOB (1958), "The Beauty and the Liquefied Man" (the film’s Japanese title) was in production long before the infamous creature feature ever hit American screens. According to official records, a former Shochiku Studios actor who was hired by Toho, under his new stage name, Hideo Unagami, submitted the story treatment that became THE H-MAN (the film’s U.S. title). His story caught the eye of producer Tomoyuki Tanaka, and was pushed through for development under the supervision of genre specialists, Ishiro Honda and Eiji Tsuburaya — thus launching Toho's "Mutant Series," incorporating Honda's THE HUMAN VAPOR (1960) and MATANGO (1963).

As with the original GODZILLA (1954), the premise of THE H-MAN was based on the real-life "Lucky Dragon" incident, where a Japanese fishing trawler wandered into the waters of the H-Bomb test site at Bikini Atoll. The crew and their catch became radioactive, and death came to several of the crewmembers as a result of poisoning from radioactive fallout. In November 1957, Tanaka, Honda and Tsuburaya finalized the story with writer Takeshi Kimura, who penned the screenplays for RODAN (1956) and THE MYSTERIANS (1957). The pessimistic Kimura was put in charge of fleshing out Unagami’s treatment, and created a world where the law is only a thin veil that differentiates the police from organized crime.

This mixture of detective story and science fiction was not new to the Japanese; "Tantei Shosetsu Henkaku" (or Irregular Detective Fiction) took root in the 1920s with the rise in popularity of such pulp magazines such as Shinseinen (New Youth) and Kagaku Gaho (Science Pictorial), where this sub-genre originated. The first movies in this vein were Daiei Studio's THE RAINBOW MAN and ENTER THE INVISIBLE MAN (both 1949), the latter with inspired effects work created by Tsuburaya. While Toei made Rampo Edogawa’s juvenile stories, Boys Detective Gang, into a series of films between 1954-1958, THE H-MAN was far more adult; with its mixture of seedy nightclubs, lurid characters and drug smuggling — akin to similar "Anokokugai" (Underworld) pictures pouring out of post-war Japanese studios, such as Seijun Suzuki's UNDERWORLD BEAUTY (1958).

Honda paired Kenji Sahara and Yumi Shirakawa for the third, and last, time in THE H-MAN. Playing the young theoretical scientist, Sahara would continue to appear in many films for Honda, as well as star in Tsuburaya's classic television series ULTRA Q (1966). Shirakawa plays a Cabaret Chanteuse, and shortly thereafter was cast in such films as Yasujiro Ozu's EARLY AUTUMN (1961). She only made a handful of fantasy films after THE H-MAN, Jun Fukuda’s THE SECRET OF THE TELEGIAN (1960), Shuei Matsubayashi’s THE LAST WAR (1961) and Honda’s GORATH (1962), and then married Nikkatsu Studios star Hideaki Nitani (TOKYO DRIFTER). Cutting an imposing figure as the vile "Uchida," Makoto Sato was launched into a long career as heavies and heroes alike, despite his brutish features, and recently appeared in Takayoshi Watanabe’s DEAR HINAGON (2005).

Although there are no colossal beasts in THE H-MAN, Tsuburaya managed to conjure up some very special effects for this picture; especially eerie is the hydrogen ooze that dissolves the human victims — and when the shapeless mutants manifest into humanoid forms (most notably, during the flashback set aboard the "haunted" fishing trawler). Another remarkable visual effect is the death of Detective Sakata (Yoshifumi Tajima), when the liquefied creatures dissolve him in the cabaret. While these effects were considered somewhat shocking in 1958, even more shocking were the scantily-clad cabaret dancers, who were a little racier than allowed in mainstream American cinemas at the time. (While Columbia Pictures' trims for the U.S. release resulted in more than five minutes of footage hitting the cutting room floor, most was comprised of police exposition, the aforementioned saucy bits, and some of the shots in the sewers featuring Shirakawa in nothing more than a slip.)

To achieve the effect of the dissolving human beings, Tsuburaya had life-sized latex dummies of the actors made, and dressed them up as their flesh-and-blood counterparts. Shooting with high speed cameras, Tsuburaya’s crew literally let the air out of these dummies, and when combined with optical effects in post-production, they appear to be dissolved by the gelatinous monsters. Then, there’s the creeping ooze itself (cooked up from a special silicon compound), which was manipulated on special sets constructed to roll 60%, thus allowing the deadly miasma to threaten the cast. Tsuburaya also created some atmospheric miniature photography of the ghost ship for the title sequence and the creepy flashback, as well as the spooky lattice of sewers under Tokyo — transformed into a raging inferno, as they are engulfed in the conflagration created to incinerate the H-Men in the fiery climax.

Executive Producer TOMOYUKI TANAKA Screenplay TAKESHI KIMURA Original Story HIDEO UNAGAMI Production Design TAKEO KITA Cinematography HAJIME KOIZUMI Lighting TSURUZO NISHIKAWA Film Editor KAZUJI TAIRA Sound Recording CHOSHICHIRO MIKAMI and MASANOBU MIYAZAKI Music MASARU SATO Visual Effects Production Design AKIRA WATANABE Visual Effects Photography HIDESABURO ARAKI and SADAMASA ARIKAWA

Starring KENJI SAHARA (Dr. Masada) AKIHIKO HIRATA (Detective Tominaga) YUMI SHIRAKAWA (Chikako Arai) EITARO OZAWA (Chief Detective Miyashita) MAKOTO SATO (Uchida) YOSHIO TSUCHIYA (Detective Taguchi) YOSHIFUMI TAJIMA (Detective Sakata) TETSU NAKAMURA (Chen) NIDAO KIRINO (Shimazaki) AYUMI SONODA (Emi) NAOMI SHIRAISHI (Mineko) MACHIKO KITAGAWA (Hanae) TADAO NAKAMARU (Detective Seki) HISAYA ITO (Masaki) and KOREYA SENDA (Professor Maki)

「空の大怪獣 ラドン」RODAN (1956)

The titular monster amidst the detailed miniature set of Fukuoka.

RODAN, THE FLYING MONSTER
Sora-no Daikaiju Radon, Toho, 1956, 82 minutes
Director ISHIRO HONDA • Visual Effects Director EIJI TSUBURAYA

With the success of the first two Godzilla films under his belt, Producer Tomoyuki Tanaka looked to create a new style of monster movie to be shot in color, and solicited a treatment from mystery writer, Ken Kuronuma, who was the one of the translators for the Japanese edition of Amazing Stories magazine. Kuronuma based the core of his treatment on the unexplained, real-life "Mantell Case" of 1948, in which veteran WW2 pilot, Captain Thomas F. Mantell of the Kentucky Air National Guard, died when his aircraft crashed during the pursuit of an Unidentified Flying Object. Such a scene figures prominently in the completed film, and is cited as one of the most memorable in RODAN — one of Toho's finest genre films.

Set on Japan’s southern island of Kyushu (but mostly shot on location in western Japan), RODAN was Toho's first color kaiju eiga featuring a screenplay, written by Takeshi Kimura and Takeo Murata, which centers on two lovers whom are mirrored with the Rodan. While not appearing in Kuronuma's treatment, the murderous super-sized dragonfly larvae, or Meganuron, were inspired by gargantuan ants in Gordon Douglas' THEM! (1954), and became another memorable element of the film. Honda's direction is solid and dramatic, and much less documentarian than GODZILLA (1954), with truly creepy scenes in the dark and claustrophobic coal mine sets, and beautiful panoramic photography of the breathtaking countryside vistas. Heading up the 2nd Unit was Jun Fukuda (1923-2000), who was promoted to director in 1960 with THE SECRET OF THE TELEGIAN, and later became well-known for his stylish gangster movies and outrageous fantasy films.

Toho trumpeted that RODAN starred the "Hopes for 1957," newcomers Kenji Sahara (b.1932) and Yumi Shirakawa (b.1936), who would be paired in several pictures together after RODAN, including THE MYSTERIANS (1957). After placing second in a Toho talent contest in 1953, Sahara was a bit player until RODAN, and summarily became one of the busiest actors at the studio, appearing in over twenty science fiction films. Still active, Sahara recently appeared in the Tsuburaya Productions television series ULTRAMAN NEXUS (2004). Joining Toho in 1956, the beautiful Shirakawa appeared in several of Honda's pictures, and is still acting today. A favorite of Hiroshi Inagaki and Akira Kurosawa, the late Akihiko Hirata (1927-1984) played "Dr. Kashiwagi" and many memorable roles in Toho fantasy films, starting with "Dr. Serizawa" in GODZILLA. Even today, Hirata continues to be one of the most recognizable faces in the history of the genre.

Tsuburaya's elaborate and spectacular visual effects took up 60% of the film's entire production budget, and it's all up there on screen — from beautiful matte paintings to highly detailed miniature sets — and is still quite effective a half-century later. One of his outstanding sequences is the destruction of the Saikai Bridge, a scene that could only be shot once. A matter of precise timing, his wire operators had to pull the Rodan prop over the 1/20 scale bridge, while other crew members pulled another series of wires to collapse the bridge. Shot with several cameras in tandem (a Tsuburaya technique shared by Kurosawa), it all went off perfectly in one take. The finely detailed miniature of the Iwata-ya department store in Fukuoka City (changed to Sasebo City in the U.S. version) was built with real reinforced steel beams, in order to support the weight of monster actor Haruo Nakajima and the 150-pound Rodan costume. Scenes featuring animation of the flying Rodan being pursued by the fighter plane, or streaking through the skies, are still staggeringly realistic.

Because of the international success of GODZILLA in 1956, the U.S. rights for RODAN were immediately acquired by the King Brothers (Maurice, Frank and Herman), who are today best remembered for RODAN (as well as Eugene Lourie's kaiju eiga-styled GORGO, 1961). Starting with a complete work print, several shots excised in the Japanese version were utilized, while the H-Bomb tests seen at the top of the film came from newsreel footage. The English dialogue was written and directed by David Duncan (1913-1999), best known for THE TIME MACHINE (1960). Voice talent included the venerable Keye Luke (KUNG FU) as "Shigeru" and Paul Frees (THE THING FROM ANOTHER WORLD) as "Nishimura," while a young George Takei, who took RODAN as a summer job — his first acting gig — provided the voice for "Professor Kashiwagi" ("…and at least ten other characters — I lost count!" he recalled). Upon its release in the U.S. in July 1957, RODAN became the highest-grossing science fiction film of that year.

Despite the extensive re-editing of the film (approximately ten minutes shorter than the Japanese, and the removal of some of Ifukube's score), the U.S. version benefits from Duncan's surprisingly poetic narration, especially as the Rodans are consumed in the fiery climax: "Like moths in those rivers of fire, they seemed almost to welcome the agonies of death. The last of their kind, masters of the air and earth, the strongest, swiftest creatures that ever breathed… now, they sank against the earth like weary children. Each had refused to live without the other. And so, they were dying together… I realize now, that by the narrowest of margins, man had proved himself the stronger. But, will it always be so? May not other and more terrible monsters, even now, be stirring in the darkness? And when, at last, they spring upon us, can we be certain to beat them back a second time? That answer lies in the future. Our fears, for now, have gone up in flame and smoke."

Executive Producer TOMOYUKI TANAKA Original Story KEN KURONUMA Screenplay TAKESHI KIMURA and TAKEO MURATA Production Design TATSUO KITA Cinematography ISAMU ASHIDA Film Editor KOICHI IWASHITA Music AKIRA IFUKUBE Visual Effects Production Design AKIRA WATANABE Visual Effects Photography SADAMASA ARIKAWA [US Version] Producers THE KING BROTHERS Film Editor ROBERT EISEN English Dialogue and Director DAVID DUNCAN

Starring KENJI SAHARA (Shigeru Kamura) YUMI SHIRAKAWA (Kiyo) AKIHIKO HIRATA (Professor Kyuichiro Kashiwagi) AKIO KOBORI (Police Chief Nishimura) YOSHIFUMI TAJIMA (Iseki, Seibu News) MINOSUKE YAMADA (Constable Ozaki) RINSAKU OGATA (Goro) and HIDEO MIHARA (Japan Air Self-Defense Forces Commander)