From Beyond Television: Ultraman Episode #8

Episode 8: THE LAWLESS MONSTER ZONE (KAIJU MUHO CHITAI) ****

Directed by Hajime Tsuburaya

A four man crew of scientists were sent to Tatara Island to study volcanic activity. A week into their stay, contact was lost with the four researchers. The Science Patrol is tasked with investigating the alleged disappearances and, if they're still alive, to bring the men back. Immediately upon their arrival on the island, the Science Patrol runs afoul of several monsters and aggressive plant life. Eventually, Matsui, one of the scientists, is found alive; saved by a kindly, if peculiar looking creature named Pigmon. Meanwhile, the rampaging giant monsters make escape difficult till Ultraman shows up to save the day.

This is a lean, action-packed episode with a simplistic story that delivers everything kids--both young and old--loved about growing up with Japanese SciFi monster programs. This one was frequently aired in my neck of the woods back in the late 70s-early 80s; and was a personal favorite. I remember kids at school talking about the quirky-looking, passive Pigmon monster. If nothing else, it was certainly unique.

This was Hajime Tsuburaya's 2nd of 8 ULTRAMAN episodes credited to him as director. The son of Japan's master SPX director Eiji Tsuburaya, Hajime helmed some of the best segments in the series; including the first episode (he also voiced Ultraman before he took Hayata as his host body), a two-parter, and the finale. He worked as a director on other Tsuburaya programs like ULTRASEVEN (1967-1968) and OPERATION: MYSTERY (1968-1969). ULTRAMAN ACE (1972-1973) was his last work before dying aged 41 from a cerebral hemorrhage in 1973.

Uehara Shozo's and Tetsuo Kinjo's script is bare minimum, and an excuse to trot out as many monsters as possible in 25 minutes. Its streamlined narrative and heavy focus on monster action is one reason 'The Lawless Monster Zone' is a popular episode with fans.

The snake-headed, bulky-bodied Red King is both one of the most ferocious and most popular Japanese monsters. It's the sole original giant monster in this episode, with the others being remodeled versions of previous creations. The Red King costume would likewise be recycled for use as other creatures. Red King would appear again with a darker complexion in episode 25 of ULTRAMAN (as Red King II). Monster suit veteran Teruo Aragaki instills a lot of personality into the showboating beast that has led to the monster's fame among fans. Toru Narita designed the monster while Ryosaku Takayama did the modeling work.

Chandler (or Chandlar), a winged monster with tusks like a wild boar, is a thinly disguised Peguila suit last seen in the ULTRA Q series of the same year. Ryosaku Takayama modeled the monster based on Toru Narita's revised design from Peguila's initial creator, Yasuyuki Inoue. This episode marks the first time in ULTRAMAN where monster gore is seen on-camera. Chandler is already bleeding under one of his arm's when we first see him. Shortly thereafter, he bites down into Red King's arm and blood pours from the wound. The coup de gory comes next when Red King returns the favor by tearing Chandler's arm off! Yukihiro Seino is inside the Chandler suit.

Mr. Seino did a few bit parts and participated mostly in suit work on ULTRA Q and ULTRAMAN. Both Yukihiro Seino and Teruo Aragaki literally worked together on the latter, sharing a two-man suit on two occasions--the first time as Dodongo (a winged horse monster) in episode 12, and again as Pestar (a strange, conjoined twin starfish creature) in episode 13.

Magular is a burrowing monster with jagged rock-like formations on its body. It's a modified Neronga suit; itself created from the Baragon costume seen in Toho's FRANKENSTEIN VS. BARAGON (1965). The suit was refurbished multiple times over. Reportedly, there was talks to remodel Toho's Anguirus suit for this segment. You can read more about the numerous recycling done to Baragon in the review for episode three HERE. Izumi Umenosuke is inside the Magular suit.

Pigmon is one of those bizarre looking monsters in Japanese Tokusatsu that is impossible to forget. Reportedly inspired by the Crocodilefish, Pigmon had a bony exoskeleton with what looks like red barnacles all over its body. Originally appearing in ULTRA Q as the giant robot monster Garamon, the creature's usage in ULTRAMAN is a slightly modified version of Toru Narita's original design, and modeled by monster maker Ryosaku Takayama. Now a human-sized, benevolent monster, the kid-favorite would reappear again in episode 37 of ULTRAMAN. Where Garamon was played by a midget in ULTRA Q, child actor Fujita Shuji plays Pigmon in his appearance in this segment of ULTRAMAN.

Carnivorous plants are among the denizens of this monster island. Referred to as Saffron (or Suflan), this bloodsucking fauna designed by Toru Narita is easily dispatched by fire from Arashi's Spider-Shot.

Up to this point, ULTRAMAN has been an exceptionally consistent series in terms of stories and presentation. Episode 7 hit a peak of excellence in managing an epic scope for a 25 minute time frame; and 'The Lawless Monster Zone' steadies that high bar with a simple story told well; and packed with what has for years drawn fans to Japan's unique brand of SciFi... monsters.

MONSTERS: Red King; Chandler; Magular; Pigmon; Saffron

WEAPONS: Super Gun; Spider-Shot; Jet-VTOL

To be continued in episode 9: OPERATION ELECTRIC STONE FIRE

From Beyond Television: Ultraman Episode #7

 
Episode 7: THE BLUE STONE OF BARAJI (BARAJI NO AOI ISHI) ****

Directed by Nagase Samaji

A meteorite crashes near a village close to Mt. Ararat in the Middle East. Strange occurrences are reported and the Science Patrol, along with Doctor Adam Jeffers, fly overseas to investigate. Upon nearing the area where the meteorite fell, the Science Patrol are forced to land after a strange beam of light interferes with the ship's controls. The team soon encounter a giant beetle monster that quickly destroys the VTOL. Now stranded, the patrol make their way to a nearby settlement lorded over by the telepathic Princess Chartham. The beautiful princess tells them a 5,000 year old story about this ancient monster being defeated by the God of Noa possessing a magical blue stone. Building a stone statue of their savior holding the stone in his palm, the effigy is strangely familiar to a certain interplanetary savior from M-78. 

The director of the composite-heavy episode 4 and the cocoa-craving creature of episode 6 returns for this vastly entertaining, serious segment that crams a feature-length worthy storyline into a 25 minute mini-epic.

In addition to a script marinated with an international flavor, director and co-writer Nagase Samaji swap out the all-too familiar cityscapes and water based sets for a desert location in the Middle East. It might seem like a bland setting, but the crew at Tsuburaya Productions bring it to life with a healthy dose of mythology and monsters.

One of the Ultra series' most popular monsters debuts here, the giant beetle-like ant-lion, Antlar. Another Ryosaku Takayama creation, Antlar is one of the more intricate designs of the prolific monster maker. With its seemingly impenetrable exo-skeleton, Antlar is able to repel Ultraman's death-dealing Specium Ray. His other weapons include a magnetic ray emitted from its enormous mandibles; and burrowing abilities that come in handy during the concluding battle with Ultraman.

The battle itself isn't too exciting, which is a shame since Antlar is, up to this point, the most exotic looking monster yet seen. The depiction of Ultraman as vulnerable, nearly beaten by his opponent likely riled up a lot of kids when it premiered. I remember being startled a handful of times by this series when I saw it as a small boy.

Teruo Arakaki is credited with being inside the Antlar suit, although Nakamura Harekichi (who played plant monster Green Mons in episode 5) is seen in pre-production photos (see above insert) wearing the costume for creature creator Ryosaku Takayama (far right in above insert). Antlar was one of the handful of monsters seen in ULTRAMAN EVE (THE BIRTH OF ULTRAMAN), a live special inside an auditorium designed to introduce the character and some of its antagonists that aired July 10th, 1966. On this occasion, suit actor Izumi Umenosuke was inside the Antlar costume.

The script (by director Nagase Samaji and Kinjo Tetsuo) goes into surprisingly profound territory. Giant monster movies had frequently displayed a fascination for native cultures who worshiped gods, but on this occasion the story contains glaring biblical elements. Both Samaji's and Tetsuo's screenplay tinker with the theories of ancient aliens visiting the Earth and being responsible for man's civilization, his culture, and his religion. This being a 25 minute monster show, the script writers find a way to link Ultraman with theology and the sort of conjecture popularized in Erich Von Daniken's 'Chariots of the Gods?' published in 1968.

The alien from M-78 is linked with those ancient astronauts in that another, or others like him had been to the Earth centuries before, destined to return again. Noa (or Noah), seen in the form of a stone statue within the city of Baraji, is supposed to be the oldest of the Ultra aliens. The character appears in later Ultra series's and has a pivotal role in the adult-oriented ULTRAMAN NEXUS (2004-2005). 

 
The blue stone gripped in the palm of the statue of Noa is what actually defeats the monster, putting a nice spin on a mythology still in its infancy. For a show aimed primarily at children and prone to nostalgic fits of joy for grownups, it's intriguing to find cerebral ideas, subtle as they are, sprinkled throughout the occasional program.

 
Elsewhere, there's a few (obvious) matte paintings that accentuate the location change. One of which is a nice painting of the Baraji city. The open set of the main castle was the same one seen in the same year's Toshiro Mifune action-fantasy, ADVENTURE IN KIGAN CASTLE (1966) directed by Senkichi Taniguchi.

'The Blue Stone of Baraji' was the fourth episode produced but the seventh to air, on August 28th, 1966.

One of the best, most fascinating episodes of this series, 'The Blue Stone of Baraji' gets bonus points for its epic feel and radical change of scenery. Within the span of 25 minutes, we get an exotic locale, primordial Ultra backstory, and a memorable monster that Ultraman doesn't defeat. 

Next time, ULTRAMAN ramps up the monster action and introduces one of the goofiest, but one of the most popular creatures that had been seen previously in Tsuburaya's monsterless SciFi series, ULTRA Q (1965-1966).

MONSTERS: Antlar
WEAPONS: Jet VTOL, Spider Shot, Super Gun

To be continued in Episode 8: THE LAWLESS MONSTER ZONE!!!

From Beyond Television: Ultraman Episode #6

Episode 6: COAST GUARD COMMAND (ENGAN KEIBI MEIREI) **1/2

Directed by Nagase Samaji

Hoshino and his two friends are playing down at the harbor in Tokyo Bay. One of the kids, Chiro, sees a monster break the water, but the others never see it. An old fisherman explains to the kids that what they saw must of been Gesura, an amphibious, but not giant, creature from South America. Attracted to the cocoa beans, Gesura feeds off of bugs and other insects that eat them. The old man explains that without Gesura, the kids would have less chocolate to eat, so now they're even more smitten with the monster. Meanwhile, a smuggler named Diamond Kick is on the hunt for a shipment of jewels hidden in a consignment of cocoa beans. The kids end up crossing paths with the crooks, and are kidnapped by them. The Science Patrol arrives on the scene just as Gesura appears to ransack the warehouse.

This is one of those episodes that will make you want to revisit your childhood days. Sort of a precursor to Honda's under-appreciated GODZILLA'S REVENGE (1969), children play a central role while the adults are more in the background. The paradigm of the innocence and inquisitiveness of the young is the driving force of this entertaining, if simplistic episode. Hoshino and his two friends' interests lie not only in chocolate and the monster Gesura, but the criminal known as Diamond Kick; so for a brief period of time, our trio of youngsters become adolescent investigators. Hoshino acts more like his age this time, nothing like the monster-killer-in-training of the action-oriented episode three. These Japanese Hardy Boys (and girl) get themselves captured, then escape--once from the thieves and again from the rampaging amphibian just in time for Ultraman to arrive and save the day.

Gesura is another Ryosaku Takayama creation. Recycled from his alligator creature seen in episode 26 of ULTRA Q (1966), Takayama gave this modification (see below) a fishy appearance with the addition of fins and an exotic, multi-colored outer skin. We're informed it has poisonous feelers that, when severed from its body, will kill it. Gesura's rampage is relatively brief, as is its fight with Ultraman. The choreography is unremarkable, utilizing the standard chops and wild swinging. The one highlight is where Gesura seems to roughly tackle Ultraman right into a building. The shot isn't slowed down, so it looks powerful against the rest of the fight.

 

Teruo Arakaki returns for his second time under the rubber on ULTRAMAN. He "appeared" in episode one as Bemular, and played monsters in over a dozen more episodes. As Gesura, he spends the bulk of the episode in the water; one of the most dangerous, and exhausting places to be for a suit actor. Arakaki passed away in April of 2014.

There's some eye-catching composite work and some good models on display; most especially a shot of Ultraman saving Captain Muramatsu and Hoshino who are about to be crushed inside the SP car by Gesura.

Yamada Masahiro, who wrote the aforementioned third episode, handled writing duties on this, and four more episodes after it. 'Coast Guard Command' was the eighth episode shot, but aired sixth.

Not a particularly fantastic episode, merely a serviceable one with some points of interest--particularly the melding of a crime and monster story. This kids vs. criminals motif will be an especially potent winner for that contingent of the audience. Aside from some mauled ships and a couple demolished buildings, there are no explosions, nor does Ultraman use any beam attacks. The next episode changes things up a bit with a new location and a wider expanse of storytelling.

MONSTERS: Gesura

WEAPONS: VTOL

To be continued in Episode 7: THE BLUE STONE OF BARAJI!!!

From Beyond Television: Ultraman Episode #5

Episode 5: SECRET OF THE MIROGANDA (MIROGANDA NO HIMITSU) ***

Directed by Toshihiro Iijima

Two men are found dead, one of which is famous botanist, Dr. Hiroshi Yamada. At the crime scene a strange substance is found. After Dr. Iwamoto inspects the viscous, sticky liquid, he uncovers both Chlorophyll and Mucin in the green slime. The mystery thickens when the Science Patrol learn that Yamada had been experimenting with exotic plant life; one in particular being a Miroganda found on Oirisu Island. More attacks occur, and each victim turns out to have been members of the Oirisu Island expedition. Only one remains, the beautiful photographer, Setsuko Hamaguchi. The Science Patrol offer protection, and end up battling the killer plant, only to witness it grow to giant size after it absorbs the energy from their laser gun blasts.

What could have been a four star episode about a killer plant ends up wilting and dying by the time it's over. The storyline by Keisuke Fujikawa is initially a strong piece of work, beginning with an air of horror; but the more we see of the beast, the less interesting, and sillier it gets. The creature doesn't attack at random; this particular bit of raging plant life has a vendetta against the exploratory team for drinking the special water found on Oirisu Island. Possibly the writers of JAWS: THE REVENGE (1987) were inspired by this episode? No explanation is given as to how the thing got to civilization to track down its victims, yet the monsters "evolution" is at least intriguing. The Miroganda flower (Miloganda in the dubbed version) is actually its adult stage. Dr. Yamada's experiments (which include growing enormous carrots) cause the flower he brought back to revert to its aggressive larval stage. As for the monster itself....

The yellow-eyed, one-armed, poison-spewing vegetation looks like a cross between the people-eating, walking alien carpet in THE CREEPING TERROR (1964), and a potato that's gone bad. It also recalls Hedorah from GODZILLA VS. THE SMOG MONSTER (1971). Despite limited mobility, Greenmons possesses the unique ability to deflate its body and slither under thin surfaces to get at its victims. Allegedly the work of monster suit modeler Ryosaku Takayama, it's not one of his best works.

What lets this one down is not just the monster suit design, but the climactic duel between Greenmons and Ultraman. It really isn't much of a battle, and is over rather quickly. Ultraman drop-kicks it into a building. Greenmons blinds Ultraman with its poison spray. Ultraman sets the monster on fire with his Specium Ray. Crispy bits of Greenmons scatter in the wind. Plant monsters have been seen elsewhere in the alien superhero canon (and previously in ULTRA Q), but Greenmons is among the least impressive. 

Suit actors at Tsuburaya warehouse L to R: Yamamura Tetsuo, Teruo Aragaki, Haruyoshi Nakamura, Kunio Suzuki, Minami Akira

Haruyoshi Nakamura (above in middle) was inside the Greenmon suit. Nakamura first became a suit actor on the ULTRA Q series debuting as the rock monster Gorgos from episode seven. This was his first job on ULTRA MAN. He would later play one of the bat men in LATITUDE ZERO (1969) and also Kameba, the giant turtle in Ishiro Honda's flimsy YOG, MONSTER FROM SPACE (1970). 

The nighttime in-studio photography sets a nice mood and Matoba Toru's SPX direction has a couple nice shots tucked away in there. Some innovation is present in a number of scenes where green slime slides down the screen leading into the next scene. The use of B/W film for a flashback sequence adds some variety. The mystery angle in Keisuke Fujikawa's script creates a nice atmosphere for about half the episode. Fujikawa was a prolific writer of dozens of novels, anime, and tokusatsu television. This was his first of five scripts written for ULTRAMAN. Some of his work for the series would go unrealized. 

Akiko Wakabayashi guest stars as photographer, Setsuko Hamaguchi. She's the sole surviving member of the team that succumbed to Greenmons rampage. Wakabayashi starred in a few of Toho's SciFi-Monster movies, most notably in GHIDORAH, THE THREE-HEADED MONSTER (1965). She also starred in Toho's spy film, KEY OF KEYS in 1965, and became a Bond girl in 1967 in YOU ONLY LIVE TWICE.

A recurring character on ULTRAMAN is that of Dr. Iwamoto. Essaying him is Dr. Serizawa himself, Akihiko Hirata. A familiar face in many of the best Toho monster movies, Hirata appeared in countless Japanese television shows in regular roles, or guest spots. 

Toshihiro Iijima's third (of six) directed program is the least of his Ultra work thus far. As the Science Patrol inventor and clown, Ide's comic shenanigans subdue some of the seriousness, but it's a kids show, after all. As specified, there's ideas here, but the episode as a whole doesn't sufficiently bloom. 'Secret of the Miroganda' had the lowest rating of the entire series run. But at 29%, that's not a bad showing.

MONSTERS: Greenmons

WEAPONS: Jet V-TOL; Spider Shot

To be continued in Episode 6: THE COAST GUARD COMMAND!!!

From Beyond Television: Ultraman Episode #4

Episode 4: FIVE SECONDS TO DETONATION (DAI BAKUHATSU GOBYO MAE) ***

Directed by Nagase Samaji

A super rocket loaded with six nuclear bombs to be used for some unspecified project in the development of Jupiter hurtles back to Earth, crashing into the sea. One bomb explodes, four are eventually recovered, but one goes missing. The Science Patrol investigates to locate the missing device. A giant humanoid fish monster shows up, and attacks a resort where Fuji, Hoshino, and Michiko are spending an afternoon. Discovering the missing bomb is attached to the beasts scaly hide, the Patrol think of a plan to keep the bomb from going off.

ULTRAMAN continues to be a consistently fun series light on story, but heavy on monsters and small screen special effects. The experimentation of SPX continues in this action-centric episode that presents the second water-based beast, but the first Earth-born sea monster (Bemlar in episode one was an alien that took up residence in a lake). In the program itself, there's no backstory to Lagon other than it grew giant-sized upon being exposed to nuclear radiation. For a better background on Lagon, see its ULTRA Q incarnation where the Lovecraft connection is obvious.

There's an eye-opening amount of composite work, as well as some miniatures -- such as a vessel sank by Lagon. The battle with Ultraman is brief, if fast-paced. Yet again, the spaceman's foe has a flame attack identical to Godzilla's, and utilizing the same sound effect. In subsequent Ultra series's that came after ULTRAMAN and ULTRASEVEN, the amount of effects trickery would be gradually depleted; which is another reason this first giant superhero show is so fondly remembered by fans young and old.

The undersea dwelling monster Lagon is one of many suits built by busy monster maker, Ryosaku Takayama. Lagon (listed also as Ragon) first appeared in episode 20 of ULTRA Q. There it was of the feminine persuasion, but a male here in ULTRAMAN. The monster would turn up a few more times in other ULTRA related properties, and most recently in ULTRAMAN GINGA, and once more as a female monster in that series. Takayama's suit would get a makeover for episode 20 of the original ULTRAMAN where it was transformed into Alien Zarab. Whereas the Baragon costume was frequently recycled, so to was his voice. Lagon has the same deep tonality of that lovable puppy dog kaiju of FRANKENSTEIN VS. BARAGON (1965). 

The name 'Lagon' recalls both H.P. Lovecraft and Jack Arnold's CREATURE FROM THE BLACK LAGOON (1954); the latter of which represented a superb example of rubber suit excellence.

Izumi Umenosuke was inside the Lagon suit; and would play Magura, one of four monsters in episode 8. A few years later, Izumi would graduate to playing Gamera at Daiei for GAMERA VS. GUIRON (1969) and GAMERA VS. JIGER (1970). Ironically, Satoshi Furuya, who played the iconic Ultraman, was underneath the Lagon rubber suit for its ULTRA Q origin.

Director Nagasi was previously an AD for Akira Kurosawa and Ishiro Honda. This was his first of five directed episodes of ULTRAMAN, and one of a few in which he wrote the screenplay.

Koichi Takano was the primary SPX director for ULTRAMAN. He kicked the series off, but Matoba Toru handled duties on eps. 2 and 3. Takano would oversee special effects direction of 32 episodes. He signed with Toho in 1954 and worked as the DP assistant on GODZILLA RAIDS AGAIN in 1955. He moved up to special effects photographer on ULTRA Q in 1965, and finally as the SPX director when ULTRAMAN went into production the following year. In 1981 he became managing director at Tsuburaya Studios. In 2003 he, along with others, stepped down from the Board of Directors after mismanagement led to the company to be embroiled in devastating lawsuits with Chaiyo of Thailand. On November 30th, 2008, Koichi Takano passed away of complications from Pulmonary Disease aged 73.

Primarily an action episode, there's little else to be found here. The bizarre gimmick of having music sooth the savage beast briefly turns up, but it feels like an afterthought. 'Five Seconds to Detonation' was one of only two ULTRAMAN shows to perform below 30% viewership of the popular series's 39 episode run.

MONSTERS: Lagon (Ragon)
WEAPONS: VTOL

To be continued in Episode 5: SECRET OF THE MILOGANDA!!!