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Saturday, January 19, 2013

CREATURE FEATURE : Gappa: The Triphibian Monster

Daikyojū Gappa (大巨獣ガッパ "Gappa, The Colossal Beast") is a 1967 Kaiju film. This Japanese film was produced by Nikkatsu Corporation, and was their only foray into the giant monster genre. The foreign sales title for the film was Gappa: The Triphibian Monster, and was dubbed into English (considered the "International Version"). The film was picked up by American International Pictures and released directly to television in the US under their American International Television banner, and retitled Monster from a Prehistoric Planet. This version was one of many films syndicated to broadcasters nationwide by AIP-TV, and became a staple for Horror Hosts on television stations from San Francisco to New York City from the late 1960s through early 1980s.


Plot

An expedition from Tokyo heads to Obelisk Island, which the greedy Mr. Funazu, president of "Playmate Magazine", wants to turn into a resort. The natives of Obelisk welcome the expedition, but two members, Hiroshi and Itoko, venture into a forbidden area despite the pleas of a native boy named Saki. They enter a cavern blocked by a fallen statue and find a giant egg, out of which hatches a baby monster, a "bird-lizard", referred to as a "Gappa". The natives plead with the skeptical scientists not to take the baby away, lest it anger the baby's parents. Sure enough, they take the baby away, and soon, inside the caverns, its two parents rise from the underground waters beneath the volcano, destroying everything in their path. Saki, the only survivor, is rescued by an American navy fleet and brought back to Japan.
Meanwhile, back in Japan, the baby "bird-lizard" is making world headlines, not to mention being experimented on by scientists. To the shock of the expedition members there is news of two giant flying creatures appearing over Sagami Bay. The Gappa parents ravage cities looking for their offspring, and are impervious to military weapons. Hiroshi, Itoko and Professor Tonooka (a scientist from the expedition) realize that the "Gappas" aren't a legend after all. They, and Saki, try to convince the headstrong Mr. Funazu to let go of the baby and return it to its parents. Will they convince him before the Gappas destroy Japan and perhaps the world?


Overview
This film was intended as a lighthearted satire of the daikaiju films of the period. This is one of the reasons the film has come under criticism by many people and kaiju fans.[citation needed] But some of the satire is lost in translated overseas prints.
The film's special effects were provided by Akira Watanabe, who had worked as an art director on many tokusatsu films such as the 1957 Toho sci-fi classic, The Mysterians. Although his work is not up to the standards of his colleague Eiji Tsuburaya, he provides some very interesting visuals, such as:
In the scene where the Gappas rise from the ocean into a city, one of the Gappas was carrying an octopus in its mouth, hoping to bring food to its missing offspring, assuming it was found (this scene was meant to be humorous).
One of the Gappas stomps its feet right into the middle of a kabuki theater, with people inside panicking and running.


Different versions
In the Japanese version, the opening credits and ending were accompanied by a Rock & Roll theme song, "Gappa, The Colossal Beast" (the first and second verses, respectively), and the touching reunion scene near the end had a ballad called "Keep Trying, Baby Gappa!". In all overseas prints, the opening and ending songs were replaced with standard orchestral music, and "Keep Trying, Baby Gappa!" was instrumental.
There was also an urban legend that Nikkatsu's international English prints originally had a racist line, "The monsters are attacking Tokyo. Fortunately they are attacking the Negro section of town." And that the line was changed to "...attacking the poor section of town". In actuality, the line in the AIP-TV version is "attacking the Nikkō region..." — Nikkō is a city known for its beautiful and ancient shrines in the mountains of Tochigi Prefecture, Japan (approximately 140 km north of Tokyo).


Home Video Release
Officially, the AIP-TV version of the film was first issued in the US by Orion Home Video (the Home Video arm of Orion Pictures, which had taken over the AIP catalogue) in the late 1980s on VHS, and a subsequent Laserdisc release (the latter was a double feature release with Godzilla vs. The Smog Monster issued by Orion and Image Entertainment). AIP's rights for Monster from a Prehistoric Planet (held by Orion Pictures) eventually lapsed into the Public Domain in the US. In the late 1990s, the Home Video rights to the film was licensed directly from Nikkatsu for VHS and (a bare-bones) DVD release by Media Blasters, under the Tokyo Shock label, including both the International English and Japanese language versions (the latter with English subtitles). The original version of the film has been issued twice on DVD in Japan, in 2000 (in a deluxe set with a figure) and 2004 (as a single disc with special features), respectively.




Steve Ditko's Monsters


Ditko Monsters: Gorgo!
The genius artist Steve Ditko is a towering monster of awesomeness, and so is the character he chronicled... GORGO! If you love Godzilla - and who doesn't - you'll love Gorgo, who ravages London, New York City, and HOLLYWOOD! Gorgo goes head to head with the British Navy, atomic bombs, Communists, and aliens from the planet Corpus III! This is the complete Ditko Gorgo, 200-pages of comics, including six pulse-pounding covers all drawn during the height of Ditko's prowess concurrent with his Spider-man and Dr. Strange creative explosions. Scripts are by the fan-favorite writer Joe Gill. Introduction by Eisner award winner Craig Yoe with fascinating insight into the comics and the monster movie that inspired them. Every page is lovingly restored and the book is a large format hardcover to showcase the monstrous Ditko art. February 26, 2013


Ditko Monsters: Konga!
The complete Ditko Konga is a whopping 302 pages of giant purple ape comics, including eight pulse-pounding covers, all drawn during the height of Ditko's prowess concurrent with his Spider-Man and Dr. Strange creative explosions. Script are by fan-favorite Joe Gill. Includes fascinating insights into the comics and the monster movie that inspired them. Introduction by Eisner Award winner Craig Yoe. April 30, 2013

SATURDAY SHOWCASE : Cool Godzilla Art





Friday, January 18, 2013

Awesome GODZILLA Design


GODZILLA #9 Coming This Week


GODZILLA April 2013 Comics Solicitations


GODZILLA ONGOING #12 
(W) Duane Swierczynski (A) Simon Gane (CA) Bob Eggleton 
It all comes down to this… Godzilla vs. his mightiest enemy yet! The fate of the world hangs in the balance! What role will Boxer play? Will he be Godzilla’s salvation or destruction? It’s all been building to this, don’t miss it!



GODZILLA HALF CENTURY WAR TP 
(W/A/CA) James Stokoe 
Introducing a new and exciting look at Godzilla’s reign of destruction, courtesy of Orc Stain creator James Stokoe! The year is 1954 and Lieutenant Ota Murakami is on hand when Godzilla makes first landfall in Japan. Along with his pal Kentaro, Ota makes a desperate gamble to save lives… and in the process begins an obsession with the King of the Monsters that lasts fifty years!

Thursday, January 17, 2013

‘Godzilla’ Producers Bite Legendary Back In Legal Battle


From Deadline.com

Producers Roy Lee, Dan Lin and Doug Davison today launched their own lawsuit in the escalating legal war over the Godzilla reboot. The duo filed a suit against Legendary Pictures in LA Superior Court on Thursday, with the cross complaint alleging breach of contract among other counts (read it here). Seeking a jury trial and millions in damages, this latest legal action also names fellow Godzilla producer and Legendary President/CCO Jon Jashni as a defendant. Legendary’s Chairman and CEO Thomas Tull was not named in the suit. Today’s action comes in response to Legendary’s suit earlier this month to have Lee and Lin and fellow producer Davison removed from the movie with a $25,000 payout. An action that today’s cross complaint says came about only because the trio of producers were going to assert their claims to a project that that they say they brought to Legendary and that they developed. “By this action, Cross-Complainants seek a judicial declaration that the never-discussed arbitration provision in the unsigned draft agreement is not enforceable and that this dispute must be tried before a jury in the Los Angeles Superior Court.  More importantly, Cross-Complainants seek substantial compensatory damages, in the millions of dollars, resulting from Legendary’s material breach of its agreement to pay them the fixed and contingent compensation to which they are contractually entitled.  Cross-Complainants seek specific performance of Legendary’s agreement to accord them screen credit and allow them to participate in prequels, sequels, and remakes or, if such relief is unavailable, recovery of the substantial damages resulting from the loss of such credit and opportunities,” says today’s suit.

In their previous suit, Legendary alleges that the producers did not contribute much of note to Godzilla’s pre-production and that their services are no longer required. The company says the trio are only entitled to the $25,000 based on a March 2011 Producer Loan Agreement between them and the company. Lee, Lin and Davison disagree. Which is why Legendary, in their January 9th filing, also sought to have the courts order arbitration to halt any potential temporary restraining order against the film’s production that the company claims the producers threatened to launch if they weren’t more fully compensated. The new Godzilla is scheduled to be released by Warner Bros and Legendary on May 16 2014.

Wednesday, January 16, 2013

LEGENDARY’S GODZILLA TO FEATURE MORE THAN ONE MONSTER


The promotional arm of Warner Bros. just wrapped a webinar detailing their upcoming slate for advertisers. Most of it fluff, though a few things regarding WB / Legendary’s upcoming Godzilla reboot got my source’s attention. In the meeting, the following was 100% confirmed:

The film will feature more than one monster, confirming that two new monsters will also be wreaking havoc – this in addition to the big guy.
Warner Bros. made it clear that their interpretation of the material “follows the story of a solider” and is “way different” than the Toho Godzilla films.
This isn’t “grain of salt” news, as whatever script they have before Frank Darabont gets his crack features the above information. The fact they’re rolling this info to advertisers indicates the likeliness of Godzilla facing off against a couple of new beasts.

What are your thoughts? Does any of this matter with Pacific Rim on the horizon, or did Gareth Edwards’ serious Godzilla film suddenly become more interesting? At the very least, it just got more crowded.

Sorry this was posted a little late.
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