About Godzilla vs MechaGodzilla



As detailed in the special column “Masami Fukushima and the Monsters” this time, Masami Fukushima, the key person in “Godzilla vs. MechaGodzilla,” was a sci-fi writer whose name came to mind when speaking of cyborgs. At this time, producer Tomoyuki Tanaka, who had made a huge hit of more than 2 billion yen in distribution with “Japan Sinks,” asked Shinichi Sekizawa and Masami Fukushima to write the original for the movie commemorating the 20th anniversary of the birth of Godzilla. It was solidified by the brains of the science fiction field, Hiroyasu Yamaura, the scriptwriter, and Jun Fukuda, the director.

田中プロデューサーは、1970(昭和45)年3~9月まで大阪の千丘陵で開催された日本万国博覧会で三菱側からパビリオンのプロデューサー就任を求められ、基本構想を練るための起案メンバにSF未来作家の福島正実、星新一、矢野徹、真鍋博を起用。その結果、1142万人の動員を誇った大阪万博人気ベストスリーの三菱未来館を生んだ。こうして田中友幸は、翌1971(昭和46)年に東宝と三菱グループの支援を得て、株式会社日本創造企画を設立し創業社長となる。その後は、博覧会部門の沖縄海洋博(EXPO75)をはじめ、ポートビア ’81、科学万博つくば85で三菱未来館の総合プロデューサーを歴任した。沖縄海洋博の前年にゴジラのデビュー20周年を迎えた田中友幸にとって、第一次オイルショック(1973年10月勃発)を跳ね飛ばそうとする巨大イベントと記念映画のクロスオーバー企画の産物が「ゴジラ対メカゴジラ」に結実した。高度経済成長の日本を象徴する「さんふらわあ号」とのジョイントや返還された沖縄基地にする超未来の侵略宇宙ロボットなど、人工物の威容をキーアートにした作劇は、この先20世紀末の新たなゴジラシリーズ20年のスタートを切った作品だといえる。

Producer Tanaka was asked by Mitsubishi to serve as a pavilion producer at the Japan World Exposition held in Senkyuryo, Osaka from March to September 1970. Authors Masami Fukushima, Shinichi Hoshi, Toru Yano, and Hiroshi Manabe are appointed. As a result, the Mitsubishi Miraikan, one of the top three most popular Expo’s exhibitions in Osaka, attracted 11.42 million visitors. In 1971, Tomoyuki Tanaka established Nihon Souzou Kikaku Co., Ltd. with the support of Toho and the Mitsubishi Group and became its founding president. After that, he served as general producer of the Mitsubishi Miraikan at Expo 75, Portvia ’81, and Science Expo Tsukuba 85. For Tomoyuki Tanaka, who celebrated the 20th anniversary of Godzilla’s debut the year before the Okinawa Ocean Expo, “Godzilla vs. Mechagodzilla” is a product of a crossover project of a huge event and a commemorative movie that tries to bounce off the first oil shock (break out in October 1973). A play that uses the majesty of man-made objects as key art, such as a joint with the “Sunflower,” which symbolizes Japan’s rapid economic growth, and a super-futuristic invading space robot that will be used as a returned Okinawa base. It can be said that it is a work that marked the start of the new Godzilla series 20 years.

東宝特撮映画DVDコレクション14, p 11