He turned 20 years old

20歳になりました
He turned 20 years old

悪の象徴から正義の味方
From a symbol of evil to an ally of justice

大スター・ゴジラ
Big Star Godzilla

怪獣映画の大スター・ゴジラが、スクリーンに登場して二十年。一千歳の成人を『記念』して東宝では「ゴジラ対メカゴジラ」(福田純監督)を撮影中だ。

It’s been 20 years since Godzilla, the big star of monster movies, appeared on screen. To commemorate his 1,000 year old coming of age, Toho is currently filming “Godzilla vs. MechaGodzilla” (directed by Jun Fukuda).

▽ 電力事情

▽ Electricity situation

東京・世田谷の東宝投影所、約千五百平方がの大ステージ。岩礁の海と、起伏に富んだ山野のセット。ゴジラが岩礁の間に立つ。やがて、ゴジラ目がけてホースの水が飛ぶ。大型扇風機二合が強い風を送る。漂う黒いスモッグ。点滅する電光。ゴジラは上体を揺すり、腕を打ち振ってほえる。

The Toho Projection Center in Setagaya, Tokyo is a large stage with an area of approximately 1,500 square meters. A set of rocky reefs and undulating mountains and fields. Godzilla stands between the rocks. Eventually, the water from the hose flies towards Godzilla. Two large fans send strong wind. Floating black smog. Flashing lightning. Godzilla shakes his upper body, waves his arms, and roars.

Caption

「ゴジラ対メカゴジラ」のセット風景

Set scenery of “Godzilla vs. MechaGodzilla”

今回は対決の相手はゴジラのサイボーグ『メカゴジラ』。第一戦でゴジラは敗退、南海の孤島で再度の対決に徹え、大自然の電によってエネルギー補給に努める―孤独なゴジラ。

This time, the opponent of the showdown is Godzilla’s cyborg “MechaGodzilla.” Godzilla is defeated in the first battle, but he fights again on a solitary island in the South Sea, trying to replenish his energy with nature’s electricity – a lonely Godzilla.

これまでは高圧線からエネルギーを取っていたゴジラだが、電力歌償を配慮してか、天然の雷から―そんなゴジラがいじらしい。

Up until now, Godzilla has been drawing energy from high-voltage cables, but perhaps out of consideration for electricity billing, Godzilla is now drawing energy from natural lightning.

▽『特撮の神様』

▽ “God of special effects”

デビューは昭和二十九年公開の「ゴジラ」。生みの親は『特数の神様』といわれた故円谷英二藍督。当時、原水爆実験の恐怖から、その落とし子のゴジラは人類の敵、悪の象徴だった。

His debut was “Godzilla,” released in 1954. His creator was the late director Eiji Tsuburaya, who was said to be the “God of Special Numbers.” At that time, due to the fear of atomic and hydrogen bomb tests, Godzilla’s offspring was considered the enemy of humanity and a symbol of evil.

モデルは恐竜だが、名前はゴリラとクジラのミックス。悪役らしでい恐ろしい顔、奥様な姿で狂愛に振る郷った。これが受けて、たちまち怪獣ブームを呼んだ。

The model is a dinosaur, but the name is a mix of a gorilla and a whale. With the terrifying face of a villain and the appearance of a wife, she fell in love with him. This immediately sparked a monster boom.

しかし、三十七年の「キングコング対ゴジラ」あたりから、海の向こうや宇宙の果てから強敵が襲来来するようになり、悪役だったゴジラは『正義の味方』に変身。愛うきょう味もあるアイドル的な存在になった。今度は「ゴジラ対メカゴジラ」は、ゴジラが主演する第十四作だ。

However, around the time of “King Kong vs. Godzilla” in 1962, strong enemies began to attack from across the ocean and from the ends of the universe, and Godzilla, who had been a villain, transformed into an “ally of justice.” He has become an idol-like figure with a lovey-dovey vibe. This time, “Godzilla vs. MechaGodzilla” is the 14th movie starring Godzilla.

▽ 初めはひもコン

▽ At first it was string con[trol]

ゴジラ作り十五年になるという東宝美術興作部の特殊造形のペテラン・丸安信行さん。「初めのうちは、材質が合成ゴムで重量が百キロ。転んだりすると、中に入っている俳優さんが起き上がれなかったもの。目や口をひもで動かす『ひもコン』だった。十年ほど前から材質が工夫され重さは六十武。操作も『ラジコン』になった。格闘シーンが多いと、顔が変形したり、ラジコンが故障したり、ヒヤヒヤですよ」と『大物スター』作りも大変な様子。

Nobuyuki Maruyasu, an expert in the special modeling department of Toho Art Promotion Department, has been making Godzilla for 15 years. “In the beginning, the material was synthetic rubber and weighed 100 kilograms.　If the actor fell down, the actor inside would not be able to get up. It was a “string con[trol]” that moved his eyes and mouth with strings. About 10 years ago, the material was improved and now it weighs 60 kg. The operation has also become “radio-controlled.” When there are a lot of fighting scenes, his face gets deformed, his radio control gets broken, and “I’m so scared,” he says that it’s hard work to become a “big star.”

待識の中野昭歴監督は、「日本沈没」に引き続いての仕事。「助監督時代から十四作中十一本、ゴジラと付き合ってきた。今度は従のコミカルなゴジラの持ち味をゴ捨て、シャープでスマートなゴジをねらっている。『日本沈没』の成果を踏まえて、映画でなければ出せないリアルな迫力を出したい」と語っていた。

Director Akihiro Nakano’s work follows on from “Japan Sinks.” “I have worked with Godzilla in 11 out of 14 films since I was an assistant director. This time, I am throwing away the comical characteristics of Godzilla and aiming for a sharp and smart Godzilla. Based on the results of “Japan Sinks,” I want to create a realistic impact that can only be achieved through film.”