Honda Group Crank In – Pt 4

P 146

その頃、円谷組では着々と準備が進んでいた。銀座の街を二十五分の一で再現するわけだが、実際は百分の一で図面を引いて、作る時に四倍にしたという。図面を引く方は、井上、入江以下五~六人で、作る方は、班長、牧野金太郎のもと、田中喜一以下、三十人から四十人位いたという。

Meanwhile, preparations were steadily underway at the Tsuburaya unit. Although the plan was to recreate the Ginza district at a 1:25 scale, the blueprints were actually drawn at 1:100 and then scaled up fourfold during construction. A team of five or six people—including Inoue and Irie—handled the drafting, while a crew of thirty to forty—led by team leader Kintaro Makino and including Kiichi Tanaka—carried out the actual construction.

現在の大プール(昭和三十五年四月、竣工『太平洋の嵐」監督松林宗恵、特撮監督、円谷英二)の処は、荒地で、そこに30センチ位の深さのオープンプールを仮設し、ここで勝鬨橋や大戸島の嵐を撮影した。勝鬨橋のミニチュアは、美術課のブリキ担当、輿石の遠戚に当る戸井田工業の、戸井田幸三が当ったと言う。戸井田は、品川の電気機関車も製作した。輿石は、巡視船の船体を担当したと言う。

The site of the current large water tank—completed in April 1960 for the film “Storm Over the Pacific” (directed by Shūe Matsubayashi, with special effects by Eiji Tsuburaya)—was originally a stretch of wasteland; a temporary open-air pool about 30 centimeters deep was constructed there to film scenes such as the destruction of Kachidoki Bridge and the storm off Odo Island. The miniature of Kachidoki Bridge was reportedly built by Kozo Toida of Toida Kogyo—a distant relative of Koshiishi, the art department staffer responsible for tinwork. Toida also constructed the electric locomotive model used in the film “Shinagawa”, while Koshiishi is said to have handled the hull of the patrol vessel.

現在、東宝日曜大工センター成城店とダビングビル(東宝サウンドクリエイティブスタジオ)の間は駐車場になっているが、ここに建設中だった、プールが九月十七日に出来上がる。『ゴジラ』のためとは言うが、撮影所の機能の一環として造られたものであろう。当時、東洋一を誇る五○○坪の新ステージ二棟(現在の第8、第9の特大ステージ)も年末の竣工を目指して、急ピッチで作業が進められていた筈だが、前述の柴山報告には、プール共々出て来ない。衆知のことという事であろう。撮影所関係者の他に、建築屋の資材、車輌、その他の人々で、撮影所中が大混雑したであろう事は想像がつく。

The area between the Toho DIY Center Seijo and the Dubbing Building (Toho Sound Creative Studio) currently serves as a parking lot, but a pool under construction there was scheduled for completion on September 17. Although it was said to be for the “Godzilla” production, it was likely built as a permanent facility for the studio’s operations. Work was also proceeding at a rapid pace on two new soundstages—each boasting an area of ​​500 “tsubo” (approx. 1,650 square meters) and touted as the largest in the Orient (the current massive Stages 8 and 9)—with the aim of completing them by year-end; yet, neither the stages nor the pool appear in the aforementioned Shibayama report. Presumably, this was because their construction was common knowledge. One can easily imagine the studio grounds teeming with activity—crowded not only with studio personnel but also with construction workers, material deliveries, vehicles, and others involved in the project.

第2ステージに『立入禁止」の紙が貼られている。中では、森、田中、円谷、本多と利光以下のヌイグルミグループが心配そうにゴジラを見ている。ゴジラ――ヌイグルミ2号が歩いている。

A “Keep Out” sign is posted at the entrance to Stage 2. Inside, Mori, Tanaka, Tsumuraya, and Honda—along with the suit-actor team led by Toshimitsu—watch Godzilla anxiously. Godzilla—or rather, Suit No. 2—is walking.

田中が、円谷に声を掛ける。

Tanaka speaks to Tsumuraya.

「これでいけますね」
“This should work.”

円谷、領ずく。
Tsumuraya nods.

「森さん。どうでしょう」
“Mr. Mori, what do you think?”

田中、森を見る。

Tanaka looks at Mori.

森、満足そうに

Mori looks satisfied.

「想像以上の出来上がりです」
“It’s even better than I imagined.”

「じゃあ、脱いで貰おうか」
“Okay, let’s have you take it off.”

円谷の声に、スタッフがゴジラのヌイグルミを脱がす。
At Tsuburaya’s voice, the staff removed the Godzilla costume.

中島春雄が、汗ビッショリで顔を出す。
Haruo Nakajima emerged, drenched in sweat.

ゼイゼイいいながら、
Panting heavily,

「前のと違って、動く事は動くが、重いのは変わりませんね」
“Unlike the previous one, this actually moves, but it’s still just as heavy.”

「頑張って貰うしかないね」
We’ll just have to make do with it.”

「御苦労さま。では宜しくお願いします」
“Thanks for your hard work. I’ll leave it in your hands.”

森は、田中と共に去る。

Mori leaves with Tanaka.

「本番の時は、尻尾をピアノ線で吊り上げるから少しは軽くなると思うよ」
“For the actual performance, we’ll be suspending the tail with piano wire, so I think it’ll feel a bit lighter.”

P 148

と、中代。

..said Nakadai.

「身体は鍛えてんだけどね」
“I do keep my body in shape, though.”

「これから始まるんです」
“It’s about to begin.”

当時の関係者の話をまとめると、手塚と中島春雄がヌイグルミ俳優として選ばれた。しかし、後年手塚がゴジラの思い出として語っているが、ヌイグルミに入ったのは、ほとんどが中島春雄のようだ。暑いし苦しいし、若い中島春雄の方がむいていたのかもしれない。

Piecing together accounts from those involved at the time, both Tezuka and Haruo Nakajima were selected as suit actors. However, although Tezuka later spoke of his memories of playing Godzilla, it appears that Haruo Nakajima was the one who actually wore the suit for the vast majority of the time. Given the sweltering heat and physical hardship involved, the younger Nakajima may simply have been better suited for the role.

八月十九日、伊のベニスで開催される国際映画祭に、『七人の侍』が出品されたが、日本代表として川喜多長政と八千草薫、寿美花代が羽田を出発した。八千草と寿美は映画祭終了後に『蝶々夫人」の撮影に入る事になっている。これより先の八月七日、美術デザイナー三林亮太郎は先発して、日本家屋のセット建て込みを行う事になっていた。八千草は、この出発前に“宮本武蔵』(稲垣組)のお通役で出演していたが、アフレコ(Af-terRecordingの略。同時撮影が周囲の物音等で出来ない時、後で俳優が画面を見ながら、台詞を吹き込む事)を含め、稲垣組を総て終了していた。

On August 19, Nagamasa Kawakita, Kaoru Yachigusa, and Hanayo Sumi departed from Haneda Airport to represent Japan at the Venice International Film Festival, where the film “Seven Samurai” was being screened. Yachigusa and Sumi were scheduled to begin filming “Madame Butterfly” after the festival concluded. Prior to this, on August 7, art director Ryotaro Mitsubayashi had traveled ahead to oversee the construction of the Japanese-style house set. Before her departure, Yachigusa had played the role of Otsu in the film “Musashi Miyamoto” (directed by Hiroshi Inagaki); she had already completed all work on the project, including post-recording—a process where actors dub their lines while watching the footage, used when simultaneous recording is impossible due to ambient noise.

Source: ゴジラ誕生: 昭和29年東宝撮影所, pp 130-134