The Story of Godzilla’s Birth – Pt 50


The Story of Godzilla's Birth
「ゴジラ誕生語」The Story of Godzilla's Birth by Osamu Yamaguchi

P 112

▲ 高圧電流の鉄条網を突破するゴジラ


▲ Godzilla breaks through the high-voltage wire fence

After this, Godzilla guignol ejects an incandescent light that melts the steel tower. The incandescent light at this time emitted baby powder from the mouth.

◀︎ 白熱光で炎上する松坂屋ビル

◀︎ Matsuzakaya Building on fire with incandescent light
The incandescent light in this still photo is a composite.

P 113

本多は、『ゴジラ』が公開されるとき、東宝宣伝部の発行紙に記事を寄せ、「(この映画で)私のね すいばく きょうふ らう真実は、水爆下の恐怖にあえぐ現代人の心理的デフォルマシオン(直接的に描けない心の奥底を別の角度から描いたもの)である。」とコメントしている。この映画を本多流の撮り方で戦争や核兵器の恐 うった ろしさ、そしておろかさを訴える作品にしたいと考えていたのである。

When “Godzilla” was released, Honda wrote an article in a newspaper published by the Toho Advertising Department, stating, “(In this movie), the truth of my story is that of modern people who are living in fear under the hydrogen bomb. It is a psychological deformation (a depiction of the depths of the mind that cannot be directly depicted from a different angle).” I wanted this film to be shot in Honda’s style and to appeal to the man who was so frightened by war and nuclear weapons, and how foolish he was.


“Nakadai-kun, please do Godzilla’s tail.”

機材運搬の運転手をしていた中代交雄は、手先の器用さを円谷に買われ、『太平洋の鷲』の撮影の とき転職し、『ゴジラ』では操演をまかされることになった。

Kazuo Nakadai, who was working as a driver transporting equipment, was impressed by Tsuburaya’s dexterity with his hands, so he changed jobs during the filming of “Operation Kamikaze,” and was assigned to operate the equipment in “Godzilla.”

「 しっぽだけのゴジラ」は、柔らかい素材で作ったしっぽに木の棒を差しこみ、ピアノ線でつって動かした。このように、ピアノ線などを使って怪獣や飛行機を動かす仕事を「操演」という。のちに生み出された怪獣「モスラ」の羽や「キングギドラ」の首、「ビオランテ」の触手などもみな、この 繰演によって動かされている。

“Godzilla with only a tail” was made by inserting a wooden stick into the tail made of soft material and moving it by hanging it with a piano wire. The work of moving monsters and airplanes using things like piano wire is called “manipulation.” The wings of the monster “Mothra,” the neck of “King Ghidorah,” and the tentacles of “Biollante,” which were later created, were all animated by this performance.


Manipulating the tail……….. Of course, it was a job that no one had ever done before.


“The scene where Godzilla smashes a Japanese theater with its tail will be a close-up of the tail. Tomioka, Nakadai-kun, you asked for it.”

いつも呼び捨ての富岡素敬。キャメラマンとしてこのシーンを撮影する苦労は、すでに書いたところである。このシーンで苦労したのは、中代も同じだった。観客の目がしっぽだけに、いや、中代の 操演だけに集中するシーンである。ただしっぽを振りまわしてこわしたのではどうも不自然だった。

Mototaka Tomioka, who is always called out. He has already written about the hardships of filming this scene as a cameraman. Nakadai also had the same difficulty with this scene. This is a scene in which the audience’s eyes are focused only on the tail, or rather, on Nakadai’s manipulation. However, it seemed unnatural for him to break it by swinging his tail around.