Tag Archives: Toho

WJW TV-8’s The Big Chuck & Lil’ John Show – “The War of the Gargantuas” (March 29, 1997)

March 29, 1997. 20 years ago this very day. Let me set the scene: I was not yet even 11-years-old, Easter was the very next day, and as such an Easter Egg-hunt at a nearby park occupied a portion of the afternoon. It was overcast as I recall it, but not rainy. As a young Star Wars nut, I was reveling in the burgeoning new action figure line (at the tail-end of what is probably socially acceptable, age-wise, to still play with toys) and the special edition re-releases of the trilogy, though I only saw the first film in the theater. A trip to the grocery store with my mom and brother following the egg hunt yielded me a Star Wars-themed issue of Cracked, though the whole situation had a damper put on it by a tabloid that promised late-1990s end-of-the-world predictions by Gandhi, which freaked out stupid naive 10-year-old me. Kinda funny that I can look back in nostalgia at something that caused me so much consternation 20 years ago, probably because I’ve got real problems to worry about now.

Anyway, it was against this backdrop that I myself recorded Big Chuck & Lil’ John’s Couch Potato Theater, their Saturday afternoon installment of their popular WJW TV-8 program. This wasn’t a spur-of-the-moment taping; I wasn’t doing that so much yet. Rather, as a growing fan of giant monster movies, the revelation of The War of the Gargantuas listed in TV Guide that week made this can’t-miss-television for yours truly. I had never heard of the film, but as per the synopsis in TV Guide, it was big ol’ monsters, and it was Japanese, so naturally it was right up my alley. Needless to say, I had to tape it, which also needless to say, is why we’re here now.

Couch Potato Theater wasn’t all that different from Chuck & John’s normative (by their mid/late-1990s standards) Friday night show, except it was generally shorter (typically a strict two hour time slot, as compared to the two and a half, or more, hours of the Friday installment), and with a more eclectic range of features presented. Don’t get me wrong, just like their normal show, the movies shown on Couch Potato Theater ran the gamut of all genres; I mean, the first Big Chuck & Lil’ John I ever taped was a Couch Potato Theater presentation of The Karate Kid, and that was in 1996. But, Couch Potato Theater could also delve into more “traditional Saturday afternoon” fare; Superhost type stuff. That is, vintage short comedies and, of course, old school sci-fi and horror. I certainly didn’t realize it at the time, but this was at the very end of the era when you could catch flicks like this on Saturday afternoons with any kind of regularity (and I’m stretching the term “regularity” here; I direct you back to the aforementioned Karate Kid).

We’ve seen a lot of Big Chuck & Lil’ John on this blog, most recently via a broadcast of Terror of Mechagodzilla that I taped later in 1997. But, except for a brief excursion in this old article and a possible exception with this “Pregame Show” post, Couch Potato Theater has sadly been neglected here, which is a shame, because it was more responsible than anything for making me a BC & LJ fan. (More so a few years after this broadcast, when I began watching old Abbott & Costello episodes on the program and consequently really ‘getting’ Chuck & John; when I taped this, it was pretty much all about the movie.) Seriously, you have no idea how nostalgic that bumper above makes me; it perfectly encapsulates the “lazy Saturday noon movie” vibes of local television at that time.

We’ll get to the Big Chuck & Lil’ John stuff in a moment. But first, the movie.

I was all prepared to say this flick hadn’t yet had an official video release when this aired back in ’97, but I was failing to recall the 1992 Paramount VHS (which, in my defense, I was not aware of until years later). Of course there’s been some official DVD releases in more recent times, but the fact remains that Gargantuas was not all that easily found by the late-1990s. Heck, it doesn’t look like it’s all that easily found now; unless you wanna stream it via Amazon, it’s apparently out-of-print on DVD.

Released in Japan in 1966 (don’t let the copyright date in the screencap above fool you; 1970 was the year of the American theatrical release), The War of the Gargantuas is a Toho kaiju (aka, big huge monster) film, in the vein of Godzilla and the like. That is, lotsa city-crushin’ and whatnot, though this time with American actor Russ Tamblyn starring (and really starring; this wasn’t a cut-and-paste job like Raymond Burr in Godzilla, King of the Monsters). It’s not a particularly well-regarded entry in the genre. Not critically, anyway; Leonard Maltin gave it a BOMB rating, I seem to recall TV Guide only allowing it one star out of a possible four, and even Lil’ John, at one point late in this broadcast, diplomatically states “Not the best movie we’ve ever had on…”

I can’t agree with any of that; I have always loved this movie. I loved it upon first viewing, and I’ve loved it in the years since. In fact, and I know this is anathema to admit, I love it more than the far more highly-regarded Rodan and Mothra. Indeed, I’ve traditionally had a hard time getting into Toho’s non-‘Zilla kaijus, and that isn’t a retroactive repositioning of my stance, either; this goes back to when I was seeing all this stuff for the first time, and thus, an easy audience. (Mothra in particular has just never done anything for me, and the theatrical Rifftrax Live presentation of it some months back did little to change my mind – though Mike, Bill & Kevin were terrific, as usual.)

But The War of the Gargantuas? Something about it has always clicked for me. No, it’s not high art, and even I won’t argue that it’s Toho’s finest hour, but still, it just works. I’m not even sure if I can accurately state why it works for me, it just does. It’s silly, sure, but in a good way; it’s entertaining, and it’s fun. In other words, perfect Saturday afternoon fare, even if magazines were claiming Gandhi said I was a goner at the same time. It’s impossible for me to separate it from my personal memories now, but even years ago, when those would have been less of a nostalgic factor, Gargantuas did (does) everything right in my eyes.

It’s also a sequel of sorts to 1965’s Frankenstein Conquers the World (released in the US in ’66). Much to my regret, I still haven’t seen that movie, but this hasn’t hurt my enjoyment of Gargantuas any, and it shouldn’t yours, either. There’s apparently a vague reference to the first film, but the US version omits any direct references – from how I understand it. Point is, don’t hold off on seeing Gargantuas if you haven’t seen Conquers.

Spawned from the skin cells of the Frankenstein monster in Conquers, Gargantuas (as you may surmise from the title, and if not, at least the screenshot above) details two “humanoid creatures,” the appropriately deemed “Gargantuas.” One, a “Green Gargantua,” is a disagreeable sort; he smashes up boats and causes havoc in general. You know, as you would expect in a movie such as this. This creature comes from the sea, and has an appropriate, seaweed-like appearance. (That’s him to the right above.)

At the same time, there’s also a “Brown Gargantua,” who is much more amiable. This one lives in the mountains, and was actually in the possession of Dr. Paul Stewart (Tamblyn!) and his assistant years ago, before he escaped. (The creature I mean, not Tamblyn.) Because of his upbringing with humans, Brown Gargantua is much more gentle, and provides the heroic role of the movie. (That’s him with his back to you on the left above; aren’t I helpful?)

Eventually the two creatures meet up, and while there is initially a kind of brotherly connection between them, Brown Gargantua soon sees what a complete cad Green Gargantua is, and that’s where our title begins to make sense. With Green Gargantua trying to destroy mankind, and Brown Gargantua trying to protect it, the stage is set for some city-smashin’, and that’s exactly what the film provides. Also, some cool laser effects and an underwater volcano that (SPOILER!!) ends the film on an ambiguous note.

Fans of monster-induced destruction will dig all this. It moves at a decent pace, there’s plenty of action, even a few pathos, and personally, I like that there are no alien-based threats to be found, something that would soon become increasingly commonplace in Toho kaijus. (Though ironically, when Gargantuas was first released in the US in 1970, it was on a double-bill with Godzilla vs. Monster Zero, then called just Monster Zero, which happens to be one of my favorite “bad ol’ aliens” Japanese giant monster flicks. Go figure!)

One final comment on the movie before we get to the Big Chuck & Lil’ John segments: “The Words Get Stuck In My Throat.”

No, that’s not me being cute (and pretty nonsensical, if you think about it) about writer’s block. Rather, it’s the subject of one of the most memorable scenes in the film. In it, Kipp Hamilton (who somehow gets “Special Guest Star” billing in the opening credits) sings a song by that title. I hate to say this, especially since Mrs. Hamilton passed away in 1981, but it’s a pretty terrible song. Nevertheless, she gets to perform it at a nightclub, and upon her finishing, Green Gargantua sneaks up behind her, snatches her up, and then drops her! Guess he didn’t like the song! (Unless it’s in the uncut version, whether Kipp dies from the fall or not is never revealed.)

This scene is often brought up when the subject of The War of the Gargantuas comes about, and it’s solely due to how bad the song is. There’s no arguing that, but you know, there’s something about it that has rung a bell for me ever since I first saw/heard it. Some vague, dusty recollection in the back of my mind that was triggered upon initially hearing it. I hadn’t seen Gargantuas prior, and I highly, highly doubt it stuck in my mind due to some random channel-flippin’ at some unknown point in the past. Nevertheless, something about Kipp’s voice and the lyrics sounds familiar. I can’t explain it, and I sure can’t place it, not then or now. My conclusion is the same today as it was back in 1997: I probably heard a song on Sesame Street or some such program in my early, formative years (which I really wasn’t that far removed from at the time) that subsequently reminded me of it. That’s the best explanation I can come up with, anyway.

And that brings us to the rest of the show.

With only two hours allotted and the need for commercials, never mind the movie, the Big Chuck & Lil’ John segments are somewhat limited here; I’ve been so used to watching old episodes of their Friday night show that I totally forgot how (relatively) scaled back Couch Potato Theater could be. Oh, don’t get me wrong, this wasn’t exactly Sunday-era Ghoul, the guys are still all over this broadcast, there could be no mistaking what you were watching, it’s just that it all moves faster than their ‘regular’ program. Again, perfect for a Saturday afternoon.

Anyway, the first host segment proper included an announcement that I could not be happier to have saved to tape, even though it took me years to realize it: Ghoulardifest! Yep, the very first Ghoulardifest is announced as a “go,” with several guests (including The Ghoul!) already booked. That inaugural Ghoulardifest, as of this broadcast, was going to be one day, August 16, at a Holiday Inn in Independence, OH, though I wasn’t there, so that may have changed/expanded closer to showtime. Nevertheless, it’s wild to look back on the opening salvo of what has become a three-day, annual extravaganza. I, of course, have written about Ghoulardifest some 70,000 (approximate estimate) times by this point; here’s just one of them. (It’s also weird to realize that Ernie “Ghoulardi” Anderson had only passed away the month before when this aired.)

Also, Chuck mispronounces “Gargantuas” as “Gargantuons” and gets bopped in the head by John with a styrofoam hammer.

The skit immediately following that segment feels like something I’ve written about before. Maybe I have, maybe I haven’t; I did only the briefest of searches before deciding it doesn’t really matter. It’s the “Certain Ethnic Alarm Clock,” in which a wife’s clock goes off at 7 AM, giving the expected digital readout. The husband’s (Chuck’s “Stash” character) goes off soon after, and gives a literal digital reading of a ‘normal’ clock. A simple premise, but I’ve always really liked this one.

Another simple one, and very brief, too. A man (John) absorbed in reading his paper as he enters the “Parma Skydiving School” gets a rude surprise – too late! Let the pictures do the talking above. Gotta love aerial footage and green screens!

Trivia time. I’ve mentioned my semi-frustration with these audience trivia-quizzes before, because more often than not I knew the answer, yet was never there in-person to collect the sweet, sweet rewards. This may be the most egregious of that lot: winner had to guess the name of the movie poster presented. It’s The Amazing Colossal Man. Of course it’s The Amazing Colossal Man. What’d they win? A coupon for a free 12-pack of any Pepsi product. That’d be like a day’s supply for me! (Now, not back then.)

(A “Bus Driver” skit, in which Chuck asks passengers to move to the back of a public bus and floors it when they don’t, followed this trivia segment. In a misguided effort to speed things along here, I didn’t take any appropriate screencaps.)

It really feels like I’ve written about this one before, though I like it enough to give a brief go again (plus, I don’t feel like digging through old articles for something that, again, doesn’t matter).

Here, John is a “Lucky Charms” salesman (as in little trinkets, not the cereal), who convinces Chuck to buy one of his products. As it turns out, it was the last in stock, and just as John is packing up to go home and get some more, a safe falls on him!

More trivia. Winner this time got a $20 comic shop gift certificate. The poster art is of course Attack of the 50 Foot Woman. Too easy! Not fair!!

A genuine classic skit, and one of my favorites. If *I* were in charge of a top-however many skits compilation, I’m pretty sure this would make the final cut.

John plays the much-verbally-abused husband of Carmella (I can’t remember her last name), working six and a half days a week, tired, and just wanting to take a load-off after a long day by watching some TV. I think we can all relate. This, of course, is not good enough for the wife, who endlessly berates him over the length of time it’s been since they’ve been out to eat, gone dancing, and had her hair done. She even throws in a variation on the old “mother warned me about you” line.

The tide of nagging is momentarily stemmed when John announces they’re playing “their song” on TV – only to then turn up the volume and reveal that’s it the old “Hefty Hefty Hefty – Wimpy, Wimpy Wimpy” commercial jingle! This, naturally, results in him being chased around the kitchen by his now really mad wife!

I sometimes wonder what theoretically happened after these skits faded out. Did they make up? Was John able to calm her? Or was the homicide squad eventually called in? I’m probably thinking too much about this.

You can’t say Chuck & John weren’t masters of the green screen.

Here, Chuck’s Stash character is a balloon salesman, and John plays a little kid (he usually did), who eagerly wants one specific balloon. He eventually gets it, only to reveal that it’s a string attached Stash’s head, which floats away with John as he leaves. Stash seems apprehensive with the situation.

Did this effectively end Stash’s life? Was his head eventually returned to his body? Or did both entities continue, somehow, living independent of each other? I’m probably thinking too much about this.

Some brief announcements before heading into another skit. That next Saturday night, Chuck & John would be appearing at a local sports bar, and the next Sunday afternoon they’d be at a Parma Heights library benefit. BC & LJ did (do) so many of these types of appearances, they almost have to all blend together for them by now, but that doesn’t mean it’s not fun seeing the various places they’d be back in the day.

The kind of topical (though it was almost certainly several years old by then anyway) skit that still holds up.

John and another “gringo” find themselves on the execution line of a Hispanic country of some sort, and are given a last request. The unnamed “gringo” (who is given a good ol’ boy appearance) just wants to hear his favorite song one last time. What is it? “Achy Breaky Heart.”

John’s last request? They shoot him first! It’s a funny moment, made all the better by the knowing nod of the dictator (?) in charge of the execution.

A brief skit that’s actually more clever than I initially gave it credit for.

Chuck is a pharmacist who finds himself being held up by an obviously old woman with a bag over her head (Mary Allen, who was great in everything). She doesn’t want money; she wants Retin-A! Retin-A is a skin-revitalizing treatment, which makes the whole bag-on-head thing not only a disguise, but a commentary on aging. Funny!

Annnnd, that finished the show up. Next week on Couch Potato Theater? Eddie & The Cruisers! Had I been the age I am now back then, I’d have definitely taped that one, too. (Plus, sensationalist tabloids in the check-out line at the grocery store wouldn’t have been cause for concern, because my brain eventually formed enough to realize they’re fake). The show next Friday night was Lord of the Flies, which really isn’t my cup of tea (enjoyed the book, though). John’s loud and enthusiastic “BYEE!” he always used and a shot of the Boy Scout attendance-heavy audience closes the episode out.

(Oddly enough, I didn’t catch any references to Easter being the next day, and there sure weren’t any especially-Easter-ish skits, but I looked it up, it’s true.)

You know, after my latest revisit of this recording, it’s amazing how much of it is ingrained in my memory. Okay, yeah, not a big surprise considering I grew up with this tape, but there really are several moments burnt into my consciousness that I, quite honestly, didn’t expect. I mean, sure, “The Words Get Stuck In My Throat” and other parts of the movie itself, definitely, but also quite a bit of the show as a whole; skits, bits of dialog, the trivia, stuff like that.

Usually at this point, I would look at interesting commercials that aired during this broadcast. I’m going to skip that portion this time around; there weren’t really any particularly notable ones (unless you consider a promo for The Gladys Knight Show and an ad for Handi-Snacks notable, and I don’t). But they really aren’t important here. Nope, this subject is one that’s heavily, heavily tied to my personal memories; as such, it may be hard for some readers to ‘get it,’ but I trust everyone can relate in some way to what I mean. In that regard, there was the program itself; my first exposure to what has become a personal favorite Toho movie of mine, and of course there’s the Big Chuck & Lil’ John material, which I only came to appreciate more and more as time went by.

But beyond all that, it’s where this falls in my lifetime. There’s an “aura” about this recording that will (probably) be all but impossible for someone else to accurately understand, but is something that I can never extricate from the proceedings. The events of that day, my age, my interests, all things I look back on now with a wistful fondness. I think it goes back to that weird tabloid scare I’ve referenced several times; a silly fear now, of course, but it points to an innocent naivete that was, quite frankly, probably preferable to the worldly cynicism I often exhibit nowadays.

And that, my friends, is the magic of videotape technology in a nutshell right there. Not just the capturing of a program to view again and again in the future, but also the capturing of a specific time and place, which can also be relived once more. Your childhood can come back alive, if even for only 2 hours.

WJW TV-8’s The Big Chuck & Lil’ John Show – “Terror of Mechagodzilla” (December 12, 1997)

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“How’d y’all find somethin’ from just a week later, North Video Guy?”

Remember last Monday, when I spotlighted my own personal recording from December 5, 1997, 19 years to the day? Evidently, your Northeast Ohio Video Hunter was a busy little taper in the waning weeks of 1997, because just a seven days later, I recorded yet another powerhouse of a broadcast – and directly after that Son of Ghoul episode from last week, to boot! By and large, I taped things I was interested in (“gee, no kidding!”), but even so, very rarely did I capture a phenomenal double-header such as this.

From December 12, 1997, 19 years ago today (!), it’s The Big Chuck & Lil’ John Show, and its presentation of Terror of Mechagodzilla. Rest assured, if the post last week got my nostalgia rolling, this one here blasts it sky high.

Coming at a time when my Godzilla fandom was at (or very near) its height, and as part of general Christmas-month festivities, you have no idea what fond memories that bumper above fills me with. Man, I was 11-years-old, Christmas (and Christmas break!) was right around the corner, and I was discovering a new-to-me Godzilla flick; an early Christmas gift if there ever was one! Throw Big Chuck & Lil’ John in that mix, and, well, does it get much better than that? I posit that it does not.

Also, depending on how busy/lazy I get, there may or may not be an actual Christmas post here at the blog. So for the time being, consider this it, okay?

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This broadcast was also a life-preserver of sorts.

In a story I have recounted before, my parents dropped cable near the end of summer ’97. The cable box was too expensive, and having even less money than I do now, I didn’t have much say in the matter. So, for the foreseeable future, basic television channels were going to be it. As a young film-buff, this was not an ideal situation, with the most grievous aspect being that Mystery Science Theater 3000 was now barred from me. I was (and am) a big-time MSTie, so this hurt deep.

Actually, the loss of the Sci-Fi Channel as a whole was a serious blow to yours truly. Their Godzilla marathons were things of beauty, serving to introduce me to many entries I was unaware of prior, especially the 1970s stuff, some of which was out of print or otherwise not readily available on home video in the late-1990s. Coincidentally, one of the last things I taped before we dropped the cable box was Sci-Fi’s airing of Godzilla Vs. The Cosmic Monster, the prequel to the very film we’re looking at now!

There were some positives to being cable-less at the time, however. First and foremost, I now had to pay more attention to the local channels available to me. That’s how I came to be a Son of Ghoul fan. And, looking back, it was in this time period that the seeds of a legit love for Northeast Ohio broadcasting were first planted; that love would blossom in full within the next few years, and continues at full-strength to this very day.

Also, there was another silver lining: In the late-1990s, Godzilla films could still show up on ‘regular’ TV channels. It seems that steadily decreased as the 2000s dawned, and in retrospect I was witnessing the tail-end of it here, but at the time, all I knew was that I had the opportunity to catch a ‘Zilla flick unbeknownst to me prior.

And so here we are, Terror of Mechagodzilla. I needed some fresh ‘Zilla in my life, and this came at just the right time. I can still recall the excitement upon first seeing this listing in TV Guide that week; I’m not sure I was even aware of this film beforehand! That’s the title screen up above, by the way. The Terror of Mecahagodzilla title as seen here always looked newly-generated to me, and thus, I think the print aired by Big Chuck & Lil’ John that night was the same one as released on home video in the late-1980s. This movie went through a number of edits in the US, and frankly, I’m not sure exactly which one I’m looking at here. I guess it’s the chopped up US theatrical edit. This is the one I grew up with, at any rate.

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Made in 1975 (but not released in the US until 1978), Terror of Mechagodzilla is a direct sequel to Godzilla Vs. The Cosmic Monster, aka Godzilla Vs. The Bionic Monster, aka Godzilla Vs. Mechagodzilla. In that one, alien ape guys had created a robotic double of Godzilla, as part of the expected “take over earth” plot. Godzilla (and new buddy King Caesar) naturally intervened. Earth was saved, ‘Zilla’s good name was cleared, and so on and so forth.

Now, in Terror of Mechagodzilla, the aliens are back; not only do they have continued plans to take over the world (of course), but they also want to revive Mechagodzilla. And, with the help of a human scientist that hates all mankind (bet it’s fun looking in the mirror each morning!) and his now-cyborg daughter (she was dead then she wasn’t; thanks aliens!), they summon heretofore-unknown undersea monster Titanosaurus to team up with their Mechagodzilla to help eliminate Godzilla once and for all.

Above: Godzilla suffering a beat down at the hands (claws?) of his robotic clone and Titanosaurus. You can probably guess the eventual outcome, but Terror features (in my opinion) some significantly more exciting monster battles than many (most?) of the immediate (read: 1970s) Godzilla films preceding it. Also, even though he has a bit of human help with Titanosaurus, it’s nice to see Godzilla on his own, not having to team up with another giant monster (or in Jet Jaguar’s case, robot) to get the job done.

Terror of Mechagodzilla is unique in several respects. First off, it’s the last entry in the original “Showa” series (1954-1975, or 1956-1978 if you go by US release dates); Godzilla would take a break until the mid-1980s. That means this is the last of my “preferred” Godzilla flicks – the 1980s on up entries have never done much for me, and trust me, I’ve tried. (Is that anathema to admit? Oh well, it’s the truth.)

Furthermore, I can’t think of a single entry in the original Showa series that’s a direct sequel such as this one (unless I’m just totally blanking on a similar, earlier occurrence; correct me if I’m wrong, big time G-fans). There were prior Godzilla movies that sort of followed along from previous events (for example, Godzilla is buried in ice at the end of Godzilla Raids Again, he breaks out of ice at the start of King Kong Vs. Godzilla), but to actually pick up on the story line from the film right before, same antagonists, back with a revised plan, it’s kinda neat.

It’s also far less silly than most of the other 1970s installments. There’s a very somber, dark feel to the film, not unlike a lot of mid/late-1970s cinema in general, really. It’s kind of jarring to see Godzilla in that light, honestly. Granted, 1971’s Godzilla Vs. The Smog Monster was a pretty dark film as well, and even occasionally surreal (Smog Monster is also one of my top personal favorites), but the presence of a “Kenny” (i.e., little kid) dissipated some of that bleakness. Here, with much of the focus on a woman (the cybernetic Katsura), it lends a very different tone to the proceedings.

There’s little doubt that returning-original-director Ishiro Honda had much to do with the radical shift in that tone. There may be giant monsters leveling a city, but the plot is generally pretty serious; in some ways, this feels like an earlier Godzilla film, but with a definitively 1970s-look to it. Truth be told, it’s pretty refreshing when compared to most of the other G films of the decade. Make no mistake, Honda makes a huge difference; just compare any one of his Godzilla films to one that’s, uh, not, and you’ll see.

When I first watched this airing 19 years ago, truthfully, the movie didn’t do much for me. It’s a somewhat slow moving, character-driven piece; Godzilla really isn’t in it all that much, and while I wasn’t an 11-year-old that needed instant gratification in his ‘Zilla movies by any means, the fairly-talky nature of the film coupled with the late hour (11:30 PM start time) and 2 1/2 hour length of this broadcast, it all took a toll on my patience. Quite honestly, I was bored by it – though it was still Godzilla, so there was zero chance of my recording over it later.

But you know what? Upon this latest viewing, I found myself getting into the movie – far more than I expected to. Don’t get me wrong, this still isn’t Godzilla’s finest hour, and how many times could they go back to the “invading aliens” well? I can think of two 1970s entries that don’t use that plot device: Smog Monster and Megalon. (And even then, Hedorah was initially an extraterrestrial organism.) Godzilla clearly needed a break, but even so, the generally serious tone and character-driven story (which I can definitely appreciate now) allowed the original series to end on a higher note than I previously gave it credit for.

Here, buy your own copy and judge for yourself!

(Funny-to-me movie moment: The discovery of Titanosaurus near the beginning of the film has a group of scientists in utter disbelief over the new “dinosaur,” as if that sort of thing should be even remotely surprising after decades of monster attacks and city-levelings. Seriously, by that point, it should rank pretty low on the “disbelief meter.”)

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And that brings us to Big Chuck & Lil’ John – and even better, Big Chuck & Lil’ John during the Christmas season! In 1997, I wasn’t yet the true BC & LJ fan I’d be in just a few years, and so my tuning in to their show was, at the time, based almost entirely on the movie featured. As such, I didn’t spend as many Christmases with them as I now wish I had. Still, being able to relive seeing a new-to-me Godzilla movie for the first time on their show is pretty great all on its own.

19 years ago, I can’t believe it! It was a banner Christmas that year. As I said last post, my brother and I got a Nintendo 64; kids today probably can’t imagine how positively mind blowing Super Mario 64 was back then. To go from 16-bit to that, it was a monumental leap. Also, I’m pretty sure that was the Christmas that brought yours truly a couple new Godzilla VHS’ under the tree. Cool winnins!

Anyway, Chuck and John. This wasn’t exactly Christmas Eve, it was only December 12th, so while there’s a general smattering of holiday cheer throughout the show, it’s not an overtly Christmassy affair. As seen above, there’s the expected wreaths and the Lionel train set on the floor (more on that in a bit), and a couple of fun Christmas skits, but it’s all mixed in with the ‘normal’ Big Chuck & Lil’ John shenanigans you know and love. The result was an exponentially strong show, from both movie and a BC & LJ-material standpoints. No joke, this one is a blast.

[For those just tuning in to this blog, and there are apparently a few of you, Big Chuck & Lil’ John were, respectively, Chuck Shodowski and John Rinaldi, who hosted movies and performed comedic skits on Northeast Ohio’s TV-8 from 1979 to 2007, though the format stretches back to 1966 with Bob “Hoolihan” Wells and The Hoolihan & Big Chuck Show. And even further back to 1963 if you count the Ghoulardi years, which Chuck had a hand in, too. Anyway, the show ended in 2007, but they came back with a 30-minute, skits-only show in 2011, which is still running. Cool winnins!]

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Because it’s a Godzilla movie, the “Cuyahoga Kaiju” club makes up a part of the studio audience – pretty cool! According to Chuck, they even brought the Godzilla-related items sitting on the desk that night! (Yes, I know one of those is a Gamera; we’re all friends here, right?) The Cuyahoga Kaiju are apparently still around – or at least, they have a Facebook group. I joined the FB group, though as previously stated (well, inferred), my knowledge of post-Terror of Mechagodzilla-related Kaiju matters is woefully lacking, plus I ain’t exactly an ever-flowing font of Kaiju knowledge anyway. Thus, any kind of membership on my part is probably best left behind a keyboard, where I can think about what I’m going to say before I make an absolute fool of myself. Granted, that would probably still happen either way, but the severity would be lesser. Maybe.

Wait, where was I going with all this? Oh, the studio audience, right.

At this point, it was time for the first trivia question of the night. As I have recounted before, I almost always knew these, but since I was at home, shouting at the TV screen would yield me no sweet, sweet prizes for giving the correct answer. You had to be in the studio audience for that, man.

The prize for trivia #1 was a gift certificate for the Lakewood YMCA Christmas tree lot, which was pretty handy since it was only December 12th; still plenty of time to get a tree home and set up in the house, had you not done so already. Stop calling me a procrastinator. Anyway, the question was: What were the names of Santa’s eight original reindeer? A lady in the back row (I don’t know if she was part of the Cuyahoga Kaiju or not) gets it. This is an instance where I kinda sorta remember the names of the reindeer, but probably would have screwed up live and in-person nevertheless.

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A very funny Christmas-themed skit follows.

John has brought his wife an early Christmas gift home, and it has to be opened right then. She’s hesitant, and begins guessing what could it be. It’s something she’s always wanted, and no, don’t shake it! When it begins leaking all over her new dress, she’s horrified, and asks if it was perfume. Nope, it’s a…puppy!

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Look, I love Big Chuck & Lil’ John’s skits, but there’s no doubt some of them were built on a pretty thin premise. And speaking of thin…

In this one, three guys in what I can only guess is the washroom of a gym pass by a mirror and take the opportunity to flex their muscles. The third guy is on the skinny side of things, and when he’s not satisfied with the result of his flexing, he artificially builds up his muscle mass – with shaving cream.

And…that’s kinda it.

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Look at this sign of the times!

In what turned out to be his final album (he died in October of ’98), polka king Frankie Yankovic’s then-recent Songs of the Polka King Vol. 2 CD was pitched. Not only does it make a good stocking stuffer, but get this: Chuck & John actually sing on it! No kidding, they’re on Yankovic’s cover of My Melody of Love! (Surely you recall the Bobby Vinton hit version?) Pretty snazzy! This CD is now out of print, but not too hard to come by used.

Fun Fact: Drew Carey and Weird Al Yankovic (no relation to Frank) were on Songs of the Polka King Vol. 1!

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After that reminder, a short video of Chuck & John’s trip to BW-3 the previous Monday for a wing-eating contest and Monday Night Football is shown. There was of course a winner, trivia, and a good time had by all. And according to them, it would all be done again the next Monday.

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Another Christmas skit follows that.

Here, Chuck is working a tree lot, which promises a half-off sale. Suddenly, he gets a call from irate customer John; he didn’t expect the tree to be literally half off!

Didn’t John notice when he was loading the tree up to take home? Or am I just thinking too much about this?

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The next skit isn’t specifically Christmas-themed, but appropriate enough due to the gift-giving nature of the holiday. I like this one a lot.

John is a sidewalk salesman for “lucky charms” (no, not the cereal; actual lucky charms), and when he entices passerby Chuck to purchase one, it’s revealed that it was actually the last in stock. As John prepares to go home to get some more, a safe falls on him!

Get it???

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Perhaps the quintessential, or at least most “quintessentially idealized” (does that make any sense?) Christmas gift is a train set. In this jaded day and age, I’m not sure how popular they actually are, but when you think “Christmas toy,” there’s a good chance you’ll think of one of these.

As such, it makes sense to pitch one on show, and that night, Big Chuck & Lil’ John did just that. They were raffling off a genuine Lionel train set, with a winner to be pulled on their December 26th show.

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Immediately after that announcement came this one: If someone was still in need of a last-minute gift, they could pick up the then-new book Ghoulardi: Inside Cleveland TV’s Wildest Ride, by Tom Feran and R.D. Heldenfels. It’s interesting to look back at a time when this book was still basically “hot off the press.” In short order, it became a certified local institution. When it comes to Cleveland TV history, this is one of the books to have.

I believe I got my own copy the next Christmas, and to this day I love it. Such a fascinating, detailed look at what essentially started (sorry Mad Daddy Pete Myers) the Northeast Ohio horror hosting legacy.

The book has remained in-print since it was published. Get your copy here. If you have an interest in Ghoulardi, TV history, horror hosts, and/or Cleveland, it is a must have! Utterly vital and completely entertaining, I can’t recommend it highly enough.

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A Saturday Night Mysteries installment, a favorite recurring skit of mine.

The gist of these was that a detective (or detectives) were called in to see if someone selling something or otherwise asking for money was on the up-and-up. It would quickly be deduced that he or she was not, and the reason why would be revealed later in the show. The challenge was for the viewer to determine, from the clues given in the first part, how the detective knew it was a fraudulent scheme.

In this one, an English archaeologist claims to have uncovered ancient cave paintings, and wants a wealthy widow to finance an expedition to unearth more artifacts. Detectives Schodowski and Rinaldi (of the “Parma Detective Agency”) are called to determine if the guy is legit. After hearing his story, Detective Rinaldi quickly declares the archaeologist a phony.

How did he know? “The answer? Later in the program!”

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A funny bit in which, despite a prominent “NO HUNTING” sign, Lil’ John happily struts through a park, gun in hand and dead birds (aka, rubber chickens) slung over his shoulder. When he’s stopped by the game warden, he claims he was just out taking target practice. When the warden points out the birds over his shoulder, John freaks out, throwing them to the ground and screaming about how “gross” they are!

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Trivia time again.

For this round, winner got four passes to the then-new An American Werewolf in Paris flick. The question? Besides St. Nick, what is another name for Santa Claus? An answer of “Kris Kringle” gets it. Too easy.

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Because it’s a Japanese movie that night, the next skit is considered particularly fitting. I’m fine with that, because this is one of my top favorites. I had totally forgotten it was included in this episode too, which made its inclusion double-exciting for me.

To start the show (evidently this was an episode intro back whenever it originally aired), Chuck interviews Judo & Karate expert John. Problem is, John is very into it, and constantly goes off on Chuck, pummeling him. When he first comes out and shakes Chuck’s hand, he automatically flips him over his shoulder and then chops and kicks him!

John has written a book, “How To Karot Good,” a title I absolutely love, and attempts to demonstrate techniques from it, which only results in further pain for Chuck. Trying to roundhouse kick some wooden boards? Chuck winds up kicked in his, uh, nether region. (John’s concerned “You alright man?” while Chuck writhes on the ground is a riot.) After that, karate-chopping a wooden board? The rigged board breaks and Chuck winds up getting it in the face!

Yes, it’s a skit that relies heavily on physical humor, but John’s chopping and kicking Chuck while screaming stereotypical karate “sounds” is hilarious. And the final gag, in which John demonstrates how he’d deal with being surrounded by attackers, is terrific: In slow-motion (because it’d be too fast for the cameras otherwise), he mimes running away!

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A goof on the old Ella Fitzgerald Memorex ads, in which both Ella’s actual voice and her voice as recorded on a cassette tape shattered a glass.

Here, opera singer “Ella Carmela” sings for “Rememorex” audio tape. Her voice shatters a glass, and her recorded voice shatters…Chuck!

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The conclusion to Saturday Night Mysteries. How did Detective Rinaldi know it was all a scam? Cavemen and dinosaurs, as one of the cave paintings posited, did not exist at the same time! What did the culprit (the wonderfully named “Benny the Gooch”) use as research? The Raquel Welch movie One Million Years B.C.!

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“Kung Fu-Ski,” a take-off on the old Kung-Fu TV series. I’m not all that familiar with the series, so forgive my not really knowing which characters are being parodied here.

A traveler, played by Chuck and who I guess was supposed to be the main character from the show, travels through the desert, begging for water. He comes upon a stand, which only sells neckties; no water. The traveler continues on, and eventually comes upon a restaurant. When he goes inside and desperately asks for water, he’s turned away…for not wearing a necktie!

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A play on the old “workplace suggestion box” idea.

Here, Chuck sheepishly puts a suggestion in the box, only to have boss John pop out of it after he’s gone, get on the phone, and ask his secretary to remind him to fire that “Schodowski jerk” first thing in the morning!

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A terrific skit; this “Kielbasy Kid” entry is up there with the karate sketch as my favorite of the night. This was also my introduction to the Kielbasy Kid, and thus holds some added nostalgia for me.

Here, the Kid and his Indian sidekick “Kishka” have had their home ransacked by a mysterious thief three times now. So, to combat the robber, they set up a pot of water rigged over one door, and a string of cans attached to the other. Whichever door the thief comes in, they’ll be alerted.

One night, it works; someone has come through the can-rigged door, and the Kid and Kishka tackle him. Turns out…it’s Santa! St. Nick angrily takes the 100 pound sack of kielbasy he brought as a gift and leaves. When the Kid tries to stop him, the pot of water falls on his head, and Kishka loudly cries at the loss of all that kielbasy.

This skit is run frequently enough on Chuck & John’s current 30-minute show, but strangely, there’s a small moment edited out that was intact for this airing: After setting the traps, the Kid and Kishka are going to bed. When the Kid sees Kishka’s stuffed animal laying in it already, he throws it out, saying there isn’t enough room for three in the bed. This causes Kishka to loudly cry. I’m unsure why this short scene is (usually?) cut from current broadcasts; maybe it’s a time-issue? I don’t know, but it’s very, very funny.

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Because I was all about the movie when I recorded this back in December ’97, I didn’t tape the intro or outro to this episode, instead beginning at the very start of the movie, and stopping right after it ended. This is something that causes me to cringe now, both as a completest and as a Big Chuck & Lil’ John fan, but back then, I didn’t know any better. It was all about the ‘Zilla, man!

As such, this was the last skit of the night as far as my tape goes, airing right before the concluding segment of Terror of Mechagodzilla. This is “Fallacy island,” obviously a parody of Fantasy Island. Here, a hapless man who can’t get any attention from women comes to the island, asking to make himself irresistible to them. The result? He’s turned into a puppy!


And that was the show itself, or at least as much as I captured of it. A very strong installment from all standpoints, far more so than I gave it credit for upon my initial viewing 19 years ago today.

The last remaining facet? A few of the more notable commercials to have aired during it. You want Christmas? You’re about to get it! Not a ton though; just a few of my favorites. Honestly, there were some great, nostalgic (for me) ads here, but I’m only gonna spotlight three of them right now. Why’s that? Because these, these signify late night and/or local Christmas advertising in a nutshell.

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Commercial #1: A spot for one of the perennial Christmas gift suggestions, The Clapper. Or rather, the revised “Smart Clapper.” Everyone knows about The Clapper and the gimmick behind it; clap on, clap off, baby! You can turn anything that plugs into an electrical outlet on or off just by clapping! Just plug The Clapper in, then plug your device of choice into The Clapper, and then have at it!

So, what was different about the Smart Clapper? You could plug two devices into it, that’s what! Clap twice for one appliance, clap three times for the other. The commercial makes ample demonstration of this, too. Turn on the lights, turn on the TV, and heck, if someone tries to break in while you’re away, there’s a feature where The Smart Clapper will turn on your lights (if they’re plugged into it, that is) at the slightest sound! Neato!

The Clapper is still sold today, and every year around this time you’ll begin seeing the commercials for them with that oh-so-familiar jingle. And you know what? These things do work, and they’re pretty cool lookin,’ too. Plus, they’re handy, especially if someone has mobility problems or the like.

Bottom line: I have a Clapper. And you should too.

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Commercial #2: A spot for one of the other perennial Christmas gift suggestions, Chia Pets. Everyone knows about Chia Pets; they’re even more ubiquitous than The Clapper. Available year-round but particularly visible during this time of the year, you’d almost have to be trying to not know what a Chia Pet is.

Just in case you don’t though: Chia Pets are pieces of pottery, typically shaped like an animal or human head or what have you, with which you smear the included plant seed concoction all over them. Then, with enough watering and sunlight and whatnot, plants will actually grow on the pottery, giving an animal fur, a head hair, and so on and so forth. You gotta pay some attention to ’em, but these do work and they look pretty neat, too.

For this commercial, the number of different Chia Pets and Chia Heads are spotlighted. The Chia Heads in particular are given prominent screentime, including a Chia Professor and Chia Clown. BUT, what really makes this spot is the brief but very cool set-up: an archaeologist has discovered ancient pottery, that just happens to be Chias, and by the end of the ad, he’s wound up with a treasure chest full of ’em. It’s a surprisingly involved production, with the archaeological scenes interspersed with the ‘normal’ Chia shots. Quite honestly, it’s the coolest Chia Pet commercial I’ve ever seen.

Bottom line: There’s an old Chia Head floating around my basement somewhere, but now I want a new one. And you should too.

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And finally, commercial #3: This one is less of an obvious choice than the previous two, mainly because it’s for Sun Super Savings Centers, a chain of electronics and appliance stores that I’m not sure exist anymore. Nowhere near me, at any rate.

The premise for the ad is simple: Sun has the big time Christmas season savings, especially on a mega-cheap Microwave (above right; $67?! Bargain buck bill!). Included are the perquisite shots of a family opening their gifts around the Christmas tree on, ostensibly all from Sun, and ostensibly all on Christmas morning. It’s a pretty typical Christmas-themed electronic and appliance store ad, really.

So why include it here? Two reasons. 1) Look at the kid on the left above; he’s just opened a Nintendo 64 controller! As I mentioned earlier, my brother and I got our Nintendo 64 that very Christmas of 1997, so that alone is enough to make me spotlight this Sun ad here; a kindred spirit! And 2) I bought my first brand new video game console with my own money from Sun; a Sega Genesis, in the mid-1990s. That alone is enough to make me spotlight this Sun ad here. So, fond memories and all that.

Bottom line: I loved the Nintendo 64 and really loved the Sega Genesis. And you should too.


And with that, our big giant look at Big Chuck & Lil’ John’s presentation of Terror of Mechagodzilla draws to a close.

You know, it wasn’t until I pulled out the tape that held Son of Ghoul’s The Hoodlum for last week’s post that I realized, boy, Big Chuck & Lil’ John hosting Terror of Mechagodzilla during the Christmas season would make a fine, fine follow-up article. Like I said during my intro, these were taped back-to-back, and between the two, I don’t think I could find a better, more powerful trip back to the Christmas season of 1997 in my video collection. Some scattered individual recordings, perhaps, but what we’ve seen over these past two weeks is not only an indelible slice of Northeast Ohio television in the late-1990s, but also a peak at my 11-year-old mindset, which, TV-wise, isn’t all that different from my modern day mindset, truth be told.

For this update as well as the last, I was originally recording because I wanted to capture and relive this weekend entertainment over and over. What I wasn’t aware of then was that I was also capturing a significant part of my life – as reflected by my television viewing habits, anyway. Over the years, as my knowledge of Northeast Ohio television history increased and I became more appreciative of what I grew up watching, it was stuff like this that I became more and more grateful for both taping and keeping. For example, Son of Ghoul last week, that was a winner from the start. But the broadcast we’ve looked at today, as I said earlier, it was initially all about the movie featured. It wasn’t until I really started to “get” Big Chuck & Lil’ John that I realized Man I’m glad I held onto that!” Needless to say, that holds doubly-true today.

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One final note…

I’m a busy cat, and since there’s a good chance this will be my last post of 2016, here’s a Christmas-appropriate image from earlier in the show we just finished looking at. Chuck’s holding a wreath, dig? Christmas. Also, I want that Gamera toy on the table somethin’ hardcore.

Actually, the more I think about it, the more I think I will leave this as my official Christmas post; it’s not like I can really top Christmas-themed Big Chuck & Lil’ John and ‘Zilla, anyway. Who could? So, with that said, I want to wish everyone a Merry Christmas and a happy New Year. Be safe, be well, and be kind to one another.

See you in 2017!

TGG Direct’s 3-Disc Gamera DVD Set (Review)

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Remember this picture from the end of this post? Of course you don’t! Well, this is Wal-Mart’s current (well, current when I started writing this post approximately 112 years ago) display in support of the 2014 Godzilla remake. In that previous post, I made a mention of the $5 Gamera set that I bought from said display. Look at the bottom row, near the center – thas da one. As you may very well surmise (because I just told you), this is that very set! What are the odds?! Well, technically, the subject of this post is a second set I bought from the very same display. Why? Because I’m a complete and total weirdo, THAT’S WHY.

Released by TGG Direct (ostensibly in 2013, though the first time I saw it was in the aforementioned Wal-Mart display capitalizing on the 2014 Godzilla), this looks like it could quite conceivably be the end-all be-all budget Gamera set. Officially titled Japanese Monster Movies, that’s erm, exactly what it consists of.

For those lacking in such important knowledge, Gamera was a giant flying, fire breathing turtle, more or less Daiei’s answer to Toho’s Godzilla. I’ll get to this more as I look at the actual contents of the set, but real quick: The first film was released to U.S. theater’s in 1966 as Gammera The Invincible, and several of the sequels went straight to U.S. television via American International Pictures. In the 1980’s, Sandy Frank, purveyor of such imported fare, re-released five of the films in the original series with new titles and dubs to U.S. video and television. Frank’s versions were the ones seen on Mystery Science Theater 3000, and for the most part (Gamera Vs. Monster X being the exception), they were the versions I was most familiar with growing up.

Nowadays though, I prefer the original U.S. theatrical version of the first film and the AIP versions of the sequels. Sure, I know there are super-deluxe versions of the original films now out on BluRay, but my preferred Gamera’s are the old school U.S. versions (as usually seen in these budget releases, because they lapsed into the public domain years ago.) Yes, the picture is often faded/blurry/grainy/scratchy, and yes, there was some editing for television, but I can’t help it, these are the ones I want to watch. I don’t know, I guess I just find them more charming. Mega-fans will want the subtitled uncut Japanese prints, sure, and some may argue that the Sandy Frank dubs of the 1980’s are better just because they aren’t (as?) edited, but as much as I like Gamera, these older U.S. versions are the ones I dig the most.

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Anyway, I grabbed this second set for strict reviewin’ purposes, after which it will be relegated to downstairs TV-viewing status (that is, it’s something that will play in the background while I screw around on my sad little blog.) That way, should some calamity befall it, at least I wouldn’t be messing up my ‘good’ copy. Besides, at $5 a pop, I couldn’t afford not to buy a second copy (whatever that means.) When I went back for this one, it was the very last one in the display. Will they get more in, or did I get the last one ever? I don’t know, but I don’t think I’ll go back to Wal-Mart for awhile, just so I can maintain this almost certainly unwarranted feeling of pointlessly smug superiority.

Besides, look at it up there. Look at it. It’s a slick lookin’ beast. Yeah, it’s definitely a budget release, but I’ve seen waaaay more amateurish looking things in the bargain bins than this. It’s a fairly simple cover, I guess, but *I* certainly find it aesthetically appealing. Relatively so, at least.

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And just look at that movie line-up listed on the back cover! Pretty darn impressive! Now, I don’t want to say that’s every classic-era Gamera flick, because I know the second I do I’ll actually be forgetting one and someone will call me on it. Nevertheless, that’s a lot of Gamera (plus one non-Gamera) for the money.

To be completely honest, I’m a total sucker for cheapo DVD sets like this: $5 for 3-discs of (supposedly) public domain Gamera goodness? I never can resist. Previously, I had stuck with a few other sets for my cheap Gamera fix, but based on the first impressions generated by the cover art of TGG Direct’s product, this could be the “ultimate.”

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I also really, really like the fact that these come in a normal-sized DVD case, as opposed to a double-wide case or something. Just looks nicer and more neat on a shelf to me. There is one caveat to this format, however…

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Rather than use separate spindles, the discs come on one hub, stacked on top of each other. I haven’t any problems (yet,) but it seems like this way to store the discs makes it too easy to inadvertently scratch them. Plus, it’s just more of a pain getting the disc you want out. I know, I know, it’s only $5, why complain.


DISC 1

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The menus are, save for the respective movies, the same on each disc, featuring a variation of that cover art that I’m so, so fond of. The menu screen isn’t exactly flashy, and certainly not interactive, but hey, it don’t take much to keep me happy.

This disc menu also points to something I didn’t bring up when looking at the back cover: these flicks aren’t in chronological order. It’s a mild irritant, sure, but for first-time viewers (and those are the people I’m guessing this set is really aimed at; those that like ‘Zilla and are cravin’ more big giant monster action), the disjointed nature of the film selection may be a bit confusing.

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Case in point: the set kicks off with the second film in the series, which makes references to the first film, which doesn’t come until the second disc. War Of The Monsters, later known as Gamera Vs. Barugon, is the most serious in the series. The thing with the old Gamera flicks is that by and large they’re aimed at kids; that’s to say, most of ’em are pretty juvenile in nature. There was an annoying kid in the first film, but the initial two movies are more serious affairs. The sequel, though, has no annoying children and a relatively dark plot. It’s probably the most “Toho-ish” of the original Gamera series.

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The first time I saw it (under the Sandy Frank Gamera Vs. Barugon title) I wasn’t real big on it, but the more I see it the more I dig it. The particular print used in this DVD is one of the rougher ones. It definitely has that old-school “ran on TV 8000 times back in the day” look to it. I mean, you can see the edge of the film’s frame, for cryin’ out loud! It looks similar to an early-1980’s recorded-off-local-TV Beta copy of the film I have.

But, that old-style look of this and (most of) the other prints used in this set is precisely what I find so endearing about this whole thing. Hardcore fans will of course want pristine prints, and in that case TGG’s product will irritate them mightily. But me? I love the images of Saturday afternoon monster movie matinees that the whole thing evokes.

Lest the uninitiated be confused to the point of a crying jag, that’s Barugon up above.

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Not to be confused with Destroy All Monsters, which is a ‘Zilla romp. Also known as Gamera Vs. Viras, this is Gamera #4, chronologically speaking. I’ve had this one for years on a dollar-DVD, but aside from “playing on the TV in the background” status, I never paid much attention to it. This is one of those juvenile-oriented entries; I mean, there’s a scout troop in this one! Naturally, two of those “precocious” kids figure prominently in the plot. I don’t need mah monster films to be strictly “all bidness,” but overtly childish is something I don’t always find entertaining.

Then again, I like Gamera films, and most of them are childish, and I knew that going in, so I’m probably just full of it. Plus, to be completely honest, not too long ago I watched this film again (or for the very first time, depending on your viewpoint) on Off Beat Cinema, and I really didn’t mind it. Silly, sure, but surprisingly not bad, in my worthless humble opinion.

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Just to spite me, at one point Gams gets stabbed in the gut. What could be more endearing to the lil’ baby childs than that? Of course, Gamera ends up no worse for wear by the end.


DISC 2

Disc two kicks off with the first film in the series, follows up with perhaps the most whacked out film in the series, and ends up with something pretty interesting. Are you thinking they spelled “Gaos” wrong? They got it right on the back cover, after all. I’ll get to that in a bit, homeslice.

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The first Gamera was initially released in the U.S. as Gammera The Invincible in 1966. Sandy Frank’s version from the 1980’s was titled simply Gamera and didn’t have a whole lot changed in it aside from new English dubbing. The original ’66 U.S. version, however, took a route similar to the 1956 U.S. release of the first Godzilla film, by inserting newly shot footage of American actors. Albert Dekker and Brian Donlevy appeared in this new footage, as well as Dick O’Neill, who was in a lot of things but I know him best as the former-shop teacher that yelled at Tim Allen in that one Home Improvement.

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I don’t care how much it was tampered with, I much prefer this original 1966 release to the less-tampered with later-dub. I just find it more entertaining. I even like the stupid double-M thing they did with Gamera’s name, though I’d be hard-pressed to explain why. Uniqueness, I guess? Plus, it has a swingin’ 60’s rock song in which “Gammera” is repeated endlessly. It’s performed several times throughout the film, including a memorable moment where the military tries to get the band playing it to evacuate a soon-to-be-attacked building. The band/crowd refuses, preferring to instead to continue rocking out to Gammera’s unofficial theme song. The consequence of said refusal is seen in the screencap above. Whoops!

I really dig this one, and since it’s public domain, you’ll trip over stray copies while waltzing down the street! Cool winnins!

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Attack Of The Monsters is the original AIP TV version of what was later released as Gamera Vs. Guiron, the fifth film in the series. As previously stated, it’s one of the more whacked out entries in the Gamera series. I’m actually kind of on the fence as to which is the better version, this one or Frank’s dub. Both are nutty, but Frank’s features flat-out awful dubbing, which either adds to the craziness or detracts from the watchability. The decision is up to you.

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Like Destroy All Planets, this one features two ostensibly lovable kids being kidnapped by aliens. The best part is Gamera’s high-wire Olympic act, which is a total “say what?” moment.

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Here’s where things get a bit interesting. In stark contrast to the worn, obviously-television-used prints we’ve seen up to this point, Gamera Vs. Gaes aka Gamera Vs. Gaos aka Gamera Vs. Gyaos aka Return Of The Giant Monsters features a terrific widescreen print. I’m so accustomed to seeing Gamera flicks looking like, well, the way they do in the rest of the films in this set, that it’s easy to forget just how good they can look.

After an intro, the title card seen above pops up. Besides the misspelling of “Gaos” as “Gaes” (well, I guess officially it’s supposed to be “Gyaos,” but nevertheless, I’ve never heard of a “Gaes” variation), the fact that things go full-frame for the title and the fact that the title consists of computer-animated water drips over wood paneling (the hell?) that progressively reveals the title points clearly to the fact that this is a modern innovation. Needless to say, it sticks out like a sore thumb.

For a mere fraction of a second, after the title card ends but before heading back into the movie proper, a part of the original Japanese titles remains:

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No joke, it’s only onscreen for a split-second. It took me several tries to even get this screencap. I’m still kinda surprised I even manged to get it. Could they not have left the new “Gaes” title on-screen for a millisecond longer? is this some bizarre form of subliminal advertising? “Buy more Gamera?”

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Odd title-screen aside, it really is a gorgeous copy of the film. Look at that screencap; it’s a beautiful picture of the Japanese skyline (provided you ignore Gaos in the sky.) This brings up a burning question, however: where did this print come from, and how were they allowed to release it? The films seen in the set up to this point are all long in the public domain, but aside from the AIP U.S. version called Return of The Giant Monsters (which I *assume* is public domain as well), I don’t know of any PD copies of Gaos. That said, there are budget releases of the Sandy Frank dub (no kidding, there’s a $1 DVD featuring that particular version of the film lying on the floor mere feet from me, where I have thus far neglected to pick it up) which I can only assume are less than legit, since as far as I know Frank’s version hasn’t lapsed into the murk that often makes up the public domain library. In fact, when I first came upon this DVD set, seeing the title and how it’s spelled on the back cover, I figured that’s the version that was on here. Obviously, not so. I’m assuming neither AIP’s nor Frank’s dubs were used for it, either. So what would it be? Some kind of international version?

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Gaos/Gyaos/Gaes ends with this strange, Star Wars-inspired scroll. Again: the hell?


DISC 3

Third and final disc. it includes a movie I love, a movie I don’t, a movie that bores me, and some bonus features that define “superflous.”

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Gamera Vs. Monster X (aka Gamera Vs. Jiger) is the barometer by which I measure all Gamera DVD sets. If a set doesn’t have it, it’s “decent” at best, “woefully incomplete” at worst. If it does have it, though? Automatic passing grade, man. I love Gamera Vs. Monster X. It’s probably my favorite of the series. Not because it’s good; oh dear my, no, it’s certainly not. It’s pretty awful, and based solely on fun-factor, there are others probably considered more wacky. I don’t care, I will forever digs it.

Why? Because it was my first Gamera, that’s why. Also, because at one point it was pretty tough to find. Back in the VHS days, the Sandy Frank dubbed Gameras were easily found on tape, but Frank never touched Monster X. I quickly became obsessed with obtaining the movie following a mention of it in The Ghoul’s (S)crapbook, and eventually I had to resort to obtaining a bootlegged version that was (naturally) sourced from an ancient TV broadcast. I think it’s in the public domain, but even if it’s not, I now own approximately 8000 legit copies to make up for it. Perhaps fittingly, the version found on TGG’s set appears to be sourced from a VHS. Go figure.

And tell me that title screen isn’t completely awesome. I think it’s the font used for the “Monster X.” Plus, Gamera Vs. Monster X is just a cool title to me, up there with Godzilla Vs. The Thing as far as “neat soundin’ titles” go (that’s just me though; your mileage may vary.)

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Gams looks dangerously close to my pet turtle in this screencap. My turtle doesn’t have the ability of jet-power or to carry enemies skyward, as Gamera is clearly shown performing above. But my turtle does splash furiously whenever he wants food, and that’s pretty darn special too, isn’t it?

(The preceding paragraph is what we like to call “filler,” because I can’t think of really anything else to say about the screencap. It’s Gamera carrying Jiger, okay?)

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I was on an emotional rollercoaster ride with this one (figuratively speaking.) Prior to playing it, I figured this was the usually-seen Sandy Frank version, since I knew Frank’s dubs could show up on these types of sets. But after seeing Gaos and then reading how Zigra‘s title was listed on the back cover, I figured this would be another widescreen print of perhaps shady origin. But then, it turns out this IS the same Sandy Frank dub that’s been floating around for some three decades now, which was exactly what I was expecting with Gamera Vs. Gaos. Wrap your mind around all that, because I sure can’t.

Released in 1971, Gamera Vs. Zigra was the last Gamera until Gamera: Super Monster in 1980. From how I understand it, Daiei went bankrupt and had to be bought out, hence the nine year absence. Even though that 1980 film is considered the last of the original Gamera series, I’ve really always thought of Zigra as the real last one. Super Monster just seems too different. Most of the Gamera footage is taken straight from the old films, it wasn’t made by the same Daiei that made all the other Gameras, and truth be told, I really, really don’t like the ending. Super Monster just doesn’t feel right to me.

So, yeah, I consider Zigra the last of the original Gamera series, and Super Monster a bizarre offshoot. Maybe that’s not the purists viewpoint (or maybe it is, I don’t know,) but it’s certainly my viewpoint. And as we all know, my viewpoint doesn’t amount to a hill of beans is of tantamount importance.

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That’s not to say that I really like Gamera Vs. Zigra, though. In fact, it’s always been one of my least favorites. I should love it, with the vague ecological theme (kinda sorta shades of Godzilla Vs. The Smog Monster!) and overwhelming cheapness (I mean, just look at Zigra up above!) But, for whatever reason, it’s always left me cold. That said, it has been awhile since I’ve seen it, so maybe it’s time to revisit. Something tells me it won’t destroy my unwarranted and incomprehensible love for Gamera Vs. Monster X, though.

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Okay, the name of TGG Direct’s set isn’t “The Gamera Collection” or anything like that. It’s called Japanese Monster Movies. Since it’s a budget set, it stands to reason that it is going to consist mainly of Gamera flicks, as most of those are (supposedly) in the public domain. That is to say, despite whatever knowledge I gathered via cheapo VHS companies whilst growing up, Godzilla Vs. Megalon is NOT public domain. What I’m getting at is that TGG presumably only had so many movies to work with without having to shell out the mighty dollars. Keep in mind, I’m not saying they didn’t license some of the flicks found in this set, but conventional wisdom says that these kind of releases don’t have more money poured into them than necessary.

That said, the overwhelming theme of the set is obviously “Gamera.” Look at the cover, look at the menu screens, look at the selected movies. And if that’s not enough, go back up and read the descriptive blurb on the back cover; there are eight movies in the set, and it clearly says they’re all “Gamera Movies.”

Gappa The Triphibian Monsters is NOT a Gamera flick. I knew that going in; I’ve had a recorded-off-TV copy for years, under the title Monster From A Prehistoric Planet. That’s the public domain version, and it appears that that is the version used here, just with a replaced title and end card. Kinda like Gamera Vs. Gaos, but kinda not. Like that one, the newly-created titles stick out like a sore thumb, Unlike that one, we don’t benefit from a crystal clear widescreen print. It almost makes you wonder why they bothered. Maybe the change was made by whoever TGG got this print from, I don’t know.

At any rate, it’s very obviously not a Gamera film, which makes me wonder if they weren’t paying attention, or just trying to sucker the unsuspecting buyer. Though I suppose they couldn’t really say “Here’s seven Gamera flicks, plus one filler” on the back, either.

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I do not like this movie. I never have. Even back in the day when I first taped it, it left me cold, and at that time, I was all about the big ol’ Japanese monsters. Gappa is sort of like a Japanese Gorgo, which in turn was a British Godzilla. Bottom line: a baby “Gappa” is captured and put on display in Japan, and the parents (one of which is what you is did done seein’ above) are none to pleased, so they come to retrieve said baby Gappa. If nothing else, I like this film more than Gorgo, but then, I’ve never liked Gorgo. And yet, I love Gamera Vs. Monster X. Hey, what can I say, I’m complex.

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Disc 3 and (thus the set) ends with two bonus sections: a gallery of scenes that is little more than screencaps from the movies; candid backstage photos they are not. After that there are Gamera trivia facts, which are less fun factoids and more general statements about the films, capped off with generic Asian-y sounding music. If you had watched all of these films in order as placed in this set, you’d know all of this stuff already, which makes them putting the trivia section at the end of the third disc a bit of a head-scratcher. You’ll never watch any of these bonus features again, but if nothing else, they do add a quirky charm to the whole thing.


 

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And there you have it, TGG Direct’s 3-disc Japanese Monster Movie Collection. It’s a cool little set. No one will ever mistake it for something from The Criterion Collection, and there are restored/cleaned up/etc. BluRay releases out there, but for $5, I’d say this one is worth the purchase. There’s some vintage Saturday Afternoon-worthy fare here, and with the few extra ‘odd’ bits, well, I think that just makes this all the more endearing.

Oddly enough, it doesn’t seem this is available at Amazon.com at the present time. Did it go out of print that quickly? I couldn’t say, but if you come across it, I think it’s worth picking up.

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I’m totally gonna have that “Gammera!” song stuck in my head for awhile now…

Really Old Japanese VHS Copy Of Mothra Vs. Godzilla!

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Through the magic of box-digging (and boy, I had to do some serious diggin’ to root this one out last night), look what I has been done founded: a really old Japanese VHS release of 1964’s Mothra Vs. Godzilla, aka Godzilla Vs. Mothra, aka Godzilla Vs. The Thing. I picked this up in the Summer of 2001 during a visit to the G-Fest Convention in Chicago. There was a Japanese mall nearby in which I also picked up some vintage Japanese Ultraman tapes, but this particular video I found at the convention itself. I (and by “I” I mean “parents”) paid $25 for it. Too much? Not enough? I have no idea, but I do know that after several intensive hours minutes of online searching, I couldn’t find pics of any identical tapes anywhere out there in internet land.

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Unlike the Ultraman tapes, which I picked up more or less because they were something neat that I probably wouldn’t be coming across again anytime soon (traditionally, I’ve had pretty much zero interest in Ultraman, save for a period of time when I was verrrry young and some channel somewhere was playing one of the iterations of the franchise), I really, genuinely, instantly wanted this Godzilla tape. Let me explain: I still really like the original run of Godzilla movies from the 1950’s, 1960’s & 1970’s, but back then, I was a huge fan of all things ‘Zilla. I had to have been, since G-Fest, a convention dedicated to all things ‘Zilla, was in Chicago. That is, not exactly a 45 minute drive from Northeast Ohio. And man, G-Fest was like the end all, be all of everything that I liked at the time. I even got my VHS tapes of Godzilla Vs. King Ghidorah and Godzilla 2000 (which we actually picked up at a Blockbuster in Chicago because I had neglected to pick up a copy prior, which I know may tarnish my former-megafan credentials, but so be it) autographed by the respective people involved with said movies.

But, I digress. Anyway, that’s the tape’s spine in the pics above. The smart money is on the film’s title being written on it. At the bottom of the spine is what I presume the cost of the tape was in Japanese Yen. Is saying “Japanese Yen” redundant?

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Since I neither speak nor read Japanese, I have no idea what any of this says or when this tape came out, but I’m guessing it was released at some point in the 1980’s. I get the impression this was a Japanese rental, and the somewhat degraded video quality seems to bear that out. Then again, most 100-year old VHS tapes don’t look that great anyway. At any rate, the tape is, as has been established, a Japanese copy of Mothra Vs. Godzilla, and it was put out by Toho Video, as one would/should expect. That being as it is, all of the dialog is, fittingly, in Japanese, and thus incomprehensible to me. No dubbing, no subtitles. Listen, I just barely passed French in high school, so don’t go asking me to learn a new language now. It’s a lost cause; an incapability I have learned to live with.

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So, anyone read Japanese? Click on the pics for an enlarged version and tell me what this all says! I hope my pictures display the writing semi-legibly. Have the past 12 years been a succession of sleepless nights due to my inability to learn the Japanese language? That’s for me to know and you to find out (but seriously, if anyone can translate anything in this post, please give us the lowdown in the comments). I think it’s safe to say the back of the box contains a description and various copyright info. I mean, some things are universal, aren’t they? Watch that not be at all what the back of the box contains, just to spite me. Wouldn’t be the first time a tape played mind games with your Northeast Ohio Video Hunter.

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There be the videa itself. I always dig the grey flip-doors of older cassettes, further evidence this is quite possibly from the 1980’s. Unless Japan did things differently, which is something I really have no idea about. The clamshell that houses the tape opens from the left, rather than the right as they do here in the states.

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There’s the side-label of the tape. I assume it simply reiterates the film’s title and other pertinent information. The level of wear on this label further leads me to believe the tape was a former rental in its homeland, but that’s based strictly on a gut feeling; there’s no factual basis for that thought whatsoever.

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Lookit this! Original inserts! Fronts and backs! They both look they could be mailed away. What for? I have no idea. The one on the left looks like some kind of warranty card, but the one on the right I haven’t a clue. Was it for the Toho Video catalog, perhaps? Or maybe it’s for some swanky item that couldn’t be had otherwise? Someone has to have the skinny. Considering this tape is probably fairly scarce nowadays, I’m guessing these cards are even rarer finds. To be honest, I had completely forgotten about them until I opened the clamshell for pictures. They were hidden under the tape, so good thing I had the desire to photograph the tape’s spine, or you may have never seen them.

Now for some actual video content…

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This is the first thing seen on the tape (beyond the standard blank black screen that is commonly found upon the start-up of most commercial tapes, I mean). I’m guessing it’s copyright information; “Don’t go copyin’ this tape!” and so on.

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The title, appropriately in Japanese. Perhaps the first screencap is a mention that the film is presented in widescreen, a fact that pleasantly surprised me. I was expecting a fullscreen edition, but widescreen is always welcome. I’m not sure how well my pictures show it, but as previously mentioned, there is some tape degradation, which, really, you have to expect. It’s an old tape, after all. Happily, it’s an NTSC VHS, meaning I can play it here in the U.S. with ease. No resorting to any funny business to get this fella running!

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Another look at the widescreen process, condition of the print, etc. Seems like a pretty nice, colorful print to me.

For those not in the loop (as we hepcats say), Mothra Vs. Godzilla is a 1964 entry in the Godzilla series, the fourth overall. As you may assume from the title, ‘Zilla fights Mothra, who is, fittingly, a big ass moth. It’s not just a good Godzilla film, but also, I feel, a good film, period. I’ve always loved this movie, from the first time I saw (and taped) it on Joe Bob Briggs’ MonsterVision (remember when TNT played good stuff like that?). I’m pretty lenient towards any Godzilla film from that original 1950’s to 1970’s run anyway (with the exceptions of Son of Godzilla and Godzilla’s Revenge; I’ll take goofy Godzilla Vs. Megalon over either of those any day), but even so, Mothra Vs. Godzilla is just a real strong, entertaining movie on its own. If you haven’t seen it, you’d be well-advised to purchase your own copy, preferably one with dubbing or subtitles in the language most understandable to you. Me? I’ll hold onto this Japanese VHS for dear life, but if I want to actually watch the movie, I think I’ll go with Joe Bob’s airing (come to think of it, I should probably get around to converting that tape to DVD sometime). Oh, and I have an old Paramount VHS of the U.S. version, too. Just thought I should throw that in somewhere.

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One final close-up of the front cover. Man, the more I look at it, the cooler it is. Nice and colorful, certainly eye-catching and appealing. I dig it, baby. Then again, I’m a sucker for stuff like this. This is a tape I’ve always been proud to own, but it was only upon digging it out last night that I remembered just how undoubtedly cool it really is. I got some neat things at that 2001 G-Fest (including a stylin’ original Godzilla Vs. The Smog Monster lobby card), but I think this tape was ‘the big find.’

(I just did another internet search, and still came up with nothing on this tape. So, seriously, if anyone has any info about it they’d like to share, post it in the comments! Please!)