Ultraman Ep. 29: Challenge to the Underground

Directed by Samaji Nonagase. Written by Tetsuo Kinjo and Ryu Minamikawa. Airdate Jan. 29, 1967.

After a string of great episodes, Ultraman was due for something on the routine side. When Goldon, a gold-consuming monster, bursts from the side of Mt. Otayama only seconds into the episode, it signals that “Challenge to the Underground” is going to be fairly standard monster-centric material. Which it is, but the average Ultraman episode is still a decent time.

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Ultraman Ep. 28: Human Specimens 5 & 6

Directed by Samaji Nonagase. Written by Masahiro Yamada. Airdate Jan. 22, 1967.

Samaji Nonagase was one of the more prolific early Ultra directors. While he doesn’t receive as much attention as fan-favorite directors Akio Jissoji and Kazuho Mitsuta, he helmed several classic episodes: “Kanegon’s Cocoon” (Ultra Q), “The Monster Anarchy Zone” (Ultraman), and “The Secret of the Lake” (Ultraseven). He also wrote scripts under the pen name Ryu Minamikawa. He was fascinated by Alfred Hitchcock and liked to add gradually building tension to some of his episodes, such as the home-invasion story of “Project Blue.” “Human Specimen 5 & 6” is Nonagase’s best exploration of the suspense-centered story, and it helped to establish the future tone of Ultraseven and its parade of weird, crafty alien invaders.

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Ultraseven Ep. 23: Search for Tomorrow

Directed by Samaji Nonagase. Written by Shozo Uehara and Samaji Nonagase. Airdate March 10, 1968.

Captain Kiriyama takes center stage for an unusual episode that shows the Ultra Guard members acting as more than a stock hero team. Characterization in Ultraseven works differently than in Ultraman and other Ultra shows: scripts often downplay individuality in favor of larger science-fiction themes. It’s good to have a chance to settle in with a personal character drama like “Search for Tomorrow,” where Kiriyama reveals a side that puts him at odds with the rationalist approach of the Terran Defense Force and the Ultra Guard. It’s not a superlative action episode, but it has some crunchy ideas to chew on and a strong use of the ensemble.

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Ultraseven Ep. 20: Destroy Earthquake Epicenter X

Directed by Samaji Nonagase. Written by Bunzo Wakatsuki. Airdate Feb. 18, 1968.

There are several Ultraseven episodes that feel as if they were reworked from unused Ultraman scripts (something that did happen with “The Strolling Planet”). “Destroy Earthquake Epicenter X,” from what I can tell, was originally written for Ultraseven, but the Ultraman vibes are strong: an episode focused on a giant monster and high-tech equipment rather than alien schemes or a strange science-fiction twist. Ultraseven’s stories are usually alien-themed, but this episode feels as if the alien invader could easily have been cut and the script left as a terrestrial kaiju story.

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Ultraseven Ep. 19: Project Blue

Written and Directed by Samaji Nonagase. Airdate Feb. 11, 1968.

Professor Miyabe (Akiji Nomura) has invented a magnetic defense barrier, Project Blue, that will shield both Earth and the Moon from the barrage of alien invasions happening on a weekly basis. (At this point, the Ultra Guard is so familiar with these invasions that they know the preferred routes aliens take when launching attacks.) But Alien Bado, self-proclaimed “Emperor of the Universe,” is not going to have some Terrestrial Defense Barrier hinder their plot to explode Earth and eradicate the potentially deadly human race. The aliens covertly park their spaceship under Professor Miyabe’s home and kidnap him, threatening to murder his wife Grace (Linda Mabrey) if he doesn’t surrender the plans for Project Blue.

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Ultra Q Ep. 24: The Statue of Goga

Directed by Samaji Nonagase. Written by Shozo Uehara. Airdate June 12, 1966.

The James Bond craze has hit Japan. Time for an Ultra episode to go full espionage. The accouterments of a ‘60s spy film are all over this half hour: A wealthy villain with a hidden underground base filled with stolen artwork. Secret agents with numbered codenames who wear shades indoors. Lethal henchmen in slick suits. A swanky female spy loaded with gizmos. Wrist communication devices. Exploding cars. And, of course, a giant snail with a drill attachment. Well, this is Ultra Q, after all. 

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Ultra Q Ep. 23: Fury of the South Sea

Directed by Samaji Nonagase. Written by Tetsuo Kinjo. Airdate June 5, 1966.

In the world of Japanese special-effects films, the mid-‘60s was the time to go on Pacific island vacations. This was when the Godzilla series left the cities to jet off for two budget-friendly South Seas adventures, Ebirah, Horror of the Deep (1966) and Son of Godzilla (1967). Around this time, Ultra Q took its own trip to the islands, although on an even tighter TV budget. The crew could only afford a recycled octopus prop and stock footage lifted from King Kong vs. Godzilla (1962) to create its giant monster of the week.

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Ultraman Ep. 18: Brother From Another Planet

Directed by Samaji Nonagase. Written by Tetsuo Kinjo and Samaji Nonagase. Airdate Nov. 13, 1966.

Ultraman has three classic sentient alien villains. We’ve already met Alien Baltan. Twice. Later we’ll meet Alien Mefilas, maker of dark deals. Today we meet Alien Zarab, who wants humanity to believe he’s their pal, the brother from another mother planet who’s looking out for Earth’s best interests — just like the aliens from the classic Twilight Zone episode “To Serve Man.” And look how well that turned out. 

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Ultra Q Ep. 20: The Primordial Amphibian Ragon

Directed by Samaji Nonagase. Written by Hiroyasu Yamaura and Samaji Nonagase. Story by Shoji Otomo. Airdate May 15, 1966.

Yuriko is on assignment again, investigating an undersea volcanic explosion near the island of Iwame. She tells her boss Seki that she thinks this is a “mediocre” story, which seems ridiculous until you realize the giant monster and alien weirdness Yuri-chan has been dealing with for the past few months. Undersea volcano? Meh.

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