Forty years ago today, on April 5, 1975, a series called “Goranger” premiered on the TV Asahi network in Japan. The full Japanese title of the show is “Himitsu Sentai Gorenja,” translated literally into English as “Secret Squadron FiveRangers.” It was the first in a long franchise devoted to the concept of a team of five people (usually four men and one woman) in color-coded costumes that bestow certain powers and skills on them so they can work together to defeat monstrous enemies either based on Earth or from other planets (or dimensions) who attack Japan and wreak havoc on, usually, Tokyo. Sentai is the general term for this franchise, although Super Sentai is technically the more accurate term for the seasons that began in 1979 since Super Sentai refers to a sentai series with mecha (mechanical vehicles, usually human- or animal-shaped) used by the heroes. (I’m just going to refer to the entire franchise as sentai, non-italicized, in the rest of this piece.) Sentai series are best known in the U.S. for their American version, Power Rangers, which has been on the air since 1993. (The picture on top is from “Denjiman,” the 1980 sentai season.)
Sentai shows are part of the broader Japanese genre of tokusatsu, meaning live-action special effects programs, usually in the sci-fi or fantasy genres. Famous tokusatsu programs include the Ultraman and Kamen Rider franchises and “Giant Robo” (aka “Johnny Sokko and His Flying Robot”). I covered some of these shows in Ultraman Heaven, my entry from December 15, 2014, and Classic Japanese TV from March 16, 2014.
On November 9, 2014, I wrote about ROMANCE MUSUME (1956), the second in a series of movie musicals starring the group, “Sannin Musume,” consisting of the three top pop stars in Japan of that era, Hibari Misora, Chiemi Eri and Izumi Yukimura. The third film was OHATARI SANSHOKU MUSUME (aka ON WINGS OF LOVE, 1957) and was the last film they made as “Sannin Musume” before going their separate ways (although sometimes two of them would appear together in films). They reunited in 1964, as adults, for HIBARI CHIEMI IZUMI SANNIN YOREBA, which I haven’t written about yet here. The third film, which I’ll refer to as ON WINGS OF LOVE, the English title given on IMDB, is notable for being the first film made in Tohoscope, the first Japanese widescreen process to be used in Japan (by Toho Pictures, naturally). I first heard about this film in a reference in Yoshihiro Tatsumi’s autobiographical manga, A Drifting Life, as depicted in this frame, the caption of which confuses Toho with rival studio Toei:
Every year the Oscar show unfolds and seems to last forever and every year everyone complains about it. I always tell myself I’m not gonna watch anymore and then, of course, I do. All the way to the end, which is way past my bedtime. This year, the Oscar show was more like the Independent Spirit Awards, with virtually the same movies in competition. Lots of indie people filled the auditorium and few bonafide Hollywood stars of any magnitude were around. There were lots of presenters I didn’t recognize, some of whom I’ve heard of but wouldn’t have been able to recognize (e.g. Chris Pratt), some of whom I’ve never heard of (Ansel Elgort, anyone?), and some whom I’ve heard of but was seeing live for the first time (Margot Robbie). And there were frequent cuts to audience members, presumably nominees, whom I was clearly supposed to know but didn’t.
Eddie Redmayne, eventual Best Actor winner for THE THEORY OF EVERYTHING, although I didn’t recognize him when they first showed him
Joe E. Brown was a major comedy star at Warner Bros. from 1930 to 1936, making 20 starring features for them during that period, until he left the studio for an ill-fated contract with an independent producer that led to a series of lackluster vehicles that brought his starring career virtually to an end. He wound up in B-movies, with an occasional character part in A-movies, turning up years later on television and in memorable bits in such films as AROUND THE WORLD IN 80 DAYS, SOME LIKE IT HOT, and IT’S A MAD, MAD, MAD, MAD WORLD.
Chinese-American actress Lisa Lu turns 88 today, January 19, 2015, and, as of this writing, is still active in the business. I’ve written about her in past entries (see THE MOUNTAIN ROAD and the Bonanza episode, “Day of the Dragon” ) and have made an effort to track down some of her numerous TV appearances in the 1950s and ’60s, finding some on Encore’s Western Channel, some on YouTube and some on DVD.
One night this week I was watching an episode of The Untouchables called “Ma Barker and Her Boys” and at one point the narrator (Walter Winchell) intones the date of Dock Barker’s arrest, “January 8, 1935.” That sure jumped out at me. It was Elvis Presley’s birthdate. Some time yesterday I realized that tomorrow (today), January 8th, would have been Elvis’s 80th birthday. I wish I’d thought of it sooner and actually watched some Elvis movies, documentaries or concerts for the occasion. Instead, I barely had enough time to compile some of my past writings on Elvis and scrounge up some screen grabs to illustrate them. Continue reading