Hiroyuki Takano was a well-known kid actor who appeared in a lot of shows of the time including tokusatsu as he can be seen in some episodes of “The Return of Ultraman” (Episode 5; 7; 15; 45) along with “Spectreman” (Episode 1; 42).
Especially, he gained great popularity by playing one of the leading characters who transform into the human-sized superhero in the tokusatsu show “Barom 1” (1972) produced by Toei in which the leading two boys turn into Barom 1 with the force of “friendship.”
Moreover, Takano also played the Kirieru prophet in “Ultraman Tiga” afterwards in his thirties (I didn’t know that till now). He is truly a memorable actor who was so prominent when I was a kid as he is a peer just one year older than me.
Takano, while he is still an actor who seems to appear in plays, says in a book that he remembers he saw the prop of Ultraman with its fist thrusting forward/upward placed in a Tusburaya Productions’ storage (supposedly used in the transformation sequence) when he visited the company to be auditioned for his role in this Ultraseven episode.
He also says he was impressed during the filming on the set with how the mechanism operated by the staff worked in order to inflate and deflate Alien Perolynga’s cheeks with balloons inside.
Takano adds Director Jissoji kindly directed his performance, properly dealing with him as an “actor,” not as a kid even though Takano says he finds his performance so awkward when looking back.
Hishimi writes Reizei and Takano reproduced the scene of the two conversing with Fukushin’s line “It’d be great to live in the stellar universe. Relaxing without being annoyed by anyone… ” at the “fan meeting” I wrote about in my last post.
Hishimi states it was touching that Reizei said “I really ended up putting much of my emotion into the lines somehow…” while the remark uttered by Takano “Sorry, I’ve grown up this much.” made the moved audience laugh loudly.
Director Jissoji writes in one of his books that this episode was initially titled as “Yogoto No Enban (Flying Saucer of Every Night)” in its preliminary script.
He says he emulated a 1952 French comedy film “Les Belles de nuit” directed by René Clair, a film director Jissoji greatly respected, since the French film was titled as “Yogoto No Bijo (The Beauty of Every Night)” in Japanese.
This tells us how he had been influenced by French films along with Jean-Luc Godard (educated people of the time in Japan generally tended to be more or less drawn to French culture, I suppose).
Jissoji referred to this episode as the one that would come at the top of the list among the Ultra Series episodes he wished to “remake” if he should be allowed to.
It is hilarious that Jissoji just simply put a description “a psychedelic fight” with nothing else about the fight scene between Ultraseven and Alien Perolynga in his script.
It was finally expressed as such along with the alien meant to be psychedelic (in color) as well while something psychedelic caught on at the time as it was called “saike” in Japanese (maybe it was a world-wide fad).
Director Kazuho Mitsuta assumes that Director Jissoji wanted to film a work which depicts a stir arising in the midst of people living in their daily lives just like this episode.