Tag Archives: Kato-san

Part-Timers’ Great Contributions To Kokusatsu #2

The woman on the right hand side could be Kato-san with Imora somehow

Judging from the woman found to be drying Goldon’s back in my Goldon making entry, I guess the smiling woman in these photos as if showing her good nature wearing a white kappogi (coverall apron) could be Kato-san although it is left unspecified in the issue of the Tokusatsu Hiho magazine containing these photos.

In one of the pictures shown in the magazine along with the talk between Kaimai and Murase, while it should have been taken at Toho with Baragon and the sculpting staff shown, the woman on the left hand side with a big smile could also be Kato-san as she and the woman shown in the photos taken at Ex Production look alike.

The woman on the left hand side could be Kato-san with Baragon at Toho

While the photo posted in this entry shows the Imora costume that was remodeled from the Banila suit with its head replaced, the caption of the Tokusatsu Hiho says it is unknown why Imora is included in the photo as it was written in Ryosaku Takayama’s diary that the sculpting of Banila and remodeling into Imora were done by himself without referring to the involvement of Ex Production.

At any rate, I like these photos as if showing an idyllic atmosphere of Japan we definitely had in those days with the people smiling happily. As there was a lot of demand for kaiju costumes when the “Second Kaiju Boom” arose with such tokusatsu products as “The Return of Ultraman,” “Spectreman (P Production)” and “Mirrorman” in the 1970s, it seems that many part-timers including housewives helped to sculpt the costumes.

Eizo Kaimai (left) and Keiso Murase in their talk featured in an issue of the Tokusatsu Hiho magazine

Around the “First Kaiju Boom” including the original Ultra Series it is said that a lot of art university students took part in the production such as costume sculpting or miniature modeling as part-timers while many of them were from Musashino Art University from which Tohl Narita and Noriyoshi Ikeya had graduated. Young, quiet and stoic-looking Ikeya devotedly working on the set seems to have gained much popularity from female students from the art universities.

Anyway, I believe this should be the first blog where Kato-no-obachan was referred to for people outside of Japan (I made her name into one of the tags)! I would like to thank those part-timers including her for their great job they did in enabling us to enjoy the tokusatsu shows when we were kids!


Part-Timers’ Great Contributions To Kokusatsu #1

As a statement made by Keizo Murase I wrote about a housewife who worked part-time for Ex Production in my previous post, and there seem to have been some housewives who helped to sculpt kauju costumes back then while working part-time.

A talk featured in an issue of Tokusatsu Hiho (secret treasure) made between Eizo Kaimai and Keizo Murase, both of whom were involved in sculpting work at Toho for the movies including the Godzilla series, revealed Kato-san referred to in my previous post was one of them, and it is likely that she could do almost every piece of work related to sculpting as she had been working for Toho as a part-time assistant for sculpting.

While the moderator in the talk says he has often heard of Kato-san’s name as Kato-no-obachan (obachan, not obaachan as it denotes an older woman, represents “auntie” but it can also be used for a middle-aged woman who is close to you when you call her or refer to her in a friendly way; no is a Japanese modifying particle explaining the attribute of the obachan in this case), Murase says in the talk that Kato-san was so helpful because she was kind enough to bring would-be part-timers together who would rally around her whenever she called them.

Kaimai and Murase say pasting the scales onto the King Ghidora costume was the work done by those obachans including Kato-san as those including her and her kids spread latex onto the scale mold, cast it out, cut each scale out of the sheet cast out of the mold with scissors and pasted them from the lower part of the costume (to make the scales come over one another).

While the Ghidora heads and legs were sculpted separately from the body to be put together later, it seems that the scales were pasted temporarily leaving some marginal space scaleless about 10 centimeters in length from each end of the separate parts so that the people could put the scales onto the joined sections after the separate parts came together.


GOLDON (making)

Finalized design of Goldon drawn by Tohl Narita
Primary design of Goldon drawn by Tohl Narita

Tohl Narita: “This is the underground kaiju based on the caterpillar I got the idea from.”

Featuring Goldon, this was another impressive episode with two of the same kaiju appeared even using one single costume with the other one set to appear after the previous one died.

And I feel like the appearance of Senkichi Omura who eccentrically played the miner Yamamoto obsessed with gold made this episode even more unforgettable along with the Ultraman’s Type B costume badly showing the deterioration including Dada’s episode.

The Goldon costume was sculpted by Ex Production instead of Ryosaku Takayama while the production company had made the costumes of Peter for “Ultra Q,” Hydra and Guigass (remodeled from Hydra) for “Ultraman” and Woo was added to these three with the episode to come right after Goldon.

Tetsuo Yamamura says the Goldon costume had no opening with the zipper on its back through which the actor could get inside but that it was the costume that could be separated into the upper and lower parts while they met where one of the dents lied between the segments of the body with the ingenuity uniquely featured for this particular kaiju costume.

Keizo Murase who worked on the Goldon costume at Ex Production back then before he founded his own company “Twenty” later states that Goldon was painted with gold powder (I think he means gold-colored powder) mixed with lacquer paint.

According to him, they made its back rough by spreading latex mixed with sawdust over it while he adds, because it will become sticky unless the part coated with latex containing sawdust get immediately dried, they had a housewife, who worked part time for them, make it dry with the heat of reflector lamps.

Murase says they regularly had a housewife named Kato-san (Ms. Kato) come to help them as a skilled, seasoned part-time assistant for their job while she had also been involved in the sculpting work at Toho as a part-timer.

Goldon costume seemingly at the back of the Bisen studio