Also your reply to LexG was wise and sage and for a few seconds I felt great about not making a living doing the thing I love, yet loving doing it anyway. Thanks August — and thanks for the amazing image! I have you on my blogroll already so I hope that makes up for my omission!
- Category: Ishiro Honda.
- Le concerto de la nuit (FICTION) (French Edition).
- ISBN 13: 9781492790358;
- Friendly Seduction [Friends and Acquaintances 2] (Siren Publishing Classic);
- Mushroom Clouds and Mushroom Men: The Fantastic Cinema if Ishiro Honda.
- Going Grey: The Mediation of Politics in an Ageing Society?
All this and sake too! You know the other Giants are […].
The Spectator Film Podcast
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- TOKYO (2 p.m.);
- The Christmas Mice.
- The Handy Girls Can Fix It!.
- Art On The Run: Miami.
- Letting Go (Mills & Boon Spice Briefs) (10 Shades of Seduction Series).
- Dead Mans Forge & Other Adventures (Aston West Triple-Shots Book 1);
- Before Fame.
- Buy The Amazon Kindle Store Ebook Edition;
- First Council (The Chronicles of Stylus Book 1)?
- Mushroom Clouds and Mushroom Men;
- Completing Relationships Gracefully.
- LE DEFI (French Edition).
Like this: Like Loading Leave a Reply Cancel reply Enter your comment here Brothers chooses to translate Destroy All Monsters ' Japanese title as All Monsters Attack , which just happens to be Toho's official international title for the next movie, 's… All Monsters Attack. So what title does Brothers give to the film?
Mushroom Clouds and Mushroom Men | Books
Even using his own odd translations, a simple method to ease confusion would have been to simply refer to the later film as Godzilla, Minya, Gabara whenever it is discussed, but Brothers insists on shortening the title to All Giant Monsters Attack instead. Even using the Romanized Japanese titles of the movies would have been less of a headache on the reader. Brothers also tends to use direct Romanization of the names of the Toho monsters, identifying Rodan as Radon, for example. But once again, he is inconsistent—if he wanted to be slavishly faithful to the Japanese names, Godzilla should be Gojira, Mothra should be Mosura, and even Ghidorah should be Gidora.
The inconsistencies just grate on the reader and come across as amateurish. The amateurishness runs throughout the text, however, even marring much of his discussions of the individual films. While I appreciated his zeal in describing the soundtracks, his descriptions are unnecessarily detailed to the point of tedium. Furthermore, instead of going over the basic premise of each movie in their individual chapters, Brothers bewilderingly jumps right into critiquing them, at times jumping around from scene to scene, trying to point out script inconsistencies without bothering to explain the plot first!
Even fans who are familiar with the films in question will find his method jarring—I know I did.
At times, Brothers can't even organize a paragraph well, and his writing comes across as incoherent. Unsurprisingly, the prose is infused with an abundance of mistakes, some of which are so awful as to rival the comedy of errors that is Robert Marrero's Giant Monster Movies. Perhaps most astoundingly, Mushroom Clouds doesn't even include an index in the back, which I expect in any reference book of this sort. To be honest, despite the innumerable problems, I still enjoyed Mushroom Clouds.
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A great wealth of information can be found within, and for fans, it's an interesting read. Because his parents used only the letter I from the kanji letter character from the word ino, it led many people over the years to misspell Honda's first name as Inoshiro. However, the rest of the book is write-ups of Peter H. Brothers is an actor and freelance writer who has studied Honda's films for many years.