(1923-2000)
On December 11, 2000, Godzilla vs. Megalon director Jun Fukuda died in Japan. He was 77 years old. Other than Godzilla vs. Megalon, Jun directed Son of Godzilla, Godzilla vs. The Sea Monster, Gigan and Mechagodzilla. Also he directed alot of japanese monster television shows... such as Ultraman and Zone Fighter. Jun was the last director of the classic series to pass away. Most of the time he brought a lighter tone to the Godzilla films he directed. The original directers wanted to showcase Godzilla as a force of nature while Jun showcased Godzilla as a defender of Japan (might I even say "superhero"). And at this point, Godzilla films were only bringing in kiddies to matanee showings.
He was born in 1923 on February 17th in Manshu, China. After graduating from junior high in 1941, he came to Japan by himself and entered Matsuyawa High School. Two years later, he quit that school and changed to the Nippon University Art Department, but almost a half year later he was called into the service. After the war, he returned to Japan and joined Toho in 1951. As an assistant director, he worked for Kajiro Yamamoto, Hiroshi Inagaki, Senkichi Taniguchi, and Ishiro Honda. His directorial debut was in 1959 on Dangerous Playing With Fire. His second director's task was also his first special effects film-Secret of the Telegian (1960). Afterwards, for several years he worked with Yuzo Kaya on the Young Boss and Darktown series of detective films" In 1966, he did a couple of filmsfor Mifune Productions involving special effects, and with Godzilla vs The Sea Monster in that same year, his career became tied to special effects. His special effects films were much different than those of Ishiro Honda, offering a lighter touch as typified in 1969 with Konto 55- Space Adventure. Starting in 1972, he directed three straight Godzilla films (Gigan, Megalon, and Mechagodzilla) and also helmed the paranonnal thriller Espy in 1974. His last special effects feature for Toho was the 1977 The War in Space. Fukuda also was quite active in directing special effects programs for television, his credits including Zone Fighter and several other Tsuburaya Productions series, though he always felt the small screen was not good for this subject matter. His directing chores for monster and science fiction films were not particularly fond memories for Fukuda who felt much more at home directing crime dramas. Despite directing science fiction subjects, he always considered his work to be more action drama instead. Although producer Tomoyuki Tanaka was against the idea, Fukuda insisted on using his long time friend Masaru Sato instead of Akira Ifukube for scoring his films so as to add a lighter touch and raise the tempo of fighting. He also maintained a close relationship with special effects director Teruyoshi Nakano with whom he enjoyed planning drama scenes on storyboards. Fukuda co-wrote a sequel to The Secret of the Telegian called Transparent Man vs The Flame Man five years After the original, but it never got serious consideration since the first film was not a hit.
Many people slam Jun Fukuda as the director of the "bad" Godzilla films, fact is he was a good director... Toho simply just didn't give him the money that was needed to complete giant monster effects that were good. "Godzilla vs. Gigan", "Megalon", and "Mechagodzilla" had only half the budget of the Godzilla movies of the 50's and 60's, like "Godzilla vs. Monster Zero", "King Kong vs. Godzilla", and "Ghidrah, the Three Headed Monster". With Megalon, he did the best he could with a film that was rushed into production before the script was even done and a film that was shot in less than 3 WEEKS! And through all this, a new Godzilla suit HAD to be constructed, because the old was was litarary falling apart in "Godzilla vs. Gigan" which was the film before it. As a result, major plot holes, unrealistic effects, not to menchion no major female role. Jun did the absolute best he could with these budget barriers in the way.
Toho was saddened to hear of this news, although most Godzilla fans will be happy to hear that his films will entertain audiances through the next millinium.
