Momoko's father was the second son of Masatoshi Ōkōchi, he was painter 大河内 信敬, Ōkōchi Nobuhiro (Nobuhiro Ōkōchi). In 1933, his painting "画室の一隅, Gashitsu no ichigū (A corner of the room)", won the fourteenth "Emperor Exhibition" prize from the "Imperial Art Academy". I could only locate the first name of Momoko's mother, Chieko.
All the filmographies I checked, including from Japan, give Momoko Kōchi credit for roles in 46-motion pictures. I am not mentioning that complete list, but a select group relating to this article's title. Along with four motion pictures, credited to her on those listings, but that she never actually went anywhere to film.
Momoko Kochi's first motion picture was 1953's, ":女心はひと筋に Onna gokoro wa hitosuji ni (A Women's Heart is straightforward, or A Women's Heart Released)", from
For her next four motion pictures, Momoko had descending billing. she started at fourth, then fifth, sixth, and finally seventh. It would seem that her motion picture career was trending toward its end, before it really started.
"土曜日 の 天使 Doyobi no tenshi (Saturday Angel)" was Momoko's third motion picture with director 山本 嘉次郎, Yamamoto Kajirō (Kajiro Yamamoto). One day, while she was filming a scene, visiting the set, was one of Yamamoto's protege's going back to the early 1930's, 本多 猪四郎 Honda Inshiro (Ishiro Honda). Honda was getting ready to film a Science Fiction feature for Toho Studio head 田中 友幸 Tanaka Tomoyuki (Tomoyuki Tanaka) and he had now found his leading lady.
ゴジラ GOJIRA released on October 27, 1954 in Nagoya, Japan
The building in the following photograph doesn't seem menacing in any way. In 1942, under President Franklin Delano Roosevelt, it was the "New War Department Building" and today, it is either called, the "Harry S. Truman Building", or "The State Department Building".
However, back on August 16, 1942, the United States Army Chief of Engineers, Major General Eugene Reynolds, created the "Manhattan Engineering District (MED)", located at 270 Broadway, in the New York City borough of that name. Next, Reynolds assigned Lieutenant General Leslie Groves and Colonel James C. Marshall to what Groves would name, "The Manhattan Project".
However, because of his need to interact with Washington, D.C. and the President. Groves moved his Headquarters to an office on the 5th floor of the above building. It was from that unobtrusive office, that General Groves coordinated the building of the World's First Atomic Bomb.
Above Lieutenant General Leslie Groves in his 5th floor office.
The date was July 16, 1945!
The site was the "Jornada del Murerto (Single Days Journey of the Dead Man) Desert", located 35 miles southwest of the town of Socorro, New Mexico!
The time was 5:29 a.m.!
"The Trinity Test" was a complete success and President Harry S. Truman gave the "green-light". On August 6, 1945, the Boeing B-29 Superfortress Bomber Enola Gay, piloted by Colonel Paul Tibbets, dropped the Atomic Bomb on the Japanese city of Hiroshima.
On August 9, 1945, a second Atomic Bomb would be dropped on the Japanese city of Nagasaki. Less than a month later, on September 2, 1945, the Japanese Government, on the "U.S.S. Missouri", would sign the official documents ending the Second World War.
Starting on March 1, 1954, the United States began, "Operation Castle", a series of high yield (high-energy) nuclear tests at Bikini Atoll, in the Marshall Islands.
That first test, known as "Castle Bravo", exploded the first lithium deuteride fueled thermonuclear weapon. The American scientists predicted the yield might reach 6.0 megatons equivalency of TNT. They were wrong in their calculations, because of the unforeseen effect of "Lithium-7". The actual yield was 15 megatons equivalency of TNT, or 2.5 times GREATER than expected.
There would be another UNEXPECTED result of "Castle Bravo".
The Japanese tuna fishing boat was called "DAIGO FUKURYU MARU 5 (LUCKY DRAGON #5)", because of "Castle Bravo" the crews "Luck" ran out.
Those same United States scientists and military geniuses, who predicted the yield of the "Castle Bravo" bomb. Also, set up a safety zone around Bikini Atoll and the "Daigo Fukuryu Maru" was operating well beyond that safety zone's outer limits on March 1, 1945.
However, the bombs "Fallout", exceeded the predicted limits, and engulfed the "Lucky Dragon #5".
When the test took place, the sky to the west of the tuna boat, was described as "lighting up like a sunset". The crew might still have been safe, but, several hours after the test. Radioactive dust, made from radioactive coral and sand, fell upon the crew and the fishing boat. Apparently, the wind changed directions from what was predicted and carried the radioactive material out to the un-Lucky Dragon #5.
Between, March 2nd and March 11, 1945, the crew started to develop symptoms of radiation sickness. The crew, now, encountered rough weather on the 11th, the date they were to have returned to Japan, and as a result did not dock until March 14th.
The only upside, if you could call it that, of the incident was related to the catch of fish. Because of the time of day the "Daigo Fukuryu Maru" returned to port, the fish could not be unloaded. As a result of the discovery of the radiation that the crew had been exposed too. The fish never got out into the general Japanese population.
Like the "Hibakusha", normally translated to mean a "person affected by exposure to radiation", the name given to the survivors of both the Hiroshima and Nagasaki Atomic Bombs. The survivors of the "Daigo Fukuryu Maru" were also stigmatized by the general Japanese public, because of the belief that exposure to "radiation was contagious".
Above is the exterior of the "Tokyo Metropolitan Diago Fukuryu Maru Exhibition Hall". established in 1972, containing the actual ship.
ENTER TOMOYUKI TANANKA
According to Tomoyuki Tanaka, he had put together a cast and crew to make a Japanese-Indonesia co-production entitled, "Eiko no Kanatani (Behind the Glory)". However, the Indonesian government decided not to grant the Japanese visa's and the producer was forced to fly home to Japan instead of having the actor's and technician's join him in Indonesia.
According to an interview Tanaka gave, in 1981, to the "Japanese Fantasy Film Journal", mentioning that failed Indonesian project. Tomoyuki Tanaka thought at the time that:
Now I had to come up with something big enough to replace it.On the plane flight back to Japan, he started to wonder what might hide under those calm ocean waves he could see below him?
Tomoyuki Tanaka assembled an excellent group of writers, technicians, and actors to bring the answer to his question onto the motion picture screen.
I have already mentioned director Ishiro Honda, the previous year he had directed "太平洋の鷲, Taiheiyo no washi (Eagle of the Pacific)", a biography of "Admiral Isoroku Yamamoto".
The motion picture used stock-footage from 1942's, "Hawai Mare Okikaisen (The War at Sea from Hawaii to Malaya)" about the attack on Pearl Harbor. That stock-footage was created by 円谷 英二 Tsburaya Eiji (Eiji Tusburaya), who literally built Pearl Harbor to scale. Tsuburaya created the new war footage for "Eagle of the Pacific", and now was to work with Ishiro Honda on Tomoyuki Tanaka's project.
Above, Ishiro Honda, and below, Eiji Tsuburaya.
There would be five people associated with writing the motion picture. The initial outline came from Tomoyuki Tanaka and Eiji Tsuburaya, and had the extremely long title of:
底二万哩から来た大怪獣, Kaiteinimanmairu kara Kita Daikaijū (The Giant Monster from 20,000 Miles Beneath the Sea)".
The outline was turned over to 香山 滋 Kayama Shigeru (Shigeru Kayama), who wrote the first draft screenplay, "Project G-Review Script". After the success of the motion picture his draft had been for, novelist Kayama would turn the story into a serialized novel, "怪獣ゴジラ Kaijū Gojira (Monster Godzilla)".
The final screenplay was written by 村田 武雄 Murata Takeo (Takeo Murata), and Ishiro Honda.
Designing the monster went to "Special Effects Director" Eiji Tsuburaya's team. The actual designing of "Gojira" was assigned by Tsuburaya to "Art Director" 渡辺 明 Watanabe Akira (Akira Watanabe).
While the actual construction of "Gojira" was assigned to 利光 貞三 Toshimitsu Teizō (Teizo Toshimitsu).
The haunting music was by 伊福部 昭, Ifukube Akira (Akira Ifukube).
Ishiro Honda now having a screenplay in place, began to cast the main characters of the motion picture.
Tomoyuki Tanaka's allegorical look at the 1945 Atomic Bomb droppings on Hiroshima and Nagasaki and their aftermath, was to have a love-triangle weaved around it.
The triangle consisted of:
Akira Takarada portraying salvage ship captain, "Hideto Ogata". This was only his second motion picture since Toho's 1953 "New Face" search.
Momoko Kōchi portrayed the love interest and the daughter of Japan's leading paleontologist, "Emiko Yamane". Actually the main storyline revolves more around her than the title character.
平田昭彦, Hirata Akihiko (Akihiko Hirata) portrayed "Dr. Daisuke Serizawa". Akihiko had just portrayed "Seijuro Yoshioka" for the first of three times in director 稲垣 浩, Inagaki Hiroshi (Hiroshi Inagaki's) Samurai trilogy.
Three other important roles:
志村 喬, Shimura Takashi (Takashi Shimura) portrayed "Emiko's father", paleontologist "Dr. Kyohei Yamane". Shimura was a regular in 黒澤 明 Kurosawa Akira (Akira Kurosawa's) stock company. Shimura Takashi had already been in Kurosawa's 1949's "Stray Dog" with Chief Assistant Director" Ishiro Honda, 1950's "Rashomon", 1951's "The Idiot", 1952's, "Ikiru", and was the leader of 1954's "Seven Samurai".
堺 左千夫, Sakai Sachio (Sachio Sakai) portrayed "Newspaper Reporter Hagiwara". The character is very important to the original storyline, but he is almost non-existent in the 1956 re-edited English language "Godzilla, King of the Monsters". Sachio was also a member of Akira Kurosawa's stock company and among his films are 1952's "Ikiru", 1954's "Seven Samurai", and 1958's "Hidden Fortress".
豊秋 鈴木 Suzuki Toyoaki (Toyoaki Suzuki) portrayed "Shinkichi Yamada", below left corner. Although websites like IMDb list Toyoaki Suzuki with Thirteen film roles, in reality there were only Eight! Three films were a trilogy with Suzuki in the same role and two were re-edits of "Gojira", the 1956 American version and the 1957 French version I will speak too.
"Emiko's" father heads an investigation to Odo Island for the Japanese government. Among the village's destruction is a large footprint containing a radioactive trilobite.
"Gojira" appears in Tokyo Bay and attacks Shinagawa and destroys a passenger train.
"Emiko" turns off the light, leaving her father with his thoughts.
"Gojira" attacks Tokyo once more and the electrical fence doesn't stop his nuclear breath. As now, Tokyo becomes the allegorical Hiroshima, to "Gojira's" allegorical nuclear bomb.
The two go to convince "Serizawa" to use his "Oxygen Destroyer" to stop "Gojira". "Dr. Serizawa" refuses, speaking to countries turning his discovery into a weapon, an argument between "Ogata" and "Serizawa" becomes physical and "Hideto" injures his head.
In 1956, "Godzilla, King of the Monsters", was released, but it wasn't the major "Godzilla Franchise" film it would start to become just three-years later. This Americanized version of the original Toho feature would finally be seen in Japan on May 29, 1957.
The American re-edit, deleted many of the original scenes, and added English language recreations with Raymond Burr portraying "Reporter Steve Martin". The 1954 "Gojira" had a running time of 98-minutes, but "Godzilla, King of the Monsters", only ran 80-minutes, with Burr's narration filling in some of the missing story.
On March 15, 1957, in France, "Godzilla, le Monstre de L'Ocean Pacifique (Godzilla, the Monster of the Pacific Ocean) premiered.
Returning to 1955, Toho had released a sequel to "Gojira", "ゴジラの逆襲 Gojira no Gyakushū (Godzilla's Counterattack)". The only leading member of the original 1954 cast in the sequel, was Takashi Shimura as "Dr. Yamane", in a cameo appearance.
No, "Gigantis" was not "Godzilla", but "Godzilla" wasn't really "Godzilla" either!
Before 1959 was over, I had gone to the "Nuart Theater", in Santa Monica, California, and seen both the original 1954 and 1955 Toho releases in Japanese with new English language subtitles. That same year I saw another Toho motion picture with Momoko Kōchi, but now I am getting ahead of myself.
The next motion picture for Momoko Kōchi was a Japanese Horror Science Fiction picture that would get a similar Americanization as "Gojira", reducing its running time to 63-minutes, instead of the original 94-minutes.
獣人雪男, Jūjin Yuki Otoko (Beast-Man Snow-Man) released on August 14, 1955 in Japan
Tomoyuki Tanaka now assigned director Ishiro Honda not to the expected, same year, sequel to "Gojira", but would become known as the Japanese Abominable Snowman feature.
The film is part of my article, "The Abominable Snowman' As First Interpreted By Film Makers 1954 to 1967", at:
The story was by Shigeru Kayama and the screenplay was written by Takeo Murata.
The six main roles of the original Toho production:
Akira Takarada portrayed "Takeshi Iijima, alpine club member". Between portraying "Hideto Ogata" and this role, Takarada was seen in six other motion pictures.
Momoko Kōchi portrayed "Machiko Takeno, Iijima's lover".
根岸明美, Negishi Akemi (Akemi Negishi) portrayed "Chika, villager". This was her fifth motion picture, but there might never have been a first. Except that director Joseph von Sternberg saw her dancing at a cabaret and cast her in a movie.
The remaining three students arrive at the inn and the hotelier, "Matsui", portrayed by 瀬良 明 Sera Akira (Akira Sera), informs them that a strong blizzard is approaching. "Matsui" attempts to call "Gen's" remote captain, but nobody answers the phone. "Matsui" trays to hide his concern, but the other three can tell otherwise and "Takashi" takes the phone and continues trying to get someone to answer.
While looking out of a window, "Machiko" sees a fur covered figure approaching in the worsening blizzard. The figure enters and is "Chika", a girl from a very remote village that doesn't want contact with anyone outside of their village, but she has befriended "Matsui". Because of the advancing blizzard, "Chika" is forced to stay at the inn for a short time, but doesn't speak much to the others.
The sound of an avalanche is heard from a distance, suddenly the phone rings, "Machiko" answers it, and just as suddenly throws it down. Through the earpiece the other four people hear screaming and the sound of a gunshot, followed by silence. "Chika" quickly puts her furs back on and leaves the inn, acting as if she knows something.
The following day the weather has cleared and with mountain guides, the police and the three students leave for "Gen's" house.
Note: Over the years, both names I've mentioned above, for Nobuo Nakamura's character, "Professor Koziumi", and, "Professor Tanaka", have become mixed in reviews of the movie. Both have even appeared in the same review, one such article is Wikipedia's:
I will call him "Professor Kozuimi":
Six-months later, "Machiko" and "Takashi" return to the inn with anthropologist "Professor Koizumi" and an expedition to discover what killed "Gen" and "Kaji". Even "Machiko" believes her brother is dead, but she hopes to find out what happened to him.
At the inn, "Machiko" finds a monkey in a cage and starts to feed it. A shifty looking man approaches "Matsui" and asks questions about the "Koizumi" expedition, gets his answers, and reports to his boss in another room. His boss is "Oba", who is an animal broker and knows more about what killed the two men than the others. However, now he can use "Koizumi's" expedition to find the snowman for him, by not following too closely to be seen and caught. However, unknown to both groups, is a white-haired old man and his oddly shaped side kick following them.
Late one night, as the expedition is attempting to get some sleep, a very large shadow falls over the tent of "Machiko". Next, the face of the Beast-Man Snow-Man is seen looking through the tent window and his hand comes in under the tent's material and touches her face, causing "Machiko" to wake-up and scream.
The village becomes outraged over "Chika's" deed, but her grandfather pretending to be reasonable, sends her to feed the Beast-Man Snow-Man that they worship.
After "Chika" has left the village, her grandfather and others enter the room with "Takashi" in it. They gag him, bind his hands and feet, and hang "Takashi" on a rope over a cliff to be eaten by the vultures.
When "Chika" returns to the village, her grandfather severely beats her with a stick for violating the law.
"Chika" runs away to nurse her wounds and comes upon "Oba" and his men, believing them to be the "Koizumi" expedition. Realizing her mistake as a means of gaining knowledge of the Beast-Man Snow-Man, "Oba" plays upon "Chika's" trust. He trades a silver ring for information on the Beast-Man Snow-Man's location.
Meanwhile, the Beast-Man Snow-Man is on its way back to his son and their cave with a freshly killed deer. He notices the rope, looks over the cliff and sees "Takaahi", puts the deer down, pulls up the rope, unties him, and very calmly walks away with his deer once more on his shoulders.
Meanwhile, "Takashi" finely makes it back to "Professor Koizumi's" camp and tells everyone what has happened to him. That night, the Beast-Man Snow-Man is heard approaching the camp and while "Machiko" is adding logs to the fire, grabs her and runs off into the forest heading for his cave.
The following morning the group spots smoke on the horizon coming from the direction of the village. Upon arriving, they find the death and destruction caused by the enraged Beast-Man Snow-Man and a alive "Chika". She will guide them to the cave where her village's god would have taken "Machiko".
Entering the cave, they spot the remains of "Machiko's" brother "Kiyoshi" and his journal. Reading it, the group learns he had been tracking the Beast-Man Snow-Man after the attack on "Gen's" house and was trapped by the avalanche. It was the Beast-Man Snow-Man who saved him and took him back to his cave and gave the injured "Kiyoshi" food. Over time, he grew weak, and eventually died.
Further in the cave, a pile of bones belonging to many of the species is found. Also, "Professor Koizumi" finds a form of poisonous mushroom that he believes the Beast-Man Snow-Men ate and eventually died out from. It was possible the mushrooms were part of the food given to "Kiyoshi".
Suddenly, they are interrupted when the Beast-Man Snow-Man enters with "Machiko" over his shoulder.
Although there are reports of two television showings of the original film in Japan, and that it was seen in a 2001 film retrospect in Kyoto. In 2017, Toho Studios denied all of that, and stated that a complete version of the motion picture has never been released by the studio.
At the time of writing this article, the following link will take my reader to the same video of "Beast Man Snow Man" I have, but as my reader will notice, someone obviously attempted to remove the "TCR Codes" on the print.
Bringing me back to that United States copy of Toho's original 1955 "Beast-Man Snow-Man" obtained by "Distributors Corporation of America (DCA)". That they turned into the motion picture "Half Human", and also appears upon Momoko Kōchi's list of film credits.
HALF HUMAN released on December 10, 1958
DCA was faced with one major problem in publicizing "Half Human". In the original Japanese feature film, the monster is really "Oba", and not the "Beast-Man Snow-Man".
So, to make the "Beast-Man Snow-Man" monstrous to DCA's potential audience, the above poster now has saliva dripping from the mouth and the tagline:
HALF-MAN, HALF-BEAST but ALL MONSTER!
As I mentioned, when I wrote about "Gojira", there was still a large amount of anti-Japanese sentiment from the Second World War in the United States, and for this poster, Japanese actress, Momoko Kōchi's "Machiko", became an obvious Caucasian woman..
The poster states the creature is:
1400 POUNDS of FROZEN FURY
While, this screenplay keeps the weight as stated in the original motion picture of:
Note: Crane was also the movie's film editor, and performed the same two functions on "Monster from Green Hell". As I said above, with all the new footage shot by Crane, and after his editing of "Half Human". The motion picture was still 31-minutes shorter than Honda's original film.
Russell Thorson as Russ Thorson portrayed "Professor Philip Osborne".
Robert Karnes portrayed "Professor Alan Templeton".
Morris Ankrum portrayed "Dr. Carl Jordan".
Akira Takarada is now "The Boy".
Akemi Negishi is now "The Mountain Girl".
Momoko Kōchi as Momoko Kouchi is now "The Girl".
And the rest of the Japanese cast appears in "Uncredited Roles".
As they took off, no-one knew that the next time they saw their friends, most of them would be stilled by death
Cut to "Dr. Rayburn" telling the other "Professors (Doctors)" that both dead boys were his assistants at the University of Tokyo. He adds that because of the bad weather the search was called off until Spring.
The audience is told that the search never figured out what the footprint belong too, and the newspapers got wind of the story about a monster and had a field day in Japan. "Dr. Rayburn" asked permission to take a copy of the cast of the footprints and a sample of the hair and it was granted. "Rayburn" offers his two friends a look at the hair under the microscope.
One of the most brilliant men in the field of anthropologyA expedition to find out what creature made the giant footprints is formed. Among his team are "The Boy" and the "Girl", who, at "Tanaka's" base camp, bed down for the night together in the same tent. As they sleep, the creature's face is seen through the tent's flap, his hand touches "The Girl's" cheek, she wakes-up screaming, the creature runs off, the boy chases it, trips and falls down an unseen slope. The others follow, but return in the morning to tell "The Girl", that they could not find "The Boy", only his rifle.
"Professor, Dr. Templeton" interrupts "Dr. Rayburn" narration with an important question:
Why did the killer, this killer, suddenly, almost tenderly, touch the girl's cheek?"Professor, Dr. Osborne" replies:
I don't know what explanation Dr. Rayburn will give for his species behavior, but it's logical to assume he ran because...the girl's sudden scream frightened it."Dr. Rayburn" returning to his story, informs the other two that unconscious "Boy" was rescued by "The Mountain Girl". Who comes from a strange mountain people that had never seen a "civilized man" before.
Were these people you refer to...savage?"
Oh...not to the point of eating their own dead!
"The Boy" wakes-up to see "The Mountain Girl" standing over him in a room in the village. The Village Chief" enters, orders "The Mountain Girl" to go outside , where the furious villagers are angry for her violation of their law. She is ordered by the "Village Chief" to take a sacrifice to their god, the creature, for her violation. She leaves, the villagers bind "The Boy" and hang him over a cliff on a rope.
Here, "Film Editor Crane" is faced with how to turn the scene from Honda's picture into one of terror with a murderous monster?
What Crane does, is to rearrange the scenes sequences and with the aid of threatening sounding music, make it appear that the creature is toying with "The Boy" and deciding if it wants to kill him, or just let him hang by the rope. In the end, Crane was still forced to use Honda's ending to the original scene.
Next, "Rayburn" takes "Templeton" and "Osborne" to meet "Dr. Carl Jordan", who just performed an autopsy on the body of the young creature.
"Dr. Jordan" has deduced that the creature is half human, half animal, and a few generations removed from Neanderthal Man. He guesses the adult might have primitive reasoning and very basic emotions.
"Osbourne" now asks:
Would you say that over a period of 200,000 years, this species' system, as it grew, might slowly evolve into man?"Jordan's" tells him, that if we tinkered with the creature's brain, over ten or fifteen generations, it:
Might be able to speak a single sentence.Now being asked what became of the adult, "Dr. Rayburn" continues:
A Japanese circus man heard about the creature and was able to capture the son. The bait of his son led to the capture and sedation of the adult, who was put in a caged truck. The son jumped onto the speeding truck, released his father, but is shot and killed by the circus workers in a following truck. The adult goes mad and kills all the circus people, goes to the village and destroys it.
"The Boy" was now able to return to "Professor Tanaka's" expedition's camp and convinces them that the creature is well meaning. The expedition now retraces the way "The Boy" took from the village and sees its destruction. Next, the creature starts an avalanche to bury the village and the expedition members just escape. Later, that night, the creature abducts "The Girl", and the expedition members start to follow and meet "The Mountain Girl", who had escaped the vengeance of her god.
They enter the creature's cave, where it is about to toss "The Girl" into a bubbling pit of some substance. However, "The Mountain Girl" takes out a knife, runs at and attacks the creature. "The Girl" is freed, but "The Mountain Girl" and the creature fall into the pit and die.
"Dr. John Rayburn" concludes that the loss of the adult probably means no one will ever know that they had "The Missing Link to Human Evolution".
Producer Tomoyuki Tanaka hired Japanese Science Fiction writer 丘美 丈二郎 Okami Jojirio (Jojirio Okamki) to create a more scientific story than seen in either 1954's, "Gojira", and, 1956's, "空の大怪獣 ラドン (Sora no Daikaiju Radon) (1957's Rodan)". That original story had no monsters, and the aliens were not interested in inbreeding with Earth women.
Okamki's story was turned over to Shigeru Kayama, who added the aliens wanting to mate with Earth women to repopulate their dying race. However, Tanaka wanted to add a monster and the idea of a pre-"Baragon" monster was considered, but dropped.
"According to Steve Ryfle and Ed Godiszewski in their 2017 work "Ishiro Honda: A Life in Film, from Godzilla to Kurosawa". Honda said the following about the production of "Chikyu Boeigun" being:
larger in scale compared to Godzilla or Rodan and is aimed to be more of a true science fiction film... I would like to wipe away the [Cold War-era] notion of East versus West and convey a simple, universal aspiration for peace, the coming together of all humankind as one to create a peaceful society."
Eiji Tsuburaya returns as the "Director of Special Effects". As does Akira Watanabe as the "Special Effects Art Director".
The musical score was another beautiful one, written by Akira Ifukube.
Takashi Shimura portrayed either "Dr. Kenjiro Adachi", or, "Dr. Tanjiro Adachi", depending on what English language article you read.
The next morning "Joji Atsumi" goes to visit his mentor, "Dr. Adachi", the head astronomer of the local observatory. "Joji" gives the doctor a written report made by "Ryoichi", about a newly discovered asteroid, he named "Mysteroid". According to "Shiraishi", the asteroid was once a planet located between Mars and Jupiter. "Dr. Adachi" is familiar with "Ryoichi's" theory and speaks of it to "Atsumi".
Meanwhile, the village that the festival took place, experiences a unusual Earthquake, completely destroying it. "Joji Atsumi" receives a phone call, explains the Earthquake to Dr. Adachi" who has started to read "Ryoichi Shiraishi's" report, and joins the Earthquake investigation.
After investigating what's left in the destroyed village:
At the "National Diet Building", in Nagatacho, Chiyoda, Tokyo, "Joji Atsumi" briefs officials on what he has learned about the "Moguera". The robot is made from some unknown chemical compound, but otherwise he has no further information.
Following "Atsumi's" meeting, astronomers, from around the Earth, are reporting observing activity on the moon and in outer space. Once more near Mount Fuji, strange activity starts to take place and observers including "Dr. Adachi", "Dr. Kawanami", and "Joji Atsumi", arrive to watch a large dome structure come out of the ground.
A voice calls out from the dome, inviting (?), certain named people to come and meet with him. "Dr. Adachi" accepts and as the military stands-by for action, the named men enter the alien dome.
Upon reaching the dome's entrance, the voice informs the group that they will find protective clothing just inside. Within, the group meets the alien race of "Ryoichi Shiraishi's" report and the leader of "The Mysterian's", portrayed by 土屋 嘉男, Tsuchiya Yoshio (Yoshio Tsuchiya), welcomes them and then gives the group his demands.
The aliens mother ship is located near the moon and from that ship smaller flying saucers are released.
both "Hiroko" and "Etsuko" are kidnapped and "Joji" searches for an entrance to the command dome of "The Mysterians".
Their were two major events in 1961 for the actress:
The first was marrying 貞隆 久松 (Hisamatsu Sadataka(Sadataka Hisamatsu), I could not locate any information about him. The two would remain married into 1998, until either his death, or Momoko's, depending upon the biography of the actress you read.
Three productions of the "Hauyuza Theatre" that Momoko Kōchi appeared in, were William Shakespeare's "Twelfth Night", "Merchant of Venice", and Macbeth".
After the first Godzilla movie people pointed at me saying, 'Godzilla, Godzilla, Godzilla.' As a young woman I hated Godzilla, so I thought, 'no more Godzilla for me.' But 41 years later I watched the film again and realized how great it was for its anti-nuclear theme
The screenplay for the 1984,"Gojira", was by 永原 秀一 Nagahara Hideichi (Hideichi Nagahara), who somehow was credited as Shuichi Nagahara.
What Tanaka and Nagahara came-up with was a reimagining of some of the events in the 1954 film. Mainly, that "Gojira" was not destroyed by "Dr. Serizawa's" "Oxygen Destroyer", but attacked Tokyo and then just disappeared for the last thirty-years. His attack and disappearance are remembered, specifically, by "Professor Makoto Hayashida", who watched his parents being killed by the living nuclear weapon, and "Prime Minister Seiki Mitamura". Although others, including reporter "Goro Maki", know about the attack and the disappearance in 1954.
The screenplay opens during a violent storm and a fishing boat, the "Yahata-Maru", gets caught in the currents around the uninhabited 大黒島, Daikoku-jima (Daikoku Island). As the fishing boat drifts toward the shore, there is a volcanic eruption on the island and "Gojira" reappears. There is only one survivor and that is "Naoko Okumura", who verifies for "Professor Hayashida", that it was "Gojira" that he saw come out of the eruption.
Note: This plot point is still debated, because of the ending of the original film. However, even "Godzilla 1985", basically follows this story line.
"Gojira 1984" would be followed by five motion pictures until:
The motion picture would be directed by 大河原 孝夫 Okawara Takao (Takao Okawara). He had directed the fourth and fifth films of the "Hesei Era" series.
The screenplay was by 大森 一樹, Ōmori Kazuki (Kazuki Omori). Omori had written the screenplays for the excellent 1989, ゴジラvsビオランテGojira tai Biorante (Godzilla vs Biolante)", but also the controversial, time-traveling, 1991, ゴジラvsキングギドラ Gojira tai Kingu Gidora (Godzilla vs King Ghidorah).
The basic plot concept is that "Gojira" is a nuclear reactor and his heart, the reactor, is reaching meltdown. Should his temperature reach 1200 Celsius, "Gojira" will explode, and ignite the Earth's atmosphere destroying the planet.
Kazuki Omori brought back the character of "Emiko Yamani", once more played by Momoko Kōchi.
There are two other "Yamane's" in Omori's screenplay. a television news reporter, "Yukari Yamane", is "Emiko's" niece, and, College Student, "Kenichi Yamane", is "Emiko's" nephew. The viewer finds out that "Dr. Yamane" had adopted the "Odo Island" young man, "Shinkichi Yamada", and he was their father and "Emiko's" step-brother.
While that is going on, "Auntie", aka: "Emiko", warns her niece, "Yukari", about the dangers of an another "Oxygen Destroyer", end of Momoko Kōchi's cameo appearance.
A subplot has news reporter, "Yukari Yamane", going to "Dr. Kensaku Ijuin", and convincing him to build an "Oxygen Destroyer". In reality, this is Kazuki Omori adding a love story and "Ijuin's" "Oxygen Destroyer" never is used and seems to disappear from the main storyline later.
In the end, "Gojira" goes nuclear, but "Gojira, Jr.", see "Space Godzilla", absorbs the released nuclear energy, saves the Earth, and becomes an adult "Gojira" in the process.
On, November 5, 1998, Momoko Kōchi, passed away at age 66, from cancer.