Ishirō Honda

"Ishirō" redirects here. For other uses, seeIshiro.

The native form of thispersonal nameisHonda Ishirō.This article usesWestern name orderwhen mentioning individuals.

Ishirō Honda
Honda at theNational Museum of Nature and Scienceduring the filming ofFrankenstein vs. Baragon
Born	(1911-05-07)7 May 1911 Asahi, Yamagata,Empire of Japan
Died	28 February 1993(1993-02-28)(aged 81) Setagaya, Tokyo,Japan
Resting place	Fuji Cemetery,Oyama,Shizuoka,Japan 35.3696°N 138.9079°E/35.3696; 138.9079
Alma mater	Nihon University
Occupations	Film director screenwriter film editor actor
Years active	1934–1992
Known for	Godzilla(1954) Rodan(1956) Mothra(1961) King Kong vs. Godzilla(1962) The War of the Gargantuas(1966) Destroy All Monsters(1968)
Spouse	Kimi Yamazaki ​ (m.1939)​
Children	2
Military career
Allegiance	Empire of Japan
Years of service	1934–1946
Rank	Sergeant
Battles/wars	Second Sino-Japanese War World War II
Japanese name
Kanji	Bổn đa trư tứ lang
Hiragana	ほんだ いしろう
Transcriptions Romanization Honda Ishirō
Website	ishirohonda.com
Signature

Ishirō Honda(Japanese:Bổn đaTrư tứ lang(いしろう),Hepburn:Honda Ishirō,7 May 1911 – 28 February 1993)was a Japanese filmmaker who directed 46 feature films in a career spanning five decades.He is acknowledged as the most internationally successful Japanese filmmaker prior toHayao Miyazakiand one of the founders of moderndisaster film,with his films having a significant influence on the film industry.Despite directing manydrama,war,documentary,andcomedyfilms, Honda is best remembered for directing and co-creating thekaijugenre with special effects directorEiji Tsuburaya.

Honda entered theJapanese filmindustry in 1934, working as the thirdassistant directoron Sotoji Kimura'sThe Elderly Commoner's Life Study.After 15 years of working on numerous films as an assistant director, he made his directorial debut with the short documentary filmIse-Shima(1949). Honda's first feature film,The Blue Pearl(1952), was a critical success in Japan at the time and would lead him to direct three subsequent drama films.

In 1954, Honda directed and co-wroteGodzilla,which became a box office success in Japan and was nominated for two Japanese Movie Association awards. Because of the film's commercial success in Japan, it spawned amultimedia franchise,recognized byGuinness World Recordsas the longest-running film franchise in history, that established thekaijuandtokusatsugenres. It helped Honda gain international recognition and led him to direct numeroustokusatsufilms that are still studied and watched today.

After directing hiseighth and finalGodzillafilmin 1975, Honda retired from filmmaking.However, Honda's former colleague and friend,Akira Kurosawa,would persuade him to come out of retirement in the late 1970s and act as his right-hand man for his last five films.

Early life

Childhood and youth (1911–1921)

Honda practicingKendoin the late 1920s

Honda was born inAsahi,Yamagata Prefecture(now part of the city ofTsuruoka),the fifth and youngest child of Hokan and Miyo Honda. His father Hokan was theabbotof Honda Ryuden-in temple.Honda stated that his forename was a combination derived from three words: "'I' stands forinoshishi,the boar, theastrological symbol of my birth year.shistands for the number four, the fourth son. Androindicates a boy’s name. Literally, it means the fourth son, born in the year of the boar. "He had three brothers: Takamoto, Ryokichi, Ryuzo, and one sister: Tomi, who died during her childhood.Honda's father and grandfather were both Buddhist monks at Churen-ji, a temple in Mount Yudono, where the Hondas lived in a dwelling on the temple's property. The Hondas grew rice, potatoes,daikonradishes, and carrots, and also made and soldmisoand soy sauce. The family also received income from a silk moth farm managed by one of Honda's brothers. Honda's father earned income during the summers by selling devotions inIwate Prefecture,Akita Prefecture,andHokkaidoand would return home before the winter.

While Honda's brothers were given religious tutoring at sixteen, Honda was learning about science.Takamoto, who became a military doctor, encouraged Honda to study and sent him scientific magazines to help, which started Honda's love for reading and scientific curiosity.In 1921, when Honda was ten, Hokan became the abbot at Io-ji temple inTokyo,and the family moved into the Takaido neighborhood inSuginami.Though he was an honors student back home, Honda's grades declined in Tokyo and in middle school; he struggled with subjects involving equations such as chemistry, biology, and algebra.

After his father transferred to another temple, Honda enrolled in the Tachibana Elementary school in Kawasaki and later in Kogyokusha Junior High where Honda studied kendo, archery, and athletic swimming but quit after tearing his Achilles tendon.

Film education (1931–1934)

Honda became interested in films when he and his class-mates were assembled to watch one of the Universal Bluebird photoplays. Honda would often sneak into movie theatres without his parents' permission. For silent films in Japan at that time, on-screen texts were replaced withbenshi,narrators who stood beside the screen and provided live commentary, which Honda found more fascinating than the films themselves.Honda's brother, Takamoto, had hoped for Honda to become a dentist and join his clinic in Tokyo but instead, Honda applied atNihon Universityfor their art department's film major program and was accepted in 1931.The film department was a pilot program, which resulted in disorganized poor conditions for the class and cancellations from the teacher every so often. While this forced other students to quit, Honda instead used the cancelled periods to watch films at theaters, where he took personal notes.

Honda and four of his class-mates rented a room in Shinbashi, a few kilometers from their university, where they would gather after school to discuss films. Honda had hoped for the group to collaborate on a screenplay but they mainly just socialized and drank. Honda attended a salon of film critics and students but hardly participated, preferring rather to listen.While in school, Honda met Iwao Mori, an executive in charge of production for Photographic Chemical Laboratories (P.C.L.) In August 1933, Mori offered entry-level jobs at P.C.L. to a few students, including Honda.Honda eventually completed his studies while working at the studio and became an assistant director, which required him to be a scripter in the editing department. Honda eventually became a third assistant director on Sotoji Kimura'sThe Elderly Commoner's Life Study(1934). However, Honda then received a draft notice from the military.

Military service and marriage (1934–1946)

Honda stationed in China during the late 1930s

At twenty-three years old, Honda was drafted into theImperial Japanese Armyin the fall of 1934. Despite receiving a passing grade on his physical examination, he was not required to report for immediate duty. While waiting for his call-up, Honda continued working at P.C.L. Honda was then called to duty in January 1935 and was enlisted into the First Division, First Infantry Regiment in Tokyo. At the time, Honda began his training at the entry-level rank of Ippeisotsu, the equivalent of Petty Officer First Class.

In 1936, Honda's former commanding officer,Yasuhide Kurihara,launched a coup against the civilian government, what would be called theFebruary 26 Incident.Though Honda had no involvement with the coup, everyone associated with Kurihara were considered dangerous and the brass wanted them gone and as a result, Honda and his regiment were sent to Manchukuo in 1936, under questionable pretense. Honda would have completed his 18 remaining months of service had it not been for the coup and would be recalled to service again and again for the remainder of the war.

Honda met Kimi Yamazaki in 1937 and proposed marriage to her in 1939. Honda's parents and Kimi's mother were supportive, but Kimi's father was opposed to the sudden engagement. Though Kimi's father never approved of her marriage, he nonetheless sent her ¥1,000 upon learning of her pregnancy. Rather than having a traditional wedding ceremony, the two simply signed papers at city hall, paid their respects atMeiji Shrine,and went home.Since their marriage, the couple lived in Seijo in Setagaya, even after the war.Kimi would pass away on November 3, 2018, aged 101. This was alsoGodzilla's 64th anniversary.

Honda was recalled to service in mid-December 1939, a week before his daughter, Takako, was due to be born.Having already risen in rank, Honda was able to visit his wife and daughter in the hospital but had to leave afterwards immediately to China.Between 1940 and 1941, Honda was assigned to manage a "comfort station",a euphemism for brothels established in occupied areas. Honda would later write an essay titledReflections of an Officer in Charge of Comfort Womenpublished inMovie Art Magazinein April 1966, detailing his experiences and other comfort women's experiences working in comfort stations.

Honda would then return home in December 1942, only to find that P.C.L. (now rebranded asTohoby that point) were forced to producepropaganda filmsto support the war effort. The government took control of the Japanese film industry in 1939, modeling the passage of motion picture laws afterNazi policieswhere scripts and films were reviewed so they supported the war effort and filmmakers noncompliant were punished or worse.Honda's son, Ryuji, was born on 31 January 1944, however, Honda received another draft notice in March 1944. He was assigned to head for the Philippines but his unit missed the boat and were sent back to China instead. To Honda's fortune, the conflict in China was less intense than it was in the Pacific and South-East Asia. Honda became a sergeant and was in charge of trading and communicating with civilians. Honda never ordered the Chinese as a soldier and was respectful to them as much as possible.

Honda was eventually captured by the Chinese National Revolutionary Army and relocated to an area betweenBeijingandShanghaifor a year before the war ended. During his imprisonment, Honda stated to have been treated well and was even befriended by the locals and temple monks, who offered him to stay permanently but Honda respectfully refused in favor of finding his wife and children. As a parting gift, the locals gave Honda rubbings of Chinese proverbs, imprinted from stone carvings of temples. Honda would later write these verses in the back of his screenplays.

During his final tour, Honda escaped death nearHankouwhen a mortar shell landed before him but did not detonate. When the battle ended, Honda later returned to retrieve the shell and took it back home to Japan where he placed it on top of his desk in his private study until his death.Honda then returned home in March 1946; however, throughout most of his life, even as an old man, Honda would have nightmares about the war twice or thrice a year.During his entire military service, Honda served three tours, with a total of six years serving at the front.

Career

1940s

From the left:Akira Kurosawa,Honda, andSenkichi Taniguchiwith their mentorKajirō Yamamoto,late 1930s

Honda returned to work atTohoas an assistant director. In 1946, he worked on two films:Motoyoshi Oda'sEleven Girl Studentsand Kunio Watanabe'sDeclaration of Love.In 1947, he worked on three films,24 Hours in an Underground Market(jointly directed byTadashi Imai,Hideo Sekigawa,and Kiyoshi Kusuda) andThe New Age of FoolsParts One and Two, directed byKajirō Yamamoto.Due to alabor dispute at Toho,many stars and employees split off and formedShintoho.Kunio Watanabe tried to convince Honda to join Shintoho, with the promise of Honda becoming a director quicker, however, Honda chose to remain neutral and stayed at Toho.Despite struggling at Toho, Honda worked on a handful of films produced by Film Arts Associates Productions.Between September and October 1948, Honda was on location in Noto Peninsula working on Kajirō Yamamoto'sChild of the Wind,the first release from Film Arts. From January to March 1949, Honda worked with Yamamoto again onFlirtation in Spring.

Prior to being promoted to a feature film director, Honda had to direct documentaries for Toho's Educational Films Division. Toho sometimes used documentary projects as tests for assistant directors due to become directors.Honda's directorial debut was the documentaryIse-Shima,a twenty-minute highlight reel ofIse-Shima's cultural attractions. It was commissioned by local officials to boost tourism to the national park. The film covers a brief history of the Ise Grand Shrine, the local people, the economy, and pearl farms.The film is also notable for being the first Japanese film to utilize underwater photography successfully. Honda originally wanted to use a small submarine-like craft but the idea was scrapped due to budget and safety concerns. Instead, professional divers assisted with the production. Honda had commissioned a camera technician colleague who designed and built an air-tight, waterproof, metal-and-glass housing for a compact 35-millimeter camera.The documentary was completed in July 1949 and became a triumph for Toho. The documentary was then sold to multiple European territories. It disappeared for a long time until it resurfaced on Japanese cable television in 2003. Between July and September 1949, shortly after finishingIse-Shima,Honda reunited with his friendAkira KurosawaonStray Dogand began working as a chief assistant director on the film.Honda mainly directedsecond unitphotography, all of the footage pleased Kurosawa and has stated to "owe a great deal" to Honda for capturing the film's post-war atmosphere.

1950s

In 1950, Honda worked on two films by Kajirō Yamamoto:Escape from PrisonandElegy,the last film produced by Film Art Associations.Honda had also worked as an assistant director onSenkichi Taniguchi'sEscape at Dawn.

Between working on films as an assistant director, Honda began pre-production onNewspaper Kid,which would have been his feature directorial debut. However, the project was canceled. Instead, he began working on another documentary titledStory of a Co-op(also known asFlowers Blooming in the SandandCo-op Way of Life)Story of a Co-opwas a documentary about the rise of consumer cooperatives in post-war Japan. It was also written by Honda, with the production overseen by Jin Usami and with the support of the Ministry of Health and Welfare. Some records indicated that some animation was used to explain the functions of co-ops but these reports have been unconfirmed. The film was completed on 6 October 1950 and has since been lost. However, Honda recalled that the film was successful enough to convince Toho to assign Honda his first feature film.

Between filming the documentaries, Toho had offered Honda the chance to develop and direct a war film titledKamikaze Special Attack Troop.Toho then chose not to proceed with the project after finding Honda's script, which openly criticized leaders of World War II, to be too grim and realistic. Honda recalled that the studio felt it was "too soon after the war" to produce such a film. Had the project proceeded, it would have been Honda's first directorial feature. The script has since been lost.

At the age of 40, Honda completed his first feature filmThe Blue Pearl.Released on 3 August 1951, it was one of the first Japanese feature films to utilize underwater photography and the first studio film to be shot in the Ise-Shima region.

Honda initially chose not to direct war films, but changed his mind after Toho offered to have him directEagle of the Pacific,a film aboutIsoroku Yamamoto,a figure with whom Honda shared the same feelings regarding the war. It was the first film where Honda collaborated withEiji Tsuburaya.Eagle of the Pacificwas a box-office hit and reportedly was Toho's first postwar film to earn over¥100 million(approximately$278,000).Subsequently, Honda would direct another war film, entitledFarewell Rabaul,which was released on February 10, 1954.

Honda (left) working with special effects directorEiji Tsuburaya(center) on the set ofGodzilla(1954)

A month after the release ofFarewell Rabaul,Honda met assistant director Kōji Kajita to commence production on a film titledSanshiro the Priest.Possibly connected to Kurosawa's 1943 filmSanshiro Sugata;Hideo Oguni,one of Kurosawa's frequent collaborators, wrote the script for the film. Authors Steve Ryfle and Ed Godziszewski stated that the project never came to fruition because Oguni and Honda "couldn't see eye to eye about the screenplay".According to Kajita, the film would have been about a priest and ajudoexpert.

Following the cancellation of a highly anticipated drama film titledIn the Shadow of Glory,producerTomoyuki Tanakaquickly converted the idea of agiant monster film.He was influenced by reports of a nuclear test in the Pacific that caused aJapanese fishing boatto be exposed tonuclear fallout,with disastrous results, and had heard of a recently released American monster filmThe Beast from 20,000 Fathoms.Honda accepted the offer to direct the film after plannedIn the Shadow of Glorydirector Taniguchi declined the assignment.Honda and screenwriter Takeo Murata confined themselves in a three-week secluded residence at aninnin Tokyo'sShibuya wardto write the screenplay for this film, entitledGodzilla.The film was Honda's firstkaijufilm, the genre for which he would become most famous. The simple story, about a giant monster that rises near Odo Island and attacks Tokyo causing catastrophic destruction, is a metaphor for anuclear holocaust.

Principal photography forGodzillabegan on August 2, 1954,and wrapped in late September,taking 51 days.It became a box office success in Japan and was nominated for two Japanese Movie Association awards: winning an award for best special effectsbut losing to Kurosawa'sSeven Samuraifor best picture.Because of the film's success in Japan, it spawned amultimedia franchise,being recognized byGuinness World Recordsas the longest-running film franchise in history.Two years later, a heavily localized version ofGodzillawas released in the United States asGodzilla, King of the Monsters!.

Honda's next film wasLovetide,based onHidemi Kon's storyBlow, River Windand adapted by screenwriter Dai Nishijima. Toho promoted the film by calling it a "gorgeous love melodrama with Toho's best cast, meant for all the woman fans".The film's starsMariko OkadaandChieko Nakakita(Tanaka's wife) also played inMikio Naruse's filmFloating Clouds,featuring a similar plot and released around a week afterLovetide.Tanaka had stated that if he had not made Honda predominantly direct science-fiction films, he would have become "a director like Mikio Naruse."

During the start of production onMotoyoshi Oda'sGodzilla Raids Again,Honda began filmingHalf Humanin theJapanese Alps.Upon his return to Tokyo, Tsuburaya was working onGodzilla Raids Again.Thus, production onHalf Humanwas halted and Honda moved on to shooting a drama film titledMother and Son.Principal photography forHalf Humanrecommenced in June, and the film was released on August 14, 1955, around a month after filming concluded.Half Humanhas been infrequently seen following its release. Ryfle and Godziszewski noted this is possibly due to Toho fearing the mountain tribe, described byNobuo Nakamura's character as "mysteriousburaku",is depicted in the film as" an uncivilized, primitive colony of subhuman freaks ", could enrageburakumin's rights groups such as theBuraku Liberation League.Some sources suggest it was aired on television in the 1960s or early 1970s and was screened at a film retrospective in Kyoto in 2001.Toho has never released the complete film in any home video format.

In 1956, Honda directed four films. The first,Young Tree,concerns a young girl who moves to Tokyo and endures the rivalries between other high school girls of varying economic and cultural backgrounds.The second, entitledNight School,was his solo film ever directed outside of Toho and was among the first films about night schooling.The third, titledPeople of Tokyo, Goodbye,follows young lovers who try to listen to their hearts despite their parents' interjections.The fourth,Rodan,was Honda's first-ever film shot in color and depicted a winged monster named Rodan wreaking havoc in Japan after its awakening by nuclear bomb testing.

Although Japanese cinema is known for itssamurai films,Honda did not show any interest in directing ajidaigekifilm since his stage was contemporary Japan.Nonetheless, in May 1956, Kurosawa reported that he would produce threejidaigekifilms beginning that September, with Honda directingThrone of Blood,Hideo Suzuki directingThe Hidden Fortress,and Hiromichi Horikawa directingRevenge(becameYojimbo).Kurosawa would eventually direct all three of these films;now regarded as some of his best films.

The year 1957 marked a turning point in Honda's directing career, as he directed five films, with his first,Be Happy, These Two Lovers,filmed by Hajime Koizumi, who would work on 21 of his films thereon.Ryfle and Godziszewski called his camera work "the perfect complement to Honda's conservative, risk-averse style of composition".

His next film,A Teapicker's Song of Goodbye,was the second in Honda's trilogy of films starringenkasingerChiyoko Shimakura(the first film wasPeople of Tokyo, Goodbye). The third film in the trilogy, entitledA Farewell to the Woman Called My Sister,was released the month afterA Teapicker's Song of Goodbye.A Rainbow Plays in My Heart,a black-and-white two-part film based on Seiichi Yashiro and Ryunosuke Yamada'sradio drama of the same name, was released on July 9, 1957 (a week afterA Teapicker's Song of Goodbye).The film is notable for being the third and final film featuringGodzillastarsMomoko KochiandAkira Takaradain leading roles.

Honda's onlytokusatsufilm of 1957,The Mysterians,was released just over a year afterJapan joined the United Nationsand features affairs reflecting the Japan's return to global politics.The story concerned a young scientist (Kenji Sahara) who becomes involved in a globally threatening alien invasion. The film was shot on an enormous budget of¥200 millionand was his debut movie to be filmed inToho Scope.

Song for a Bride,released in February 1958, is regarded as one of the director's best films of the 1950s.It is a comedy-drama film that explores the clash between traditional and modern ethics among Japanese youth.Following its release, Honda would direct two science fiction films in the same year for the first time. His second film of 1958,The H-Man,premiered on June 24, 1958 to mixed reviews. It is a distinctive Honda picture about a liquid creature who terrorizes Tokyo's gangland. Some scenes in the film were shot on the same sets used in Kurosawa's 1948 filmDrunken Angel.In May 1959,Columbia Picturesreleased a shortened version of this film in the United States. Upon its release, U.S. critics erroneously believed it was a rip-offIrvin Yeaworth'sThe Blob,despiteThe H-Manbeing released prior toThe Blobin Japan.

The successful distributions of Honda'sGodzillaandRodanin the United States, lead Toho to seek further Hollywood connections.In 1957, the company agreed to co-produce amade-for-television filmwith AB-PT Pictures (who would go bankrupt during production).This project would eventually become a black-and-white theatrical feature film directed by Honda, entitledVaran the Unbelievable,released in 1958.Considered his "weakest effort",it is a simple story about scientists who unintentionally awake a giant monster dubbedVaranwhile seeking scarce species of butterfly inTōhoku region.

An Echo Calls You,his twenty-third feature film, centers on an uneducatedbus conductor,Tamako, who falls in love with Nabeyama, her bus driver after she fails to have a relationship with a man fromKōfu's wealthiest family. FeaturingRyō Ikebein his fourth major role in a Honda movie, and with a possiblyHideko the Bus Conductor-inspired screenplay byGorō Tanada,the film premiered in January 1959 to generally positive reviews from critics.

Honda quickly moved on to his next project,Inao, Story of an Iron Arm.It is abiographical filmbased on the life ofprofessional baseballpitcherKazuhisa Inao,featuring Inao portraying himself as an adult. Additionally, it featuresGodzillaactorsTakashi Shimuraas his father and Ren Yamamoto andSachio Sakaias his older brothers. The film was released in March 1959 and was later screened in honor of Inao following his death in 2007.

1960s and 1970s

In 1962, Honda returned to directingGodzillafilms beginning withKing Kong vs. Godzilla.Honda would go on to direct five additional Godzilla films during the 1960s:Mothra vs. Godzilla(1964),Ghidorah, the Three-Headed Monster(1964),Invasion of Astro-Monster(1965),Destroy All Monsters(1968), andAll Monsters Attack(1969), the latter which Honda also served as director of special effects. His othertokusatsufilms during the 1960s include:Mothra(1961),Matango(1963),Frankenstein vs. Baragon(1965),The War of the Gargantuas(1966), andKing Kong Escapes(1967). While Honda managed to retain a job directing for Toho during the 1960s and 1970s, the studio did not renew his contract near the end of 1965 and was instructed to speak with Tanaka about employment on a film-by-film basis.In 1967, Honda began occasionally directing for television, since it had become more popular than the film industry in Japan.

Between 1971 and 1973, Honda directed several episodes for the television seriesReturn of Ultraman,Mirrorman,Emergency Command 10-4, 10-10,Thunder Mask,andZone Fighter,and would only direct two films during the 1970s:Space Amoeba(1970) andTerror of Mechagodzilla(1975); Honda would temporarily retire following the release of the latter film.

Final works and last years (1979–1993)

Collaborating with Akira Kurosawa (1979–1992)

Despite retiring in 1975, Honda was persuaded by Akira Kurosawa to return to filmmaking, and collaborate onKagemusha(1980). Honda would subsequently work on Kurosawa's last five films. His positions in these films included: directorial advisor, production coordinator, and creative consultant; he also made uncredited writing contributions toMadadayo(1993).There is a common misconception that Honda directed three sequences of Kurosawa's 1990 filmDreamsentitled "The Tunnel,""Mount Fuji in Red," and "The Weeping Demon."

Declining health and death (1992–1993)

Honda was truly a virtuous, sincere, and gentle soul. He worked for the world of film with might and main, lived a full life and very much like his nature, quietly exited this world.

— Inscription on Honda's headstone byAkira Kurosawa.

In late 1992,Akira Kurosawahosted a party for the cast and crew ofMadadayofollowing the completion ofprincipal photography.Honda appeared to be suffering from cold symptoms at the party and contacted his son Ryuji inNew York.Ryuji believed Honda was drunk and thought it strange that he called him.Then, in mid-February 1993, Kurosawa, Honda, and Masahiko Kumada, the unit manager, attended a screening ofAgantuk,Indian filmmakerSatyajit Ray's last film, at an art-house cinema.After watching the film, Kurosawa invited Honda to his house for dinner and drinks, but Honda felt sick and went home. Honda was declared healthy following a checkup in December 1992, and no major illnesses were suspected. Although his cough kept getting worse, his family doctor diagnosed him with a common cold.Initially, Honda stayed in bed for a week, but after he lost his appetite, he underwent X-rays and blood tests. Honda was immediately told to seek hospital treatment following the results. Knowing something was wrong with his health, Honda had already packed his bags. Within ten minutes of leaving home, he was taken to Kono Medical Clinic, a 19-bed facility in Soshigaya. Because the major hospitals were full, he was placed in a tiny room.

A room in a bigger hospital was about to be assigned to Honda, so his friends could visit him. In the following days, Honda contracted pleurisy, a condition that causes difficulty breathing, and on February 27, just after returning home from visiting hours, Kimi and Takako received an urgent call: his vital signs had suddenly deteriorated.Honda died fromrespiratory failureat 11:30 pm on February 28, 1993.A memorial service was held at Joshoji Kaikan, an assembly hall inSetagaya,for Honda's friends, family, and colleagues on March 6.Honda's funeral reunited Akira Kurosawa andToshiro Mifune,an actor who had starred in both Honda's and Kurosawa's early films.The Nikkeireported that Mifune was among the mourners at the funeral: "[Kurosawa and Mifune] made eye contact and hugged in tears at the funeral for their mutual friend."

Honda's cremated remains were buried atTama Cemetery,the largest municipal cemetery in Japan. His family later moved the grave to Fuji Cemetery.

Filmography

Film

Director

Year	Title	Director	Writer	Notes	Ref.
1949	Ise-Shima	Yes	No
1950	A Story of a Co-op	Yes	No
1951	The Blue Pearl	Yes	Yes
1952	The Skin of the South	Yes	Yes
	The Man Who Came to Port	Yes	Yes
1953	Adolescence Part II	Yes	No
	Eagle of the Pacific	Yes	No
1954	Farewell Rabaul	Yes	No
	Godzilla	Yes	Yes	Also power station worker (uncredited)
1955	Lovetide	Yes	No
	Mother and Son	Yes	No
	Half Human	Yes	No
1956	People of Tokyo, Goodbye	Yes	Yes
	Night School	Yes	No
	Young Tree	Yes	No
	Rodan	Yes	No
1957	Be Happy, These Two Lovers	Yes	No
	A Teapicker's Song of Goodbye	Yes	Yes
	A Rainbow Plays in My Heart	Yes	No
	A Farewell to the Woman Called My Sister	Yes	Yes
	The Mysterians	Yes	No
1958	Song for a Bride	Yes	No
	The H-Man	Yes	No
	Varan the Unbelievable	Yes	No
1959	An Echo Calls You	Yes	No
	Inao, Story of an Iron Arm	Yes	No
	Seniors, Juniors, Co-workers	Yes	No
	Battle in Outer Space	Yes	No
1960	The Human Vapor	Yes	No
1961	Mothra	Yes	No
	A Man in Red	Yes	No
1962	Gorath	Yes	No
	Sampo	No	No	Japanese dub director
	King Kong vs. Godzilla	Yes	No
1963	Matango	Yes	No
	Atragon	Yes	No
1964	Mothra vs. Godzilla	Yes	No
	Dogora	Yes	No
	Ghidorah, the Three-Headed Monster	Yes	No
1965	Frankenstein vs. Baragon	Yes	No
	Invasion of Astro-Monster	Yes	No
1966	The War of the Gargantuas	Yes	Yes
	Come Marry Me	Yes	No
1967	King Kong Escapes	Yes	No
1968	Destroy All Monsters	Yes	Yes
1969	Latitude Zero	Yes	No
	All Monsters Attack	Yes	No	Also special effects director
1970	Space Amoeba	Yes	No
1972	Mirrorman	Yes	No	Short film, theatrical release of show's first episode
1975	Terror of Mechagodzilla	Yes	No

Miscellaneous

Year	Title	Assistant director	Actor	Notes	Ref.
1934	The Elderly Commoner's Life Study	Yes	No	3rd assistant director
1935	Three Sisters with Maiden Hearts	Yes	No	2nd assistant director
1937	A Husband's Chastity	Yes	No	WithAkira Kurosawa
	Nadare	Yes	No	With Akira Kurosawa
	Enoken's Chakiri Kinta Part 1	Yes	No	2nd assistant director
	Enoken's Chakiri Kinta Part 2	Yes	No	With Akira Kurosawa
	Humanity and Paper Balloons	Yes	No
1938	Chinetsu	Yes	No	With Akira Kurosawa
	Tojuro no koi	Yes	No	With Akira Kurosawa
	Tsuruhachi and Tsurujiro	Yes	No	3rd assistant director
	Chocolate and Soldiers	Yes	No	Chief assistant director
1941	Uma	Yes	No	With Hiromichi Horikawa
1944	Colonel Kato's Falcon Squadron	Yes	No
1946	Eleven Girl Students	Yes	No
	Declaration of Love	Yes	No
1947	24 Hours in an Underground Market	Yes	No
	The New Age of Fools	Yes	No
	Spring Banquet	Yes	No
1949	Child of the Wind	Yes	No
	Flirtation in Spring	Yes	No
	Stray Dog	Yes	No	Chief assistant director
1950	Escape at Dawn	Yes	No
	Escape from Prison	Yes	No
1951	Elegy	Yes	No
1966	Ebirah, Horror of the Deep	No	No	Editor; Toho Champion Festival re-release
1967	Son of Godzilla	No	No	Editor; Toho Champion Festival re-release
1980	Kagemusha	No	No	Production coordinator 2nd unit director
1985	Ran	No	No	Director Counsellor
1986	Toho Unused Special Effects Complete Collection	No	No	Interviewee
1987	The Drifting Classroom	No	Yes	Grandfather
	Come Back Hero	No	Yes	Priest at wedding ceremony
1988	The Discarnates	No	Yes	Street vendor
1990	Dreams	No	No	Creative consultant
1991	Rhapsody in August	No	No	Associate director
1993	Madadayo	No	No	Directorial Adviser and co-writer
	Samurai Kids	No	Yes	Deceased grandfather [portrait; posthumous]
1994	Turning Point	No	Yes	Photograph; posthumous
1996	Rebirth of Mothra	No	Yes	Photograph; posthumous

Television

Airdate	Episode	Ref.
The Newlyweds(Shinkon san)
7 January 1967	"The Woman, at That Moment" ( "Onna wa sono toki" )
7 February 1967	"Forgive Me Please, Mom" ( "Yurushitene okasan" )
Husbands, Men, Be Strong(Otto yo otoko yo tsuyokunare)
9 October 1969	"Honey, It's a Presidential Order" ( "Anata shacho meirei yo" )
30 October 1969	"We're Going South-Southwest" ( "Nan nan sei ni ikuno yo" )
Return of Ultraman
2 April 1971	"All Monsters Attack"
9 April 1971	"Takkong's Great Counterattack"
14 May 1971	"Operation Monster Rainbow"
28 May 1971	"Monster Island S.O.S."
31 March 1972	"The Five Oaths of Ultra"
Mirrorman
5 December 1971	"Birth of Mirrorman" ( "Miraman tanjo" )
12 December 1971	"The Intruder is Here" ( "Shinryakusha wa koko ni iru" )
Emergency Command 10-4, 10-10(Kinkyu shirei 10-4, 10-10)
31 July 1972	"Japanese Beetle Murder Incident" ( "Kabutomushi satsujin jiken" )
7 August 1972	"Vampire of the Amazon" ( "Amazon no kyuketsuki" )
13 November 1972	"Assassin from Outer Space" ( "Uchu kara kita ansatsuha" )
20 November 1972	"Attack of Monster Bird Ragon" ( "Kaicho Ragon no shugeki!" )
Thunder Mask
3 October 1972	"Look! The Double Transformation of the Akatsuki" ( "Miyo! Akatsuki no nidan henshin" )
10 October 1972	"The Boy Who Could Control Monsters" ( "Maju wo ayatsuru shonen" )
21 October 1972	"Devil Freezing Strategy" ( "Mao reito sakusen" )
28 October 1972	"Merman's Revenge" ( "Kyuketsu hankyojin no fukushu" )
2 January 1973	"Monster Summoning Smoke" ( "Maju wo yobu kemuri" )
9 January 1973	"Degon H: Death Siren" ( "Shi no kiteki da degon H" )
Zone Fighter
16 April 1973	"Defeat Garoga's Subterranean Base!" ( "Tatake! Garoga no chitei kichi" )
23 April 1973	"Onslaught! The Garoga Army: Enter Godzilla" ( "Raishu! Garoga daiguntai-Gojira toujo" )
18 June 1973	"Terrobeat HQ: Invade the Earth!" ( "Kyoju kichi chikyu e shinnyu!" )
25 June 1973	"Absolute Terror: Birthday of Horror!" ( "Senritsu! Tanjobi no kyofu" )
30 July 1973	"Mission: Blast the Japan Islands" ( "Shirei: Nihon retto bakuha seyo" )
6 August 1973	"Order: Destroy Earth with Comet K" ( "Meirei: K susei de chikyu wo kowase" )
3 September 1973	"Secret of Bakugon, the Giant Terro-Beast" ( "Daikyouju Bakugon no himitsu" )
10 September 1973	"Smash the Pin-Spitting Needlar" ( "Hari fuki Nidora wo taose" )

Style

Despite being known primarily for directingtokusatsufilms, Honda has also directeddocumentaries,melodramas,romance,musical,andbiographicalfilms. UnlikeAkira Kurosawa,who often used recurring themes and photographic devices (even sometimes going over time and budget on productions), Honda was a filmmaker who almost always finished his projects requested byTohoon time and budget;Godzilla(1954) was one such project.Godzillaassistant director Kōji Kajita stated that during their 17 films that they made together Honda "had his own style, this way of thinking", adding: "he never got mad, didn’t rush, but he still expressed his thoughts and made it clear when something was different from what he wanted, and he corrected things quietly."Thus, his skill earned him the nickname "Honda theAmylase".

Direction

Authors, cast, and crew members have called Honda's style of direction "well-established".Special effects directorTeruyoshi Nakanostated that the events happening during his "running crowd" sequences, such as "Firefighters being dispatched in an emergency situation, police officer directing traffic, and people carryingfuroshikiwhile running away ", are" unrealistic "but it was important for Honda to" bring out the everydayness by showing such things ".According to actorYoshio Tsuchiya,Kurosawa said that if he were to direct a scene in one of Honda's films featuring police officers directing civilians, he would "make even the police officers flee first."Regarding this, Honda said that the policemen featured in his films do not run away because of his war experience as an officer.Hiroshi Koizumisaid that, during the filming ofMothra,Honda was focusing to appear in a scene where a civilian helped the baby on the bridge.

Legacy

Reputation in the film industry

Many filmmakers have been influenced by Honda's work. According to Steve Ryfle, his influence inside the film industry is "undeniable", as he was "one of the creators of the modern disaster film, he helped set the template for countless blockbusters to follow, and a wide array of filmmakers".In 2007,Quentin Tarantinocalled Honda his "favorite science-fiction director".Tarantino is also one of several filmmakers and actors who have cited Honda'sThe War of the Gargantuasas an influence,alongsideBrad Pitt,Guillermo del Toro,andTim Burton.John CarpentercitedGodzillaas an influence on his career and called Honda "one of my personal cinematic gods".Martin Scorsesehas also cited Honda as an influence on his work.

In popular culture

The episode, "Tagumo Attacks!!!" in the television seriesLegends of Tomorrowis based around Honda. The central plotline of the episode involves a kraken-esque creature named Tagumo, that Honda has written, which becomes a reality due to a magic book that belongs toBrigid,theCelticgoddess of art. It is described as a "land octopus" that will destroyTokyo,unless the protagonists can stop it. At the end of the episode, the character,Mick Rorytells Ishirō to "Forget about the octopus. Lizards. Lizards are king." In this fictional universe, this will lead Ishirō to creating the character Godzilla, as he states in the episode "The King... of the Monsters. I like that".Honda, alongsideRay Harryhausen,was given dedications in the 2013 filmPacific Rim.

In his acclaimed 2023 filmGodzilla Minus One,filmmaker and visual effects artistTakashi Yamazakipaid homage to Honda's work.

Lawsuit and dispute

In October 2011, Honda's family begansuingToho and three other companies involved in the 2010pachinkogameCR Godzilla: Descent of the Destruction God,requesting¥127 million.On November 26, 2013, it was disclosed that the lawsuit had been settled. An industry insider suggested that Toho wanted the lawsuit dealt with before the release ofGodzilla(2014).

Conflict between Toho and Honda Film Inc.—the company led by Honda's son Ryuji—had been ongoing since February 2010 when Ryuji sent a letter to Toho saying that the family beileved it unfair that Toho claimed "Honda does not have any rights to the Godzilla character" and requested that they oversee and authorize all projects involving the character henceforth. Toho dismissed his claim as unnecessary, stating that they "have never received any objections" from Honda nor his widow Kimi regarding Godzilla'scopyright ownership.Talks between the two companies reportedly escalated thereafter. On May 14, 2010, Toho argued that Tanaka and Shigeru Kayama had a larger role in the creation of the character, alleging that both of whom had agreed that Toho is the copyright owner. Honda Film responded on April 23 by stating Honda nevertheless directed and co-wrote the original film and thus was responsible for the creature's "visual aspects", adding: "As director and screenwriter, Director Honda determined the internal character setting of Godzilla, such as his history and personality, that appears inGodzilla,and expressed it concretely. Therefore, Director Honda is the author of Godzilla (as a character) ". Honda's family eventually extracted their ownership claims in October 2011, shortly before thepachinkolawsuit started.

References

Sources

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• "Asahi Graph:Volumes 3554-3563 ".Asahi Graph(in Japanese).The Asahi Shimbun Company.1990.
• Galbraith IV, Stuart(2002).The Emperor and the Wolf: The Lives and Films of Akira Kurosawa and Toshiro Mifune.Faber and Faber, Inc.ISBN978-0-571-19982-2.
• Galbraith IV, Stuart(2008).The Toho Studios Story: A History and Complete Filmography.Scarecrow Press.ISBN978-1461673743.
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• Bị bạo 50 chu niên ký niệm triển, ヒロシマ dĩ hậu hiện đại mỹ thuật からのメッセージ[50th Anniversary Commemorative Exhibition, After Hiroshima: A Message from Contemporary Art] (in Japanese). Vol. 1.Hiroshima City Museum of Contemporary Art.1995.
• Honda, Ishirō; Yamamoto, Shingo; Masuda, Yoshikazu (8 December 2010).“ゴジラ” とわが ánh họa nhân sinh[Godzilla and My Movie Life] (in Japanese) (2nd ed.). Wanibooks.ISBN978-4847060274.
• Iwabatake, Toshiaki (September 1994).テレビマガジン đặc biệt biên tập đản sinh 40 chu niên ký niệm ゴジラ đại toàn tập[TV Magazine Special Edition 40th Anniversary of the Birth of Godzilla Complete Works] (in Japanese).Kodansha.ISBN4-06-178417-X.
• Kabuki, Shinichi (1998).ゴジラ ánh họa クロニクル 1954-1998 ゴジラ・デイズ[Godzilla Days: The Godzilla Movie Chronicles 1954~1998] (in Japanese). Tập anh xã.ISBN4087488152.
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• Nakamura, Tetsu; Shiraishi, Masahiko; Aita, Tetsuo; Tomoi, Taketo; Shimazaki, Jun; Maruyama, Takeshi; Shimizu, Toshifumi; Hayakawa, Masaru (29 November 2014).ゴジラ đông bảo チャンピオンまつりパーフェクション[Godzilla Toho Champion Festival Perfection] (in Japanese). ASCII MEDIA WORKS.ISBN978-4048669993.
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Further reading

• Eiji Tsuburaya's World of Tokusatsu[Viên cốc anh nhị đặc toát thế giới] (in Japanese). Keibunsha. 2001.ISBN4-7669-3848-8.
• Higuchi, Naofumi (2011).グッドモーニング, ゴジラ giam đốc bổn đa trư tứ lang と toát ảnh sở の thời đại[Good Morning Godzilla: The Golden Age of the Movie Studio and Director Ishiro Honda] (in Japanese) (2nd ed.). Kokusho Kankokai.ISBN978-4336054043.
• Honda, Kimi; Nishida, Miyuki (17 December 2012).ゴジラのトランク 〜 phu ・ bổn đa trư tứ lang の ái tình, hắc trạch minh の hữu tình[Godzilla's Trunk: The Love of Husband Ishiro Honda, the Friendship of Akira Kurosawa] (in Japanese).Takarajimasha.ISBN978-4800205643.
• Mamiya, Naohiko (2000).ゴジラ１９５４－１９９９ siêu toàn tập[Godzilla 1954-1999 Super Complete Works] (in Japanese).Shogakukan.ISBN978-4091014702.
• Sahara, Kenji(2005).Tố tình らしき đặc toát nhân sinh[A Wonderful Life in Tokusatsu] (in Japanese).Shogakukan.ISBN978-4093875974.
• Takarada, Akira(August 1998).ニッポン・ゴジラ hoàng kim vân thuyết[Godzilla: The Golden Legend of Japan] (in Japanese).Fusosha Publishing.ISBN4594025358.
• Takeuchi, Hiroshi (April 2000).Bổn đa trư tứ lang toàn sĩ sự[The Complete Works of Ishiro Honda] (in Japanese).Asahi Sonorama.ISBN978-4257035923.
• Tsuruta, Yoshihisa (1985).Hắc trạch ánh họa の mỹ thuật[The Art of Kurosawa Films] (in Japanese).Gakken.ISBN4051016994.

External links

• Official website(in Japanese)
• Official English-language website (archived)
• Official website created to commemorate Honda's 100th birthday(in Japanese)
• Ishirô HondaatIMDb
• Ishirō Hondaat theJapanese Movie Database(in Japanese)
• Ishirō HondaatToho(in Japanese)
• Ishirō Hondaat theNational Film Archive of Japan(in Japanese)
• Ishirô HondaatRotten Tomatoes