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Mushroom Clouds and Mushroom Men: The Fantastic Cinema of Ishiro Honda Paperback – October 16, 2009
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- Print length296 pages
- LanguageEnglish
- PublisherAuthorHouse
- Publication dateOctober 16, 2009
- Dimensions5.98 x 0.67 x 9.02 inches
- ISBN-101449027717
- ISBN-13978-1449027711
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Product details
- Publisher : AuthorHouse (October 16, 2009)
- Language : English
- Paperback : 296 pages
- ISBN-10 : 1449027717
- ISBN-13 : 978-1449027711
- Item Weight : 15.4 ounces
- Dimensions : 5.98 x 0.67 x 9.02 inches
- Best Sellers Rank: #2,199,845 in Books (See Top 100 in Books)
- #23,010 in Performing Arts (Books)
- #209,805 in Biographies
- Customer Reviews:
About the author

I am an actor, director, speaker, playwright, poet, and author of the Rondo-nominated "Mushroom Clouds and Mushroom Men - The Fantastic Cinema of Ishiro Honda," "Atomic Dreams and the Nuclear Nightmare: The Making of Godzilla (1954)," and "The Sons of Godzilla: from Destroyer to Defender, from Ridicule to Respect (1955-1995)." I have also written the horror novels "Devil Bat Diary - The Journal of Johnny Layton" and "Terror In Tinseltown - the Sequel to Devil Bat Diary," as well as a volume of poetry called "A Rainbow's Bold Amen," an anthology called "Three Plays," "No Sympathy for the Vampire: The Film World of Bela Lugosi," "Suspending My Disbelief: Televised Terrors (1950-1959), and "Dark Detours: A Collection of Sinister Short Stories."
I enjoy books, films, music, and have lectured at numerous conventions and written many articles on Japanese monster movies, and am a huge Bela Lugosi fan. My email is gojirafan53@aol.com and you can find me on Facebook at: Peter Hayes Brothers.
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Regardless, the book is filled with tremendous information and scholarship. While it is surpassed by Ryfle and Godzisewski’s biography of Honda, this is a great companion to that book.
The book goes into proper detail concerning plot development and production. Even better, it provides insights into the actors of the particular film, as well as discussing the soundtrack music which Akira Ifukube provided for each Honda film as well as the classic effects work of Eiji Tsuburaya. Throw in a detailed biography of Honda and the reader will immediately see why this is a necessary reference book for the dedicated monster movie fan.
Here at last is the story of that man. In his book, Peter H. Brothers introduces us to the passions, the fears, the hopes, and the regrets of Ishiro Honda, offering a rarely-seen glimpse into the director's formative years and the life experiences that would influence all of his work. The book's in-depth biography traces Honda's life from early childhood to his initial experiences with Toho Studios, follows him through his wartime experiences, and then examines closely his prolific career. Each chapter focuses on a different era, beginning with the creative triumphs of the fifties, following up with the commercial successes of the early sixties, and finally exploring the creative differences between Honda and Toho that brought his career to a bitter halt.
The subject is vast, and there are times when one wishes that the material could have been explored in more detail. But despite this, facts emerge that have seldom, if ever, come to light, and both casual readers and fans of Honda's work will find much of interest. Of particular interest are Honda's rarely-discussed non-fantasy films, especially Eagle of the Pacific and Farewell Rabaul, commercial and critical successes that paved the way for the blockbusters that were to come. Equally fascinating, though, is the detailed analysis of each of Honda's fantasy films. The author's deep respect for Honda's work is evident on every page, yet he remains admirably objective, not shying away from harsh criticism when the director's work was less-than-satisfactory, yet always managing to find something positive to say, showcasing highly-entertaining films that many critics and mainstream movie-goers have unfairly dismissed.
The book is not perfect. There are a number of misprints throughout the book, and these will hopefully be corrected in any future printing. However, the positive aspects easily outweigh any negatives. It is engaging, informative, and highly entertaining. For students of film theory looking to explore the impact that Japanese fantasy film




