|
Animal 1
|
|
|
4/1/1968 - 9/30/1968, Mondays 7:30 - 8:00 PM TV series 27 episodes Mushi Productions Business Division/Fuji TV
|
| HATA'S ROLE |
Episode director:
#2: Die! Wrestling
|
STAFF |
Based on a wrestling manga by Kawasaki Noboru
Directing Supervisor: Sugiyama Taku
Animation Director: Miyamoto Sadao
Art Layout: Kageyama Isamu
Music: Itsuki Hideki
Episode directors: Sugiyama Taku, Hata Masami, Tomino Yoshiyuki, Takahashi Ryôsuke, Nishimaki Hideo, Oda Ryô,
Minamikawa Hiroshi, Akabori Mikiharu, Saide Mitsubu, Uchida Yukihiko
Script writers: Yamazaki Tadaaki, Yukimuro Jun'ichi, Tsuji Masaki, Kawasaki Yasutami
|
|
Animal 1 offers the familiar setup of boy-endowed-with-talent-for-sports-awakens-to-
his-talent-and-joins-the-school-_(blank)_-club-
and-wins-the-championship (eg, Make way for Master Kunimatsu) with olympic wrestling filling in the blank. This obviously evinces a
wave of interest in wrestling following the 1964 Tokyo Summer Olympics, where Japan won numerous gold medals in freestyle and
greco-roman wrestling.
The series is in black and white for economic reasons alone. Color TV series had already been aired as early as 1967.
Again, Hata's episode stands out from the rest, but not quite in the way I expected. Chief director Sugiyama set the pace
in the first episode, shaping an unpromising series produced by the business department of
Mushi Pro -- not the main studio! -- into something not entirely unwatchable. Episode 1 emphasizes
fast cutting and action rather than drama, with a light atmosphere and a lot of content squeezed into the episode.
Overall it resembles Hata's Gokû episodes. That's why it's so surprising that Hata's episode, #2, seems so radically
different. It seems to deliberately veer away from this type of directing, which is more manga-like, to
try for a more dramatic/serious approach. The story itself develops a very narrow theme, but one which is central
to the series: the hero's discovery of his interest in wrestling and his determination to join the club. The cutting
and pacing of the episode seem to reflect this specific focus, with a lot less information packed into the episode
and each scene very carefully thought out for its place in the whole episode. The episode strikingly
captures the dramatic importance of this portion of the story, though the seriousness even becomes a little much at times,
bordering on a parody of itself. Clearly a development can be seen here away from the cartoony style of Gokû
towards a style emphasizing orderly development of a theme and heavy drama.
|
|
|