Dr. Kain, you are so demonstrably mistaken it's not even funny. Toho was using IDENTICAL FILM STOCKS to US film companies. So were the other Japanese majors, for the most part. So was most of the world. This has been mentioned in this thread already. Major Japanese theatrical films and US theatrical films of the '60s are equals, as far as film origination is concerned. Japanese companies had an option between Eastman color and the indigenous Fujicolor... independent producers tended to choose Fuji because it was cheaper... I could cite an academic thesis that proves this. The majors always went with Eastman, but starting in the late '60s some of them started going for Fuji, probably because the stock had improved in quality and adopted the same chemistry as Eastman, meaning it could be processed in the same bath as Eastman and that it was probably indistinguishable in quality from Eastman.
Every Toho kaiju movie of the '60s was shot on Eastman Kodak film. This isn't even a secret or obscure information, it's on the posters. And Toho DOES have access to better elements for their films and better scanners, and they could surely afford to restore everything properly and in short order... they're a freaking huge media company and real estate giant. They just won't go to the trouble with any film besides Godzilla '54 and King Kong vs. Godzilla.
Yes, it's true, Space Amoeba and Secret of the Telegian are strangely missing Toho's characteristic brown filter, so their properly balanced color does seem cooler by comparison. That doesn't mean there is a blue tint.
Last edited by SeaHawk
on Tue Oct 22, 2019 1:18 am, edited 3 times in total.