by Steve Habrat
In the radioactive fallout from Toho Co.’s 1954 smash Godzilla, the famed Kaiju production company slowly began adding several other massive monstrosities to their popular creature feature line. Starting with 1955’s Godzilla Raids Again, Toho added the spiked Anguirus, a giant Pterandon called Rodan, the colorful insect called Mothra, legendary Skull Island ape King Kong, and the three-headed space dragon referred to as King Ghidorah aka Monster Zero. After botching their first two face-off flicks—55’s Godzilla Raids Again and 1962’s King Kong vs. Godzilla—Toho returned to form with 1964’s Mothra vs. Godzilla, a smart and satisfying smack down that more than made up for the cheap slugfests that came before it. Later that same year, Toho topped themselves with Ghidorah, the Three-Headed Monster, a whacked-out B-movie that is probably Toho’s strangest Kaiju film since 1961’s Mothra. Directed by Kaiju kingpin Ishiro Honda, Ghidorah, the Three-Headed Monster features extraterrestrials, handfuls of eccentric assassins, shoot-outs, and FOUR monster engaging in an epic brawl that is sure to tickle diehard fans of Toho’s monster movies. It also introduces us to the rampaging Ghidorah, a dragon from the stars that gives Godzilla a run for his money.
Ghidorah, the Three-Headed Monster begins with an aerial assassination attempt made on Princess Selina Salno of Selgina (played by Akiko Wakabayashi) by her uncle (played by Shin Otomo). Seconds before her private jet is blown to bits, the princess sees strange lights in the sky that coax her to jump out of the plane. Meanwhile, a group of scientists led by Professor Murai (played by Hiroshi Koizumi) witness a meteor crash land at the base of a nearby mountain. The group sets out to begin studying the glowing meteor, which also appears to be highly magnetized. Several days after the assassination attempt on the princess, local authorities are stunned to see the princess on television claiming to be a martian from Mars. The princess begins claiming that Rodan and Godzilla will both awaken and launch devastating attacks on nearby cities. The general public scoffs at the predictions, but they are horrified when Rodan and Godzilla both reappear and begin wrecking havoc. Fearing that another assassination attempt may be made on the princess, police detective Naoko Shino (played by Yosuke Natsuki) sets out to find the princess and get her to safety. Things go from bad to worse when Professor Murai witnesses the glowing meteor sudden split open and unleash Ghidorah, a three-headed beast that begins terrorizing nearby cities. Left with no other way to combat the seemingly unstoppable Ghidorah, government officials are forced to turn to the Shobijin (played by The Peanuts), tiny fairies that are capable of summoning Mothra from Infant Island. With Mothra on their side, the government encourages the Shobijin to convince Mothra to enlist the help of Godzilla and Rodan to stop the three-headed dragon.
Judging from the lengthy plot overview, it isn’t difficult to realize that there is quite a bit going on within Ghidorah, the Three-Headed Monster. There are an abundance of characters, sub-plots, and epic set pieces that suggest Toho spared no expense with this project. Yet Honda and screenwriter Shinichi Sekizawa manage to keep a firm grip on the story, and more importantly, unite these four warring beasts in a surprisingly satisfying manner. With four towering monsters stomping their way through an measly hour and thirty minute B-movie, it’s natural to worry that there may be one too many beasts lumbering their way through the stunning miniature cities. However, after watching the four iconic monsters converge for their epic confrontation, you couldn’t imagine this fight playing out any other way. Perhaps the most interesting aspect of Ghidorah, the Three-Headed Monster is the sequence in which Mothra attempts to convince Rodan and Godzilla to join forces with her to banish the space dragon. It’s a humorous little stretch that finds the monsters calling one another names and lecturing each other on their duties to defend earth from this cosmic invader.
Ducking, dodging, and prophesizing their way through the debris are a number of characters that stand out in the flurry of destruction. Wakabayashi’s possessed princess gives dazed warnings about the threats from underneath our feet and high above our heads. Natsuki’s Shino is our valiant hero who protects the princess from Malness, a pulpy assassin who is always sporting a pair of menacing sunglasses. And then we have The Peanuts, who charm their way through their pint-sized roles as the Shobijin. While the acting, writing, and directing are all top notch, Ghidorah, the Three-Headed Monster’s downfall ends up being its lack of anything substantial to say. Where Toho’s previous Kaiju films reflected deeply upon a world gripped in atomic paranoia, Ghidorah, the Three-Headed Monster shamelessly turns its attention towards light-hearted comic book spectacle. Overall, while it really should have been an overstuffed catastrophe, Ghidorah, the Three-Headed Monster turns out to be a monster movie just crazy enough to work. It may not have much to say, but this all-star monster mash makes it essential viewing for anyone who loves drive-in B-movies or the Godzilla series.
by Steve Habrat
In 1954, Japanese production company Toho Studios sparked a giant monster craze with their brooding epic Godzilla. While there was plenty of emphasis on stomping and smashing, Godzilla also took time to focus on a likable group of a characters, and dared to reflect upon a nation still coming to terms with the devastation of the two atomic bombs dropped on Hiroshima and Nagasaki. With the Kaiju craze in full effect, Toho quickly got busy working on a follow-up to Godzilla. Replacing original director Ishiro Honda with Motoyoshi Oda, Toho’s Godzilla Raids Again was a step backwards for the radioactive beast, as a good majority of the film was interested in cheap cardboard destruction and monster-on-monster brawls that resembled an unintentionally hilarious slapping match. Godzilla Raids Again was a success for Toho, but reaction from audiences and critics was far from positive, sending Godzilla off on an extended hiatus. Despite Godzilla showing signs of fatigue, Toho was still busy cooking up another beast of the Atomic Age. In 1956, audiences were introduced to Rodan, the first color effort from Toho Studios. At an hour and fifteen minutes, the short-but-sweet Rodan is an aerial thrill ride that still shudders over thoughts of the bomb, but also taps into the UFO paranoia sweeping across the globe.
Rodan picks up in a small mining community of Kitamatsu, where two miners, Yoshi and Goro, have recently gone missing after a freak flood. When a rescue party led by Shigeru Kwamura (played by Kenji Sahara) begins searching the mineshafts, they discover Yoshi, barely clinging to life after apparently being slashed by an extremely sharp object. With no signs of Goro anywhere inside the mine, the local authorities believe he may have had something to do with Yoshi’s injuries. Believing Goro is on the run, authorities are placed around entrances and exits of the mine, but it doesn’t take long for several more men to turn up with the same injuries as Yoshi. One evening, Shigeru visits Kiyo (played by Yumi Shirakawa), Goro’s grief-stricken sister, in an attempt to console her about the accusations aimed at her brother. During the meeting, Shigeru and Kiyo are suddenly and viciously attacked by a giant larva-like creature called a Meganulon. Local authorities arrive just in time to scare the creature off, and they pursue it back to the mines where it is revealed that there are countless more of the creatures. While the locals scramble to kill off the Meganulon, another threat quickly reveals itself in the form of Rodan, an enormous winged pteranodon that can fly at breakneck speeds and is capable of massive amounts of destruction.
Of the three major Kaiju films released by Toho between 1954 and 1956, Rodan is the effort with the least amount of character development. It doesn’t boast the rich love triangle that we clung to in Godzilla, and it doesn’t feature the complex buddy formula that kept Godzilla Raids Again from being a total disaster. While you’d think the light approach to the characters would set Rodan up for failure, director Ishiro Honda makes sure to keep the adrenaline flowing. It’s a non-stop rush of excitement that refuses to let up. The aerial battle between JASDF and Rodan are all appropriately high-octane, even if there are a few instances where the dated special effects take you out of the action. Where Rodan really shines is in the final stretch of the film, where the winged behemoth hovers over Fukuoka and levels buildings with each flap of its wings. The detailed miniature work in this sequence is undeniably remarkable as buildings crumble into dust, cars roll through the streets, and debris tumbles down into a waiting river. While this sequence features quite a bit to admire, Honda is also capable of infusing these sequences of destruction with a goosebump-inducing shiver that works its way up and down your spine. It may lack the darkened, air raid-like attacks in the original Godzilla, but the whistling fallout wind kicked up by the monster’s wings is evocative enough to make your arm hair stand on end.
There is no denying that the epic levels of destruction keep the film’s entertainment level high, but the main attraction of any Toho Kaiju film are the monstrous abominations that kick up the mayhem. After the addition of the somewhat dull Anguirus in Godzilla Raids Again, Toho redeems themselves with not one, but two Rodans and an army of shrieking and slithering Meganulon. Predating the enormous caterpillar that wormed its way through Mothra, the Meganulon are bug-eyed monstrosities that emit ear-piercing calls and attack with a flesh-tearing savagery that really makes up for their cartoonish appearance. While the Meganulon’s are a fun little appetizer, the main course are the Rodans that glide mightily through the skies. With their leathery wings, pointed beaks, and sleek horns that protrude from their heads, the Rodans are a spooky addition to Toho’s famous line of monsters. What makes them even creepier are what they are meant to reflect. Much like Godzilla was created as a metaphor for the atomic bomb, Rodan was created in response to the UFO paranoia of the 1950s. From a distance, the Rodans resemble an unidentified flying object darting through the clouds, as skittish jet pilots frantically try to make sense of what they are seeing. In the middle of the film, a montage of scenes featuring terrified Japanese citizens staring towards the sky and pointing in awe are smartly tuned in to the reports of saucer-like objects descending from the heavens and quietly revealing themselves. When Rodan lands in the middle of a city and begins a reign of terror, the famed Kaiju seems to take the baton from Godzilla and subtly mirrors the fear of the H-bomb.
While Rodan finds Toho getting their Kaiju line back on the right track, the film isn’t without a few flaws. Some of the scenes of Rodan gliding over the heads of curious civilians are simply stock footage filler of jets leaving contrails in the bright blue sky. With all the time and money clearly put into the film, you’d think that Honda would have refused the distracting stock footage contrails for something a bit more inventive and eye-catching. Another complaint would have to be the final minutes of the film, which are essentially a montage of explosions and rockets being fired into a volcano. It becomes increasingly clear that this fiery sequence is Honda’s way of filling out the runtime of the film. However, the explosions fail to turn our empathy for the suffering Rodans to ash, and it does send you away feeling sorry for the poor creatures despite the amount of death and destruction they brought in their wake. Overall, the colorful Rodan may not be quite as somber as the original Godzilla, but the pop art action and the thoughtfulness put into the script makes this one of the more terrifying monster movies to emerge from the mushroom cloud. A minor Kaiju classic!
Rodan is available on DVD.
by Steve Habrat
Two years after the abysmal King Kong vs. Godzilla, director Ishiro Honda returned to the giant monster genre with yet another installment in Toho’s Godzilla franchise. Enter 1964’s Mothra vs. Godzilla, a massively entertaining and thoroughly satisfying monster fight that more than makes up for what Honda delivered in King Kong vs. Godzilla. Once again, the emphasis in Mothra vs. Godzilla is on the earth shaking action and the epic showdown, but Honda dares to let his this film be a bit more thoughtful than the last two Godzilla efforts. With this offering, Honda is attacking big business greed, but he does it in the most colorful and exciting way possible. Thankfully, Honda never forgets why we are watching Mothra vs. Godzilla and this time around, he really makes sparks fly. Unlike the odd-couple pairing of King Kong and Godzilla, this effort actually seems a bit more plausible, mostly because these two hideous titans are coming from the same monster family rather than two separate cinematic universes. No, these are abominations of the bomb, two radioactive gods who mean to dish out some serious hurt and not simply toss boulders at each other while doing the twist.
After a typhoon washes a giant egg onto a Japanese beach, the local citizens descend upon the beach to marvel at its exotic beauty. Among the admirers is news reporter Ichiro Sakai (played by Akira Takarada) and photographer Junko Nakanishi (played by Yuriko Hoshi), who are both determined to get some answers about the big blue wonder from Professor Miura (played by Hiroshi Koizumi), who has arrived to study the egg. It doesn’t take long for local businessman Kumayama (played by Yoshifumi Tajima), a bigwig at Happy Enterprises, to show up and declare that he has purchased the egg. Pretty soon, Kumayama meets with Happy Enterprises CEO Jiro Torahata (played by Kenji Sahara) to draw up plans to turn the egg into a tourist attraction. During the meeting, the two businessmen are visited by the Shobijin (played by The Peanuts), two pint sized twin girls who claim to be from Infant Island. The Shobijin explain that the egg belongs to their god, Mothra, and that they wish to take the egg back to their island. Kumayama and Torahata ignore the Shobijin’s pleas and try to capture them in an attempt to exploit the tiny girls. The Shobijin narrowly escape the attack and they soon bump into Sakai, Nakanishi, and Professor Miura, who agree to help the girls get their egg back. Meanwhile, it appears that the egg wasn’t the only thing washed to shore. To the horror of the locals, Godzilla has re-emerged and is on the rampage. As Godzilla nears the egg and threatens to destroy it, the aging Mothra arrives to protect her what belongs to her.
While it might have seemed like a good idea at the time to bring RKO’s King Kong and Toho’s Godzilla together, the film had a hard time making this viewer buy into the fact that those two giant beasts were mortal enemies. It’s easy to see why Honda and Toho thought it might be a good idea to have these legends meet up (Kong battled dinosaurs in his first solo outing), but the two behemoths were from drastically different cinematic universes that didn’t compliment each other in the slightest. Thankfully, Mothra vs. Godzilla more than makes up for that slapdash effort with solid special effects and a completely plausible union, even for a genre film such as this. The appeal of the Toho monster movies is their tacky special effects, but King Kong vs. Godzilla really pushed it to the limit. Anyone who calls themselves a fan of “kaiju” movies knows to expect some cheese but that effort delivered moldy cheese that had been left out in the hot sun for weeks. With Mothra vs. Godzilla, Honda smartly pulls his monsters out of Japanese cities and has their battle take place largely in the scenic countryside. Godzilla still attacks a military base and he can’t resist crushing a few small villages, but widespread destruction remains on the sidelines. It’s a nice change of pace for the series that has relied on the gimmick of the radioactive dinosaur trudging his way into a crowded metropolis and smashing everything to pebbles.
Another major slip-up in King Kong vs. Godzilla were the monsters themselves, which look like they were done up by a distracted ten year old boy. Kong’s face looked like a swirl of brown and red and the rest of costume looked like it was a crewmember’s old Halloween costume complete with cardboard claws. Here, we have nothing that comes remotely close to that eyesore. Mothra looks spectacular as she soars around Godzilla’s head and grabs at his tail, a ferocious lioness protecting her young cubs. Even the first glimpse we get of her here is pretty chilling, which is surprising because she had a hard time making an impression in her first solo outing. When Mothra’s slimy young come slithering out of their big blue egg, the clash really gets good as they splash their way towards Godzilla, who has stomped off to feast on a handful of terrified school children stuck on an island. They nip on his tail and strategically spit their silk spray on the roaring giant to freeze him in place. As far as Godzilla himself goes, the big guy hasn’t looked this menacing and nasty since we first saw him in his shadowy black and white debut. When he descends upon the scattering villagers, he is welcomed by menacing horns that could easily have influenced the legendary score of Jaws. He is a force to be reckoned with, one that is out to cause serious pain, which allows us to really root for Mothra to put this radioactive abomination in his place.
Just when you think that Mothra vs. Godzilla can’t get any better, Honda decides to neatly tuck a very human story inside all that gloves-off fury. The characters here are very similar to those found in Mothra, but there doesn’t seem to be a bumbling one is sight. Takarada and Hoshi have plenty of chemistry as our two warm and surprisingly heroic leads. They team up with Koizumi’s wise Professor Miura on an exotic detour to Infant Island, which allows Honda to reflect a bit more on the atomic testing. Tajima and Sahara are perfect as the cartoonish money-hungry businessmen, who see a disaster as a quick way to make a buck. Watching them mistreat the pitiful Shobijin really pierces your heart, especially when they try to capture the girls and put them on display. It appears that sometimes, greedy humans can be even more monstrous than any radioactive giant with fire breath. Overall, while it wouldn’t have taken much to really make up for King Kong vs. Godzilla, Mothra vs. Godzilla goes above and beyond to erase all the bad memories of that film from the viewer’s mind. It is well-paced, intelligent, action packed, vibrant, moody, ornate, and carefully crafted for maximum entertainment. This is perhaps the most satisfying Godzilla sequel.
Mothra vs. Godzilla is available on DVD.
by Steve Habrat
After passing on directing duties for the 1955 Godzilla follow-up Godzilla Raids Again, director Ishiro Honda was reunited with his radioactive beast on the 1962 monster-against-monster epic King Kong vs. Godzilla. With Honda returning to the director’s chair, you’d think that sparks would fly as these two legendary names squared off against each other, but that certainly isn’t the case with King Kong vs. Godzilla. The third entry into the Godzilla franchise was probably the worst of the Toho Studios bunch at that point, but the film went on to be a megahit anyway. In America, King Kong vs. Godzilla was picked up by monster movie juggernaut Universal Studios, who further drove the film into the ground with distracting commentary sequences, horrible dubbing, inane dialogue, and even reused the bone chilling score from The Creature from the Black Lagoon. The horror doesn’t stop there, folks, as King Kong vs. Godzilla ends up being a shoddy horror outing plagued by overacting and an outrageously awful portrayal of Kong, a monster who simultaneously scared us out of our wits and earned our sympathy in his 1933 debut King Kong.
King Kong vs. Godzilla begins with the chairman of Pacific Pharmaceuticals, Mr. Tako (played by Ichiro Arishima), trying to figure out how to market an exotic berry that was just discovered on Faro Island. Mr. Tako soon learns that Faro Island is the home of the legendary monster King Kong, a beast that he believes would make a great face for his new product. Mr. Tako sends two explorers, Osamu Sakurai (played by Tadao Takashima) and Kinsaburo Furue (played by Yu Fujiki), to track the giant ape down and capture it. Meanwhile, an American submarine studying bizarre oceanic conditions gets trapped in the same iceberg that the Japanese government buried Godzilla in several years earlier. Just as help arrives, Godzilla breaks free from the iceberg and stomps off. On Faro Island, Sakurai and Furue manage to make their way past the natives and an array of exotic creature and track down King Kong. The duo captures the beast and secures him on a raft for transport to Japan. Along the way, Kong manages to break loose and head off to find Godzilla, who turns out to be his ultimate rival.
A disjointed mess from the get-go, King Kong vs. Godzilla does away with the dark atmosphere of the first two films and reintroduces these two titans of terror in glorious color. The color certainly does give the film plenty of personality, but also reveals the tackiness of the special effects. There are moments when superimposed natives or soldiers actually glow blue as they dart around and scream at the feet of the rubber monsters. The once spectacular miniature sets are now cardboard metropolises with glaringly obvious remote-controlled plastic cars and shiny train sets. Honda was able to conceal some of the cheesier moments in Godzilla because he plunged everything into moody darkness, but here, everything is presented to the viewer in broad daylight, which reveals all the screws, tape, and glue. They make you long for the days when Japanese officials ordered a black out as the radioactive Godzilla lumbered through the builds and spat a jet of fire down on the terrified citizens in crisp black and white. The rural sets fare much better than the city sequences, but these moments are marred by the two worst performances from men in rubber suits that you may ever see.
First, let’s discuss Godzilla. As it turns out, Godzilla’s slightly redesigned costume here is the one that his diehard fans adore the most. While the changes are minor (Godzilla has three toes here rather than four, he is a bit bulkier, and the eyes appear to be a bit bigger), the costume looks relatively the same. He still looks fierce with those giant fins on his back that glow white when he gets ready to unleash his fiery stream. The problem is the person inside the suit, who just swings their arms around and does something resembling a dance when he confronts his ape nemesis. Kong’s costume is the real eyesore of the two beasts, mostly because it looks like a cheapie Halloween costume that the filmmakers picked up at a grocery store. The Kong mask looks like a misshapen blob that has been used for a painting palette and the costume itself looks like an early gorilla suit that was dug out of one of the crew member’s attic. It is also clear that when Kong pounds his chest, the actor is wearing fake hands to give the illusion of longer arms. It is like a sick joke when held up next to the original stop-motion Kong, who was a hell of a lot more menacing than anything we see here. Just when you think that Honda can’t desecrate the Kong character anymore, he then informs us that Kong uses lightning to strengthen him up. Um, what?!
As far as the showdowns go between the two beasts, nothing really stands out as being particularly entertaining or exciting. It is largely like the battle you saw in Godzilla Raids Again, just sillier, shorter and in color. The first time the two beasts actually stare each other down, Kong throws boulders at Godzilla and Godzilla swings his arms around like he is trying to fly away. Perhaps the neatest action sequence of the whole film is the scene in which Kong battles a giant squid on Faro Island. It has some slimy special effects and some icky sound work that will pucker your face. As far as our human characters go, no one does anything remarkable with their character. Arishima just looks dumbfounded behind giant glasses and Takashima and Fujiki are there simply to add unfunny comic relief to the playtime action. Mie Hama also drops by as Sakurai’s sister, Fumiko, who is here as a stand-in for the original King Kong’s Fay Wray. Overall, while it may have seemed like a good idea to try to bring together the two biggest names (literally) in horror, King Kong vs. Godzilla is an empty-headed clash of two titans who mix like oil and water. Honda never hits a stride and his Americanized vision is tarnished even further with unnecessary additions. Godzilla should have stayed frozen and Kong should have remained on Faro Island.
King Kong vs. Godzilla is available on DVD.
by Steve Habrat
A year after Toho’s thunderous Godzilla took the world by storm, the Japanese production company quickly got to work on a follow up film to capitalize on the success of the first film. Director Motoyoshi Oda’s 1955 sequel Godzilla Raids Again certainly isn’t interested in capturing the guilt and sorrow of a nation still reeling from the devastation of World War II and the detonation of the atomic bomb, but this “kaiju” film is one that is certainly determined to deliver a whole bunch of smashing and clashing. And deliver it does. Godzilla Raids Again is the first film in the Godzilla series to pit the legendary radioactive beast against another roaring adversary, something that would become wildly popular in Toho’s later work. While it is never as eerie as the first film and it doesn’t feature that sulking human soul, Godzilla Raids Again does succeed as a breathless action extravaganza, even if it does seem like Toho threw it together in a frenzied rush. The destruction doesn’t pack the authentic punch that it did the first time around, and the miniature destruction sequences seem drawn out to pad the runtime rather than send shivers down the spine of the drive-in audience, but boy, this sucker is a giddy rush. Let the battle begin!
Godzilla Raids Again introduces us to two pilots, Shoichi Tsukioka (played by Hiroshi Koizumi) and Koji Kobayashi (played by Minoru Chiaki), who are hunting schools of fish for a tuna cannery in Osaka. Kobayashi’s plane malfunctions, which forces him to make an emergency landing on Iwato Island, a jagged and uninhabited cluster of volcanic rocks. Tsukioka tracks down Kobayashi and finds him among the rocks, but the men make another horrific discovery. It turns out that the island is home to Godzilla, who is currently fighting with another bizarre creature. As the two creatures trade blows, they both fall into the water and disappear. Tsukioka and Kobayashi make their way back to Osaka and report what they saw to the authorities, who conclude the this new Godzilla is a second member of the same species brought back by the same hydrogen bomb tests that awoke the original Godzilla. As for the other monster, the authorities believe that it is Anguirus, a creature that has an intense rivalry with Godzilla. As the creatures bring their grudge closer to the shores of Osaka, the government orders a blackout of the city under the belief that the monsters hate light because it reminds them of the hydrogen bomb. Since neither of the monsters can be killed, the government uses flares to draw them away from the shore, but after a freak accident causes a fire, the two monsters bring their battle to the streets of Osaka.
Ishiro Honda’s original Godzilla was a film that was packed plenty of splintered spectacle to marvel at, but the film had a heavy human presence and a meditative sorrow that forced the radioactive destruction to play out in the background. Honda took his time to work up to these spellbinding moments and he forced us to really identify with the terrified Japanese citizens who were convinced that they brought this horror on themselves. Godzilla Raids Again doesn’t take that same subtle approach, as the film launches head first into destruction and never looks back. It is still implied that Godzilla is a walking A-bomb, but his pounding footsteps never remind us of bombs being dropped from above. The only true form of suspense that we get in Godzilla Raids Again is the sequence in which Godzilla wanders towards the Osaka coast as flares glide over his head. It truly is a magnificent moment that brought the original film to mind. Outside of this, Oda can’t wait to have his beasts engage in their urban clash and reduce buildings to ruble. While the extended battle is zany fun, the annihilation never really makes the hair on your arm stand up and it’s not even half convincing, as it is painfully obvious that these are just two actors swatting at each other in rubber suits.
While the black out brawl in Osaka is quite a bit of fun, Godzilla Raids Again looses that fun spirit during the extended final battle that finds a stationary Godzilla battling jets that zoom over his head. This is the moment where our two fine but forgettable heroes get to do their he-man thing and sock it to the rampaging abomination. The climax is thick with an icy and vaguely apocalyptic atmosphere that certainly does get you to pay attention, but after a while, it just gets repetitive as the same hills blow up, the same rocks keep tumbling down, the same planes keep getting knocked out of the sky, and the same soldiers keep yelling the same orders, all while Godzilla just stands there and does absolutely nothing to get out of the line of fire. Why isn’t he trying to get away? Why doesn’t he charge at his foes? And do they really think that their approach to defeating him will really work? The entire climax feels like the filmmakers weren’t exactly sure how to bring this monster mash to a close, especially since their main grudge match plotline gets clipped way too early.
As far as our two main performers go, Koizumi is your typical action hero who woos a pretty girl and goes toe-to-toe with the roaring beast. He is likable enough but nothing really stands out about him, which is a shame when you think back to the complex heroes that we had in the original Godzilla. Chiaki fares better as the lovesick Kobayashi, a pudgy goofball who seems to be always coming in second place with the ladies. Together, the two men have fine chemistry and we really buy their friendship, but the film clearly isn’t framing itself around them. The only returning cast member from the original film is Takashi Shimura as Dr. Kyohei Yamane, who shows up to identify Godzilla and show a montage of Godzilla laying waste to Tokyo. Overall, while Oda’s vision may not be as clever, haunting, and poetic as Honda’s 1954 original, Godzilla Raids Again still packs hints of the atomic metaphors that loomed over the apocalyptic original. This follow up may peak a bit too early and suffer from a monotonous final confrontation, but Godzilla Raids Again still stands as a satisfying slice of creature feature drive-in escapism.
Godzilla Raids Again is available on DVD.
by Steve Habrat
In 1954, Japanese director Ishiro Honda unleashed the grim and brooding radiation nightmare Godzilla on the world. Godzilla would go on to introduce audiences everywhere to Toho Studios, a Japanese production company that would become well known among horror and science fiction enthusiasts for their “Kaiju” (strange beast) films. While Godzilla is certainly the top monster in the long line of monster movies produced by Toho Studios, the second in command would most certainly be the 1961 effort Mothra, a splashier and sillier effort from Mr. Honda. Lacking the hypnotic appeal and haunting linger of Godzilla, Mothra is clearly the more upbeat monster movie. It has all the trademark elements of these Japanese “Kaiju” films that genre fans have come to know and love, but at times it seems to be a bit too silly, fantastic, and, dare I say, cuddly for its own good. While Mothra may not possess the thought and depth of Godzilla, the film still dares to show a few post-WWII scars under all the colorful action and adventure. There is still a shiver anytime the bomb or atomic radiation is mentioned, but it almost seems like the film is chuckling at itself, which is a pity because this monster movie could have mustered a roar just as mighty as Godzilla’s.
Mothra begins in the waters off of Infant Island, with a Japanese ship getting caught and running aground in a nasty typhoon. The ship’s crew gets stranded on Infant Island, which is presumably an uninhabited site for Rolisican atomic tests. A few days later, a rescue party finds several members of the ship’s crew alive and well on Infant Island. The crew is immediately taken to the nearest hospital for radiation sickness, but doctors are stunned to learn that the crew did not get sick due to juice that was provided to them by natives living on the island. The bizarre story is broken to the public by rotund reported Zenichiro “Bulldog” Fukuda (played by Frankie Sakai) and photographer Michi Hanamura (played by Kyoko Kagawa), both who obtained the story through posing as doctors. The Rolisican government soon responds by putting together a joint expedition to the island. Among the expedition is greedy entrepreneur Clark Nelson (played by Jerry Itou) and kindly linguist Shin’ichi Chujo (played by Hiroshi Koizumi). While exploring the island, the group stumbles across the shy natives and a pair of young women (played by The Peanuts) who are only twelve inches tall. The two girls plead with the group to halt the atomic testing on their island and to leave the natives in peace. The group agrees and quickly leaves, keeping their findings a secret from the public. However, Nelson secretly travels back to the island and abducts the two girls and forces them to perform a singing act in Tokyo. The horrified natives call upon their god, Mothra, to rise up and bring the girls back to their island.
Honda quickly sets Mothra apart from his deadly serious Godzilla through pop-art action and exotic adventure. There is a trip to a beautiful yet sadly mutated island with natives peaking between giant leaves and over twisting flowers as scientists in ominous HAZMAT suits parade around with machine guns. It almost feels like something out of King Kong, only done up in the most effervescent colors imaginable. There is also plenty of slapstick humor and wisecracks, especially from the instantly likable Zenichiro, who nervously giggles when he is backed up against a wall and manages to get tiny mice caught in his suit. Despite how lavish it all looks and how funny the jokes are, there is never a hint of the impending doom that loomed over the opening half of Godzilla. However, once the action of the second half kicks in to high gear, there are traces of Godzilla everywhere. Tension builds as a massive caterpillar inches its way towards Tokyo in an attempt to find the abducted girls. Japanese fighter jets swoop over and drop canisters of napalm down on the best, but it does no good. When it finally reaches Tokyo, it bashes and smashes through miniature buildings that certainly crumble realistically enough. Things take a cheeky turn when the caterpillar morphs into the iconic Mothra, who can whip up a wind storm just by furiously flapping her wings. You’ll certainly chuckle as toy cars get tossed around like, well, toy cars and fake builds tremble like… fake buildings. The longer it all goes on, the less it impresses.
In addition to the rocky action, the performances are never as gripping as what we saw in Godzilla. Sakai is charismatic and fun as the humorous hero Zenichiro, a nice change of pace over the square-jawed heroes that were battling giant bugs in America. The oafish Sakai doesn’t seem to be taking the picture too seriously, which is a shame, but he will certainly get you to chuckle at least once. Kagawa acts as the pretty-faced sidekick that follows Sakai around from one site of destruction to the next. Koizumi is passable but largely forgettable as the camera shy linguist who is basically the more handsome hero to Sakai’s Zenchiro. Itou is vile enough as the exploitative entrepreneur who leers over the tiny girls like a madman. It is interesting to see just how cowardly he is when Mothra comes calling. Rounding out the main cast in the twin-sister singing act The Peanuts, who are here as the tiny “Shobijin.” The Peanuts are tragic enough, but this is mostly due to their situation rather than their acting. While much of their performance consists of them huddling together and smiling at the camera, you will still find yourself hoping and praying that Mothra will come save them from Nelson’s clutches.
What really separates Mothra from the other monster movies is the fact that Mothra herself is more of an avenging angel rather than a snarling stand in for the atomic bomb. Even if she does look like one of your daughter’s stuffed toys, she is actually sort of neat in that respect. She isn’t a mindless abomination of atomic radiation and destruction, which really gives the film itself a bit more individuality. While it may lack the deeper meanings and the sorrowful meditation of Godzilla, Mothra is still a fairly resilient plea for peace and harmony. It may have been falling of deaf ears and drive-in eyes simply looking for the next destruction sequence, but at least it was giving it a try. Overall, while it has its lasting moments, Mothra begins to fall victim to a shaky third act set in a cardboard stand-in for New York City (here it is New Kirk City). There is too much interest in comic book fantasy and retina-shattering color blasts, which cause the film to feel more like a drawn-out cartoon rather than a serious minded work of art. It’s fun in small doses but maybe it should have taken itself a bit more seriously.
Mothra is available on DVD.