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
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.
by Steve Habrat
In the land of Atomic Age beasts, aliens, monsters, and blobs, one name makes all these other radioactive creatures quiver in fear: Godzilla. Made in Japan in 1954 by Ishiro Honda, Godzilla (or Gojira, as it was called in Japan), is perhaps one of the most significant science fiction films released in the wake of World War II and the Hydrogen bomb. It is even more essential because the country that witnessed the horror and devastation of the atomic bomb first hand made and released Godzilla. Over the years, Godzilla became more of a campy character rather than one that is meant to scare the pants off the viewer. He would rise from his watery habitat and stomp into downtown Tokyo to do battle with a slew of attacking mutant monsters (and King Kong), all while poorly dubbed Japanese citizens would dart around the dueling monster’s feet. They were a far cry from the suspenseful original, where the low rumble of Godzilla’s footsteps had the viewer holding their breath and gripping the arm of the couch just a little bit tighter. When the suspense and the downright impressive action sequences don’t have your attention, you’ll be transfixed on the intelligence of the script, which finds a country still reeling from the mushroom cloud devastation they witnessed in 1945. There is a reason the Criterion Collection picked this monster movie up, folks.
Just off of Odo Island, a Japanese fishing boat is destroyed by a blinding flash of light that appears to emerge from the bottom of the sea. Another boat is sent to investigate, but it meets the same fate as the first boat. As more boats are destroyed, salvage ship captain Hideo Ogato (Played by Akira Takarada) is called in for duty by the coast guard. Meanwhile, the villagers of Odo Island have been cursed with poor fishing and they blame it on a mysterious sea monster known as “Godzilla.” In the evening, the villagers perform ancient ceremonies to keep the beast at bay. That very night, a violent storm destroys Ogo Island, but many villagers claim that there was something else in the storm. Archeologist Kyohei Yamane (Played by Takashi Shimura) travels to Ogo and discovers a giant radioactive footprint. He then travels to Tokyo and presents his findings. He reveals that H-bomb testing has disrupted Godzilla’s natural habitat, causing him to emerge from the bottom of the sea and come to land. As fear of Godzilla spreads and more sighting are reported, Dr. Yamane’s colleague, Daisuke Serizawa (Played by Akihiko Hirata), who is also arranged to be married to Dr. Yamane’s daughter, Emiko (Played by Momoko Kochi), has developed a secret weapon called the Oxygen Destroyer, a device that disintegrates oxygen atoms causing organisms to die of asphyxiation. As Godzilla’s attacks grow more and more devastating, Emiko and Ogato plead with the reluctant Serizawa to use the Oxygen Destroyer against the destructive beast.
Director Honda and screenwriter Takeo Murata transform Godzilla from a simple monster movie into a surprisingly intimate human drama. We genuinely care about the characters that Honda and Murata have come up with and we especially hang on the fragile love story at the core of the film. Emiko is engaged to Serizawa, but she wishes to break off the engagement and marry the brave salvage captain Ogato. Meanwhile, as this love triangle plays out with devastating results, Honda focuses his camera on Dr. Yamane and his exasperation with the military and media, who are hellbent on killing Godzilla rather than trying to capture and study him. He continuously drives the point home that this creature has been exposed to heavy levels of radiation and lived through it. He then warns that if the world (meaning America) continues to detonate these weapons of mass destruction, we are bound to face another Godzilla-like creature. The warnings against these experiments extend to Serizawa, who fears that his Oxygen Destroyer will draw the attention of the military and they will force him to further develop another weapon of mass destruction, something he swears he will never do. It’s these meditative conversations about H-bombs, destructive weapons, and violence that pulls Godzilla out of the B-movie realm and places it firmly on the A-list.
Then there is the monster of the hour: Godzilla. At times, Godzilla is obviously a man dressed in a heavily detailed rubber suit, but he signifies so much more. The first few glimpses we get of him are effective teases, leaving us wanting just a little bit more, but fearing the terrifying wrath that is sure to accompany those longer glimpses of the legendary monster. When he is finally revealed in all of his glory, we can’t help but be awestruck by how cool he looks, even if his movements are a little jerky. He breathes down smoke (which is meant to resemble fire but this is 1954, folks) on the Tokyo skyline and produces a sea of fire that brings to mind the 1945 firebombing of Tokyo. When he stomps through the buildings, he begins to resemble a living, breathing nuclear blast that is leveling everything in his path. Honda then pans over the twisted wreckage left in Godzilla’s wake, eerie images that call to mind the black and white photos of Hiroshima and Nagasaki. Godzilla may be destructive, but he is also a sympathetic creature. He has been chased out of his home and he appears to be wandering aimlessly, simply looking for a new place to hide away from the world that wants to destroy him.
As if a weighty script, likable characters, impressive monster, and a human core weren’t enough to make Godzilla a must see, the action sequences will certainly convince you to seek it out. Sure, there are a few moments where it is blatantly obvious that rubber-suited Godzilla is stomping miniature buildings, but there are several pieces that have held up quite well over the years. Godzilla’s battle with several Japanese fighter jets will get the adrenaline pumping and his demolishing of a gigantic electric fence is a pretty nifty demonstration of his sublime power. You’re obviously not going to see destruction like you saw in Cloverfield, but you have to give Honda and his effects team credit for crafting some chilling smashing and crashing (wait for the sequence with Godzilla attacking a building loaded with press). The action sequences are made all the more effective due to the tension slowly built between each attack. Our dread really begins to get the best of us and Honda plays with this every chance he gets.
If you are one of those individuals who have written off Godzilla as a campy drive-in relic of the 1950s, you really should consider revisiting this moody monster mash. I’ll admit that even I had forgotten the power that this film wields over the years and I was very happy that I decided to both revisit and add the film to my horror/science fiction collection. If you have surround sound lining your living room, you’ll be giddy over how great Godzilla’s roar and thunderous footsteps sound. Overall, Godzilla is a haunting and influential epic that rewards the viewer with multiple viewings. It will shake your house down and bring you to your knees with one mighty roar.
Godzilla is available on Blu-ray and DVD.
by Craig Thomas
The Tunnel is a 2011 film from Australia which purports to be a documentary about a news investigation gone horribly wrong. As the title suggests, it shares a number of similarities with another horror movie, called The Descent, in that they both involve people trapped underground with unidentified monsters.
This is basically another found footage horror film with ideas above its station. Whilst big ideas are laudable, you have to be able to pull them off, and that just doesn’t happen here. The biggest twist on the idea is that this is actually a documentary, made after the supposed events. This means there is lots of people talking to camera about what happened and whilst this is a nice idea, it commits the cardinal sin of being relentlessly dull. It also removes any tension regarding whether or not certain characters will die, as they clearly didn’t. Despite this being a work of fiction, the actors actually do a convincing job that they are recounting events, which is somewhat of a rarity in such movies. So you can get on board with the whole idea.
It is, in theory at least, an interesting concept. A similar technique was used to much better effect in the not very good Mila Jovovich alien abduction movie, The Fourth Kind.
The biggest problem with The Tunnel is that it is a really good idea, for a TV show. By which I mean, as a special at a length of 45 minutes to one hour, it had the potential to do something really good. However, with it being 90 minutes long, there just wasn’t enough material to sustain it, therefore there is a serious drag for the first half of the movie, most of which is superfluous. The first 30 minutes, a whole third of the film, could easily have been cut down to five minutes, without any loss whatsoever. It would seem the only reason it was all there to begin with was to take up time. After that, it takes another 15 minutes for anything interesting to happen. So straight away, we’re halfway through the film without anything of value or interest happening.
After that it does improve dramatically. The actual horror part of the film is pretty good. It builds and maintains the suspense and there are a good couple of jumpy bits. But by this point a lot of the audience’s goodwill has been spent so it needs to work really well to justify the first half of the film and unfortunately it doesn’t quite get there. If they had managed to extend the actual horror elements of the film, then it would have been significantly improved.
In its defense, it is not too surprising how little is actually shot in the tunnels, in what would appear to have been a fan-funded film. What they have done here is impressive and the last half outstrips many larger budget films. The problem is the rest of it doesn’t work.
Considering the budgetary constraints, everyone comes out looking good and if they had found a way to make more of it a horror, or made the non-horror bits in any way engaging they could have had a good little film on their hands. Unfortunately, what they’ve got now half a film and an interesting idea. Hopefully the people involved will be able to use this as a stepping stone to greater things, of which I am confident they are capable.
The Tunnel is available on Blu-ray and DVD.