Giant Monsters of 1961: Cinefantastique Roundtable Retrospective Podcast 3:16

Clockwise: Gorgo, Mothra, Konga, Reptilicus
Clockwise: Gorgo, Mothra, Konga, Reptilicus

Host Steve Biodrowski is joined by Steve Ryfle, Ted Newsom, and Mark Thomas McGee for a fond look back at box office behemoths GORGO, MOTHRA, KONGA, and REPTILICUS.

It was 50 years ago today! Er, well, 51 years ago. This Cinefantastique Roundtable Retrospective Podcast was originally recorded last year, as part of our 50th anniversary celebration of the horror, fantasy, and science fiction films of 1961. Unfortunately, sound problems forced a delay, but what’s a few months when it comes to resurrecting timeless classics such as GORGO and MOTHRA – or, in the case of KONGA and REPTILICUS, high-camp condemnation?
Five decades ago, giant movie monsters were an entirely different species from today’s computer-generated monstrosities: back then, prehistoric beasties and mythical monsters were brought to life with men-in-suits, marionettes, and miniatures. Yet, these out-dated techniques sometimes produced effective results, and as old-fashioned as these films are, they have bequeathed much to makers of modern mayhem currently plying their trade in Hollywood.
Most particularly, 1961 seems to have been a transitional year. After a decade of nuclear terror and mad science unleashing mutant monsters on the science fiction screen, GORGO and MOTHRA move toward fantasy, with the villains recast as greedy exploiters of nature’s mysteries, and with the incredible creatures earning a measure of overt sympathy that in some cases allows them, surprisingly, to survive past the closing credits.
That’s right: the monsters win! Listen in to a lively conversation from those who cheered this development in real time, and who now offer a fond reappraisal of what these films still have to offer receptive viewers.
[serialposts]

Mushroom Clouds and Mushroom Men: The Fantastic Cinema of Ishiro Honda – book review

click to purchase
click to purchase

The late Ishiro Honda has long been considered Japan’s premier fantasy film director, and certainly worthy of a book-length study, which is what author Peter H. Brothers’ Mushroom Clouds and Mushroom Men: The Fantastic Cinema of Ishiro Honda provides. Clearly, Brothers is well-read and well-informed on his subject.
Mushroom Clouds and Mushroom Men: The Fantastic Cinema of Ishiro Honda is divided into three major sections. In the first, Brooks provides comments and insights on the hallmarks of Honda’s approach to direction and storytelling. In the second, he provides a mini-biography of the director, filling in many background details on his life (such as his extended military service and his long apprenticeship as an assistant director) that I have not previously seen or read. He also makes clear why the preferred spelling of Honda’s first name is Ishiro, despite his early films being credited as Inoshiro.
The final, and longest section of the book, examines each of Honda’s fantasy films in detail. This section is divided into several subsections, charting the rise and fall of Honda’s film career. Brooks does take an unusual approach to titles: he addresses each film by a translation of the Japanese title rather than by the English release title or by the Japanese title rendered in the letters of the Western alphabet. Thus, ATRAGON is referred to as SUBMARINE WARSHIP. While Godzilla and Mothra are referred to by their English names, Rodan is consistently referred to by his Japanese name of Radon.
One strength of Brothers’ work is the emphasis placed on a Honda’s collaborators. He notes the differences between the approaches of his two major screenwriters, Takeshi Kimura (whose work tended to be downbeat and critical) and Shinichi Sekizawa (whose work was more child-like and hopeful). Brothers frequently cites the quality of Eiji Tsuburaya’s work, Honda’s main special effects expert. He carefully comments on the scores of Akira Ifukube, noting the orchestrations used for the various pieces. Additionally, he makes note of actors who make multiple appearances in Honda’s films.
On the downside, however, Mushroom Clouds and Mushroom Men: The Fantastic Cinema of Ishiro Honda contains no illustrations whatsoever. (Toho Studios, which produced most of Honda’s movies, are notoriously difficult about granting permission to reproduce stills, and there are no pictures of Honda himself, even personal ones). Brothers assumes the reader will already be familiar with each of these films and so doesn’t bother with summaries and other basic information. When commenting on Ifukube’s scores, Brothers seems to mention individual pieces by translations of soundtrack cue titles rather than referring directly back to the films themselves.
Additionally, there are some other difficulties. The copy-editing is poor, for example. There are a couple of references to “eye-pooping” effects rather than “eye-popping.” Brothers uses “mute” when he means “moot.” At one point the word “contretemps” is misspelled, and a few times letters or words are omitted, obscuring meaning.
Another problem that occasionally crops up is unsupported suppositions. For example, Brothers hints that Tsuburaya contemplated suicide if the original GODZILLA had not been a success, also that Honda was never “particularly interested in directing films that stressed creatures over characters” and that he “longed to return to the kind of sweet, sentimental pictures that he was fond of directing that stressed human values.” A quote or source citation would make these claims more convincing.
However, Brothers is certainly correct in his assertions that Honda didn’t make his monster movies with the intention of frightening people. Though the creatures in them are colorful characters of mass destruction, Honda does not create typical suspense or scare scenes, and largely eschew depicting gory demises, though his original GODZILLA gains great power from its depictions of the Japanese detailing with the aftermath of the irradiated lizard’s onslaught in ways that evoke memories of the post-Hiroshima survivors.
Additionally, Brothers correctly notes Honda’s repeated emphasis on the hopes for a United Nations-oriented peaceful solution, showing Japan joining a league of nations in combating alien or monster menaces or other major problems (such as GORATH’s potentially world-destroying planetoid). When the Godzilla series was revived in the ‘80s, the tendency then was to show a more militaristically aggressive Japan (Kimura’s scripts tended to be very critical of the Japanese military establishment).
King Kong vs. Godzilla (1963)One issue I wish that Mushroom Clouds and Mushroom Men: The Fantastic Cinema of Ishiro Honda had delved more into is the differences between the Japanese and American versions of the films. Brothers doesn’t mention how Honda’s ABOMINABLE SNOWMAN was turned into an abomination called HALF HUMAN for its American release (something nicely covered recently on the And You Call Yourself a Scientist website). For the most part, Brothers concentrates on the original Japanese versions, not even mentioning how classic Universal horror themes were added to the soundtrack of KING KONG VS. GODZILLA for its American version (though he does note that the American version of the film lets the Seahawk disaster sequence run without the interruption of scenes from the Pacific Pharmaceuticals bon voyage party, as in the Japanese version).
Though Brothers does at times have a tendency to lay on the superlatives, he doesn’t stint from criticizing what he perceives as Honda’s lackluster later fantasy productions. After box office receipts began falling off on Godzilla films in Japan, producer Tomoyuki Tanaka ordered the budgets slashed, and the Godzilla films became increasingly geared towards children. Under these restrictions, Honda fell far short of his previous proven abilities with such uninspiring fare as GODZILLA’S REVENGE and TERROR OF MECHAGODZILLA.
Kumi Mizuno turns into a mushroom person.
Kumi Mizuno turns into a mushroom person.

Nevertheless, Honda made a total of 25 fantasy films, a sizeable and significant body of work worthy of the serious attention Brothers gives them. In addition to the Godzilla movies, these included his science fiction invasion trilogy THE MYSTERIANS, BATTLE IN OUTER SPACE, and GORATH; his science fiction efforts THE H-MAN and THE HUMAN VAPOUR, his submarine movies ATRAGON and LATITUDE ZERO, his Frankenstein duo FRANKENSTEIN CONQUERS THE WORLD and WAR OF THE GARGANTUAS, as well as launching MOTHRA and RODAN on their merry careers. There is also the fascinating morality tale that is MATANGO (aka ATTACK OF THE MUSHROOM PEOPLE), with its evocation of the Seven Deadly Sins and the beautiful Kumi Mizuno actually becoming more alluring as she transforms into a fungus.
Despite some caveats, for the serious lover of kaiju movies, Mushroom Clouds and Mushroom Men: The Fantastic Cinema of Ishiro Honda is worthy of your time and attention. This kind of attention focusing on one of the most prolific directors of fantasy films is long overdue.

Destroy All Monsters – U.S. Theatrical Trailer

As part of our weekend tribute to the late special effects director Sadamasa Arikawa, here is the U.S. theatrical trailer for DESTROY ALL MONSTERS – the memorable Toho production in which Godzilla, Rodan, Mothra, and all of Earth’s other monsters team up for a non-stop destruction derby involving invading aliens trying to take over the Earth. The trailer does a good job of showing off the film’s unconvincng but colorfully entertaining effects, and it includes a blooper when the monster Gorosaurus is mis-identified  as Baragon (a problem that exists in the film as well).

Destroy All Monsters (1968) – Kaiju Review

Destroy All Monsters (1968)DESTROY ALL MONSTERS is probably the last well-regarded entry in the original Godzilla series. By this time, all serious threat of the monsters had disappeared; recognizing this, director Ishiro Honda (who had helmed the original GODIZLLA in 1954 and many of the subsequent sequels) opted for a fast-paced action-adventure roller-coaster thrill ride that was seldom scary but always entertaining. Co-scripting with Takeshi Kimura (RODAN), Honda used a slim, familiar story (aliens use monsters as weapons in a war against the Earth) to string together as many effects sequences as possible, creating a memorably colorful confection.
Basically, it’s MONSTER ZERO (a.k.a. INVASION OF ASTRO-MONSTER) all over again, except this time, instead of just Godzilla, Rodan, and King Ghidorah, we also get Mothra, Anguirus, Gorosaurus, Manda,  Kumonga (a.k.a. Spiga, the giant spider), Varan, Baragon and Minya, Godzilla’s son. DESTROY ALL MONSTERS lacks MONSTER ZERO’s slightly more adult storyline and the clever banter between Nick Adams and Akira Takarada, but it delivers much more monster action. True, some of the monsters make little more than cameo appearances, but the big stars get plenty of screen time, and second-stringers Anguirus, Gorosaurus, and Manda get a  few moments to shine as well.
Before DESTROY ALL MONSTERS, the previous two films in the series, GODZILLA VS THE SEA MONSTER and SON OF GODZILLA, had shifted gears, with director Jun Fukada and composer Masuro Sato replacing the Ishiro Honda and composer Akira Ifukube. The results were light-hearted and fun, offering a clear change of pace for the series.
DESTROY ALL MONSTERS sees a return to form, with the old director-composer team back in place, with Ifukube offering another example of his impressive monster movie music, by turns ominous, mysterious, and rousing – quite a contrast to Sato’s jazz-pop stylings (which were more suited to something like GODZILLA VS. THE SEA MONSTER, which stuck the monsters in the middle of what looked like a spy adventure).
Also notable is the absence of screenwriter Shinichi Sekizawa, one of the chief architects of transforming Godzilla from villain to hero. It would be going too far to say that his absence signals a more serious approach in DESTROY ALL MONSTER, but the screenplay by Honda and Kimura definitely avoids the juvenile tone of SON OF GODZILLA.
Instead, DESTROY ALL MONSTERS is a true movie-movie. It takes itself seriously only in the sense that it does not adopt an attitude of campy condesension towards its monster-filled alien-invasion scenario. The events are presented in a straight-forward way that is an almost perfect realization of any ten-year-old boy’s dream of the most awesome movie adventure ever, loaded with heroic heroes piloting rocket ships to the moon and back while battling an evil race that has turned all of Earth’s monsters loose in one cataclysmic attack.
Honda directs DESTROY ALL MONSTERS with brisk efficiency, using the widescreen image to show off the sets and letting the actors have a ball. A free-for-all shoot out between astronauts and aliens has the heroes waving guns around not in manner designed to actualy hit a target but simply to look good on camera. In a way, this is the apex of ’60s cinema, back when movies like OUR MAN FLYNT were all about having a good time with gadgets and explosions, no matter how unlikely the storyline.
Fortunately, Honda offers more than just monsters and mayhem; there are even a few intriguing moments that border on the subtle. A long interrogation with a human taken over by aliens holds attention because the interrogation subject (Yoshio Tsuchiya) always seems on the verge of breaking his silence – but he never does. Outside on the beach, another human controlled by aliens – this one a woman – walks along a beach in high heels; the sight of those high-fashion stilettos sinking into the sand is almost surreal.
And in one of the most memorable sequences of any giant monster movie, this same alien-controlled woman walks, calm and unconcerned, amidst the panic that erupts when sirens announce an imminent attack on Tokyo. The stark contrast between the mad, rushing crowds and her serence face, indifferent to (or perhaps even eager for) the monsters’ arrival, is a wonderful sight to behold.
Special effects director Sadamasa Arikawa (working under the “supervision” of Japanese effects pioneer Eiji Tsuburaya) delivers several memorable sequences in DESTROY ALL MONSTERS. The initial attacks on Moscow, Paris, and New York go by too fast, but theyleave you wanting more. The aforementioned attack on Tokyo is one of the great sequences of its type, featuring a coordinated assault by four monsters (Godzilla, Rodan, Mothra, and Manda), with some cleverly timed action (e.g., the serpentine Manda cracks a bridge in the foreground simultaneously with Godzilla’s blasting a building with his radioactive breath).
Of course, Arikawa’s effects are far from convincing, but that becomes part of the charm. By this time, Toho had given up almost any pretense of making you believe in their menagerie of monsters and had developed their own particular aesthetic, in which acrobatic flair and flashy pyrotechnics outweighed believability. Consequently, even if the vision of space travel, rockets, and lunar landscapes in DESTROY ALL MONSTERS looks quaint compared to 2001: A SPACE ODYSSEY – well, the unreality suits the storyline.

A behind-the-scenes publicity shot on the Mt Fuji set.
A behind-the-scenes publicity shot on the Mt Fuji set of the final battle.

Keeping with this tradition, the final all-out assault of Earth’s monsters against the alien’s ace in the hole, King Ghidorah, is as entertaining a battle as ever put on screen, even though the wires show. The action deliberately defies physics, opting for a World Wrestling aesthetic in which monsters supposedly weighing thousands of tons effortlessly leap, jump, and fly with acrobatic flair; at one point, Gorosaurus even springs high off the ground to deliver a kick to Ghidorah’s back. Also as in wrestling, bodies are slammed, kicked, punched, and pummelled, with little if any real damage ever done – it’s all for show, not effectiveness. And Arikawa cannot resist the urge to anthropomorphize the monsters, as when Minya shields his eyes to avoid seeing King Ghidorah drop Anguirus to the ground (a shot deleted by AIP when the film played in U.S. theatres).
Despite all this, Ishiro Honda and Sadamasa Arikawa combine their talents to create one scene in DESTROY ALL MONSTERS that offers at least an echo of genuine suspense: when the heroes search for the aliens’ hidden lair on Earth, they are interrupted by Godzilla and Anguiras, acting as enormous guard dogs. Unlike many of Toho’s then-current films, which tended to shoot the monsters at eye level, undermining the sense of size, this sequence presents a good combination of camera angles, from the human perspective looking up and from the monster perspective looking down, including some effective composite shots that integrate humans with monsters in the same frame. For a brief moment, you almost remember what it was like to be frightened at the prospect of being crushed by something so huge that it would barely feel you under its toes.
In the end, DESTROY ALL MONSTERS is too slim in its storyline, too thin in its characterizations, to be considered a truly great film. It is not as impressive as the original GODZILLA, and it is not as hip as MONSTER ZERO. But for the ten-year-old living inside us all, it is entertainment of the most awesome sort.

TRIVIA

Godzilla on Monster Island
Godzilla on Monster Island

DESTROY ALL MONSTERS introduced the concept of Monster Island (here called “Monster Land” in the English dubbing), an island where all of Earth’s monsters had been gathered and kept locked up for study. Future Godzilla films would use Monster Island as a lazy way to re-introduce the monster without having to worry too much about continuity.
DESTROY ALL MONSTERS features the return appearance of Anguirus, the very first monster to fight Godzilla, way back in 1955’s GODZILLA RAIDS AGAIN (a.k.a. GIGANTIS THE FIRE MONSTER). Basically an oversized dinosaur (an ankylosaurus), Anguirus would go on to appear in GODZILLA VS. GIGAN and GODZILLA VS. MECHAGODZILLA in the 1970s. On the basis of these few appearances, Anguirus inexplciably became a favorite among some fans, who eagerly awaited his return when the Godzilla franchise was revived in the 1990s. Anguirus finally reappeared in the “last” Godzilla film, GODZILLA: FINAL WARS, a virtual remake of DESTROY ALL MONSTERS.
Directors Contrad Vernon and Rob Letterman cited DESTROY ALL MONSTERS as an influence on their 2009 animated film MONSTERS VS. ALIENS: “We watched it three or four times,” says Vernon, who was inspired by the plot involving mangy monsters freed from an island prison by galactic invaders. “We even have our villain, Gallaxhar, use the command, ‘Destroy all monsters.’”
INDEPENDENCE DAY (1996) also bears structural similarities to DESTROY ALL MONSTERS. The filmmaking team of Roland Emmerich and Dean Devlin would go on to do the 1998 American version of GODZILLA.

DUBBING DIFFERENCES

Unlike most of the Toho giant monster movies, DESTROY ALL MONSTERS reached U.S. shores relatively unchanged, except for being dubbed into English. Ironically, Toho had created an English dub of the film to increase its export value, but the U.S. distributor, American International Pictures, commissioned a new dialogue track, featuring the likes of Hal Linden (television’s BARNEY MILLER).
The AIP dub rewrites some of the lines and provides better voice acting. This version was seen in theatres and on television in the U.S., but it has not been available since the defunct AIP’s distribution rights lapsed. Currently available prints are of the Toho “International” version.

In the Japanese poster, Godzilla is recognizable (unlike the U.S. poster seen at top of page).
In the Japanese poster, Godzilla is recognizable (unlike the U.S. poster seen at top of page).

The dub on the International version of DESTROY ALL MONSTERS features a literal English translation of the Japanese dialogue, which does not always sound natural; the problem is aggravated by the weak vocal performances.
In at least one case, the International version’s audio track is superior. In the AIP dub, there is a lame line when a reporter watching the climactic battle near Mt. Fuji holds up his microphone and says, “I’ll turn up the sound so you can hear the monsters dueling to the death.” The Toho dub offers instead a memorable moment of high-camp comedy: “It’s horrible, ladies and gentlemen – listen to the monsters and their cries of sudden death!” This perhaps intentional echo of the “Oh, the humanity!” account of the Hindenburg disaster is capable of bringing the house down with laughter, should you ever be lucky enough to see DESTORY ALL MONSTERS in a theatre crowded with kaiju fans.
During the early montage of monsters attacking different cities around the globe, the International version offers newscaster voices overs doing very bad accents (Russian, French, etc) – an effect carried over to some extent in the AIP dub. (The original Japanese audio track has the voice-overs speaking in their native languages.)
The above-mentioned montage contains one of the more memorable film flubs in the Godzilla series. France’s Arc de Triomphe was supposed to be toppled by the burrowing monster Baragon (introduced in FRANKENSTEIN CONQUERS THE WORLD), but problems with the suit necessitated that Gorosaurus get the job instead. The dialogue was never changed, so the monster is erroneously identified as Baragon – a mistake carried over in the written text of the U.S. theatrical trailer.
DESTROY ALL MONSTERS (Kaiju Soshingeki [“Monster Invasion”], 1968). Directed by Ishiro Honda. Written by Ishiro Honda, Takeshi Kimura. Cast: Akira Kubo, Jun Tazaki, Yukiko Kobayashi, Yoshio Tsuchiya, Kyoko ai, Andrew Hughes, Chotaro Togin, Yoshifumi Tajima, Kenji Sahara, Hisaya Ito, Yoshio Katsuda.

Portions of this review originally appeared in “Godzilla Invades L.A.” in the December 1996 issue of Cinefantastique (Volume 28, Issue 6).

The Mysterians (1957) – Film & DVD Review

[NOTE: THE MYSTERIANS (1957) has been available on DVD for several years, but today sees it re-packaged with two other titles (VARAN and MATANGO) as part of the “Toho Triple Feature” box set. With that in mind, we offer this review of the original DVD.]
This attempt by Toho Studios to create an alien-invasion science-fiction adventure is only partially successful. The film lacks the grandeur of 1953’s lavish WAR OF THE WORLDS or even the moody tension of Ray Harryhausen’s low-budget 1954 effort EARTH VS. THE FLYING SAUCERS. Instead, we get a colorful, reasonably energetic thriller, with some sincere but slightly preachy speeches about the nations of the world learning to put aside its H-bomb arsenal and band together for the common good. (Made during the Cold War between the U.S. and the U.S.S.R., the film’s message no doubt played with much more gravity at the time.) Read More

Ghidorah, the Three-Headed Monster – Film & DVD Review

Click to purchase GHIDORAH, THE THREE-HEADED MONSTERThis fifth film in the Godzilla series (following MOTHRA VS. GODZILLA) is highly regarded among fans who first saw it on television as children, but anyone looking for an awesome monster movie had best look elsewhere. By this time, the franchise had given up all pretense of serious science-fiction, opting for comic antics: this is the film in which Godzilla abandons his role as a walking metaphor for nuclear destruction and morphs from villain to hero, teaming up with fellow Earth monsters Rodan and Mothra to defeat King Ghidorah, an extra-terrestrial menace that previously eradicated all life on Venus. 
The convoluted plot has a Japanese policeman protecting the visiting Princess Salno (Wakabayashi), who is under threat of assassination. After her plane explodes over the ocean, the Princess somehow shows up alive, now believing herself to be a prophet from Venus; she warns of the advent of King Ghidorah, a space monster that destroyed her world millennia ago.

Coincidentally, Godzilla and Rodan reappear, and the twin fairies from Mothra’s Infant Island summon their god (now in caterpillar form, since the conclusion of MOTHRA VS. GODZILLA) to convince the two rampaging reptiles to fight the three-headed dragon. (This film includes the infamous scene of Mothra, Rodan, and Godzilla literally conversing in monster language.) Meanwhile, assassins attempt to kill the Princess, who neglects to take precautionary measures because she does not remember being the Princess. Fortunately, the monsters interrupt the assassination attempts (e.g., knocking down power lines when she is about to be electrocuted), and Princess Salno regains her memory just as the final assassin is killed in a landslide caused by the monster battle, which ends with Ghidorah flying away in defeat.

Even by the waning standards of Toho monster movies, GHIDORAH is weak. Its message about cooperation in the face of a common enemy is delivered on the level of a kiddie flick. The pacing is slow, padded out with repetetive and/or unnecessary scenes. Just when the action does seem to be building to a climax, the movie inserts frustrating fade-outs reminiscent of a made-for-television film (you expect a commercial break to cover up the fact that we’re transitioning away from action we want to see).

The idea seems to have been to cross-polinate two genres: science-fiction and international intrigue. The two mix about as well as oil and water, and the screenplay’s trick of having the monster action conveniently assist the humans wears thin pretty quickly.  Part of the problem is the jarring tonal shifts between the live action and the special effects. Director Ishiro Honda shows a few touches of wit early on (especially when poking fun at the amateur astronomers awaiting the arrival of a UFO – which never shows up), but he mostly plays the human action straight. Special effects director Eija Tsuburaya, on the other hand, handles the monsters like comical Muppets, with antics barely one step removed from the Three Stooges.

To be fair, if one embraces the silliness, some of it is amusing. Rodan’s shift from laughter – when Godzilla is being doused by Mothra’s silk-spinning – to consternation – when the thread is turned on him – is a juvenile laugh riot. At times, GHIDORAH does work on its own terms, as when the titular menace blasts the relatively puny Mothra caterpillar and the humans cry out in alarm; for a brief moment, the action has actual impact, above and beyond a cheap laugh.

Even taking this into consideration, the special effects have noticably degraded in this film. There are fewer process shots to combine live-action with special effects, making the monster footage seem like puppet theatre cut into the movie. Citywide destruction is kept to a minimum, in favor of staging most of the battle in rural areas. Also, this is the first Godzilla film in which there is no military effort to defeat the monsters; the humans simply stand around and watch while the monsters battle it out.

The cast of human characters is pretty colorless. The only sparks fly at the very end when Princess Salno bids farewell to her policeman-protector: their eyes express the emotions they are not allowed to voice. Other than that, GHIDORAH is a tepid affair, okay for fanatics but requiring too huge a suspension of disbelief to be regarded as much more than a campy trifle.

If GHIDORAH, THE THREE-HEADED MONSTER deserves to be remembered, it is for introducing the magnificent monster that would go on to be Godzilla’s most popular foe, appearing in no less than six subsequent G-films. (Besides Godzilla, Mothra is the only Toho monster with more on-screen appearances.) Ghidorah is presented here as a scourge of the Solar System, an uncontrollable force of destruction capable of reducing entire worlds to burnt-out desolation. Unfortunately, this concept would be abandoned in most of the monster’s subsequent appearances, in which the three-headed dragon was reduced to the status of a super weapon, controlled by advanced civilizations seeking to overpower Earth. In this, his first on-screen appearance, Ghidorah makes an indelible impression as the interplanetary destroyer of worlds; too bad the film itself fails to live up to the concept.

Ghidroah, the Three-Headed Monster (1965)

DVD DETAILS

The Toho Masters Collection DVD (ASIN: B000OCY7IU) features both the original Japanese cut of the movie, with optional subtitles, and the re-edited American version. The transfer and framing of both versions is satisfactory (unlike the same company’s MOTHRA VS GODZILLA DVD, in which the American version was badly cropped, cutting off the edges of the wide-screen photography). The color is good (better than the faded prints available for theatrical retrospective screenings), but it is not as clear and sharp as DVD releases of other Toho films from the same period.
Also on the disc are an original Japanese trailer, galleries of posters and photographs, a biography of Eiji Tsuburaya, and audio commentary by David Kalat (author of A Critical History and Filmography of Toho’s Godzilla Films).
The trailer is of mild interest because it includes a few unfinished effects scenes, such as Godzilla reacting to the lightening blasts from King Ghidorah, which have not been added to the shot yet. There are also a couple of cuts clearly showing a hand-puppet version of Godzilla that does not match the full-size suite worn by the actor.
The galleries include only a handful of posters and photographs, but unlike most DVD galleries, these contain elaborate captions that identify the images and explain their significance.
The video biography of special effects supervisor Eiji Tsuburaya is, in essence, a slide-show: comprised of still photos and narration, it does a good job of hitting the high points in Tsuburaya’s life and career; even hardcore fans, already familiar with the details, will find it interesting.
The Japanese cut of the film is approximately ten minutes longer than the American version, but in this case (unlike most of Toho’s efforts) it is not clear that the original version is superior. The longer cut moves at a slower pace, and much of the footage missing from the American version adds little to the story. In the most egregious example, the twin fairies sing not once but twice to Mothra; the second scene is virtually identical, cut for cut, to the first. The American re-edit wisely deleted the unnecessary reprise.
The American version moves along more quickly, but the re-editing introduces problems of its own. The arrival of the meteor that brings Ghidorah to Earth is moved up to the opening sequence, and the monster emerges from the meteor (in a spectacular display of pyrotechnics) much earlier. This creates an absurd situation in which Princess Salno is prophesying the arrival of a creature that has already arrived, and yet it seems to be news to the people listening to her.
Another silly bit of rejiggering leaves what looks like a gaping hole in the effects: Godzilla wades ashore, hears the sounds of Rodan flying overhead, and looks up; unfortunately, the POV shot of the clouds overhead shows no sign of the giant pteranodon – just empty sky. The glaring absence  suggests that the effects team forgot to add Rodan into the shot. This turns out not to be true: in the original Japanese continuity, Rodan is first heard, then seen emerging from the clouds; after being briefly visible, he disappears back into the clouds. In the American version, the shots of Rodan have been moved up to an earlier scene of Godzilla in the ocean, implying that the sea-going dinosaur notices the flying monster and follows him to land. Reshuffling the footage creates the odd continuity gap, leaving no visible reason for Rodan’s mysterious disappearance.
The re-dubbing has its good and bad points.  For some reason, Princess Salno’s Venusian prophetess becomes a Martian in the English-language version. On the negative side,  giving regional accents to characters in a rural area creates Japanese characters who sound as if they wandered in from the set of FARGO. On the positive side, sound effects from the monsters were added in the background of the final gun battle between the policeman and the assassin, creating a stronger connection with the climactic monster battle taking place just over the hill.
The audio commentary by David Kalat, which plays over the American version, is a bit disappointing. Although Kalat obviously knows his stuff, he seems too eager to retract statements he made in his book (about the preferability of subtitling to dubbing) while mounting a case for the superiority of the American re-edit, and he is equally eager to downplay the flaws in GHIDORAH, THE THREE-HEADED MONSTER, both in the original version and in the English-dubbing.   
Fortunately, Kalat’s formidable analytical skills have not completely abandoned him, and when he gets off his pro-dubbing soap box he does have interesting observations to make. Most notably, GHIDORAH, THE THREE-HEADED MONSTER represents a considerable advance for female characters in the series, who take a more active role in solving the problem, instead of waiting around for the men to rescue them. Kalat also points out that Princess Salno is at her most assertive when she has abandoned her royal garb in favor of a male fisherman’s hat and coat. When her rescuers put her back into female clothing, her assertiveness begins to recede, until by the end of the film she is back in her former role.
The Toho Masters DVD of GHIDORAH, THE THREE-HEADED MONSTER does a good job of presenting this historically important (if over-rated) entry in the Godzilla series. For many American viewers, this is the first opportunity to see the original Japanese version of the film, which in and of itself makes the disc worth a rental. It is also nice to have the American dub preserved for comparison purposes. But neither the quality of the film, nor of the DVD bonus features, is enough to make this an essential part of a sci-fi fan’s collection. Owning this one is strictly for hardcore fanatics and completists.

TRIVIA

When first released in the United States, the title of the film was spelled GHIDRAH, THE THREE-HEADED MONSTER, making the monster’s name only two syllables instead of three. As David Kalat points out in his DVD audio commentary, the Japanese language is spelled in such a way that two consonant sounds cannot be contiguous; a correct rendering of the original Japanese spelling produces the revised title GHIDORAH. (Although the spelling and pronunciation may have varied slightly over the years, Ghidorah’s subsequent film appearances utilized a three-syllable version of the name.)

Godzilla, Rodan, and Mothra defeat King Ghidorah.


 GHIDORAH, THE THREE-HEADED MONSTER (a.k.a. San Daikaiju: Chikyu Saidai No Kessen [“Three Giant Monsters: Earth’s Greatest Battle”], 1964). Directed by Ishiro Honda. Written by Shinichi Sekizawa. Cast: Yosuke Natsuki, Huniko Hoshi, Hiroshi Koizumi, Akiko Wakabayashi, Emi Ito, Yumi Ito, Takashi Shimura, Akihiko Hirata, Hisaya Ito, Minoru Takada, Sensho Matsumoto.

Invasion of Astro-Monster – Film & DVD Review

This sequel to GHIDORAH, THE THREE-HEADED MONSTER is one of the best entries in the long-running series of Godzilla films from Japan’s Toho Studios. Although the serious tone of the original GODZILLA (a.k.a. GOJIRA, 1954) were long gone, INVASION OF ASTRO MONSTER (originally released in the U.S. as MONSTER ZERO) stands out as a colorful, fun, and exciting romp of a movie. The special effects are spectacular if not altogether convincing; the action is outrageous; the story is fast-paced. And best of all there is some genuinely charming character interaction, thanks in large part to the presence of American co-star Nick Adams, who has wonderful chemsistry with Japanese star Akira Takarada and generates firey romantic sparks with leading lady Kumi Mizuno. The plot has the inhabitants of the newly discovered Planet X requesting help from Earth: the loan of the monsters Godzilla and Rodan to defeat the interplanetar menace Ghidorah, known on Planet X as “Monster Zero.” The duplicitous X-ians then double-cross Earth, demanding that it submit to Planet X or else face the wrath of all three monstes, whom the X-ians control with radio waves. This leads to a frantic effort by Earth’s forces to destroy the X-ians control of the monsters and drive the invaders from our planet.
MONSTER ZERO is atypical for the Godzilla series in that the monsters play a subordinate role, with most of the screen time devoted to the human characters and their conflict with Planet X. Except for a couple of brief skirmishes, Godzilla, Rodan, and Ghidorah barely appear in the first half; the film saves them for the climactic battle at the end. This approach bears some fruit: with fewer scenes to work on, the special effects crew seems to do a better job, although, unfortunately, some stock footage is used (from RODAN and MOTHRA) to augment the miniature destruction scenes.

TRIVIA

The film’s original Japanes title “Kaiju Daisenso” translates as “Giant Monster War.” “Invasion of Astro Monster” was the “International Release” title used when Toho sold the film overseas. In the U.S., the film was released to theatres in 1970 (on a double bill with WAR OF THE GARGAUNTUAS) as MONSTER ZERO. For later release on VHS, laserdisc, and DVD, the title was expanded in the box artwork to GODZILLA VS. MONSTER ZERO.
The Toho Masters Collection box artwork uses the International release title “Invasion of Astro Monster,” but the English subtitles for the Japanese version of the film translate the title as “Invasion of the Astro-Monster” (an understandable discrepancy, as the Japanese language does not contian articles like “a,” “an,” and “the,” so translators must insert them at their own discretion). The English-language version of the film on the DVD retains the old U.S. title MONSTER ZERO.
MONSTER ZERO is one of the first Godzilla films to reach U.S. shores with only minor editorial alterations for U.S. release (besides the English-dubbing, of course). The opening credits substituted an eerie, ominous theme in place of the original’s rousing military march (a common element in scores by series stalwart Akira Ifukube). Some Japanese language writing and newspaper headlines were changed to English. And the Controller of Planet X is no longer heard speaking in his native tongue. Toho prepared an English-dubbed version of INVASION OF ASTRO MONSTER that retains these missing pieces, plus a brief shot featuring the original sound recorded on set, pre-dubbing, so that you hear Akira Takarada speaking in Japanese while Nick Adams responds in English

DVD DETAILS

The Toho Masters Collection DVD (ASIN: B000OCY7IK) offers the original Japanese version of the film, with optional subtitles, under its international release title INVASION OF ASTRO MONSTER, plus The Americanized English-language version, known as MONSTER ZERO. Also included are:

  • A Japanese trailer
  • A small but impressive poster gallery and a still photograph gallery, both with informative captions
  • A video biography (using still photos and narration) of Godzilla producer Tomoyuki Tanaka
  • An audio commentary by Stuart Galbraith IV, author of Monsters Are Attacking Tokyo.

Like the other Toho Masters DVDs, this one comes in a shiny, hard DVD case with a colorful Japanese poster on the front and a nice black-and-white still photograph on the inside front cover.
The transfers for both version of the film offer a clear colorful widescreen image with good sound. In general the picture quality is comparable with the out-of-print Scimitar DVD from the 1990s.
There is a slight improvement in that the Toho Masters disc has a few more chapter stops, but as with the Scimitar DVD, the chapter stops do not do a much improved job of helping you jump to your favorite moments. For example, both DVDs have a chapter stop for the three-way battle on Planet X that begins with a boat arriving at an island on Earth, followed by an extensive dialogue scene, before finally shifting to outer space for the promised action.
The trailers offers a nice glimpse of what filming must have been like. Edited together before the film had been dubbed, the trailer includes live sound takes from the filming, with American star Nick Adams speaking English to his Japanese co-stars, who respond in their native language.
The image galleries are small but impressive. Unlike most DVD galleries, these feature informative captions that induce you to actually stop and look at each individual image, instead of thumbing through all of them without pause. The information for the posters is especially useful, because the film was released several times: in Japan, in American, then in Japan again (in an edited form as part of a series of kiddie matinees called the “Champtionship Festival”). It’s nice to have the different art work identified according to which campaign it supported.
The video biography of Tanaka is on par with biographies on other Toho Masters DVDs: it’s reasonably informative, provides some interesting background details, and hits the high marks in the producer’s career. Long-time fans may not learn much new, but they will find it interesting.
Unfortunately, Gailbraith’s audio commentary is a disappointment. Although thoroughly well-versed in the subject, he seems to have little to offer in terms of analysis; instead, he falls into the trap of filling the time by identifying each and every Toho stock player who walks on screen, then giving an extensive biography and filmography. This may be justified in the cases of Akira Takarada and Kumi Mizuno, who had long associations with the Godzilla franchise, but after awhile it wears thin.
We would have been more interested in hearing details of the differences between the two versions of the film: although MONSTER ZERO is one of the least re-edited Godzilla movies, the Japanese cut still runs over a minute longer than the American version.
Galbraith also derides the English-dubbing of the film. More often than not, the original Japanese versions of the Godzilla films are preferable, but in this case we should make some allowances for the fact that there is an English-speaking star in the lead. The English audio track is marred by some notable groaners (e.g., the hysterical, unidentified cry of “Look out the window!” when a flying saucer appears over the Earth space headquarters). More often than not, however, it works. It was certainly an eccentric choice to give the undercover aliens on Earth voices that sound like movie gangsters, but they do dress and act a lot like gangsters, so why not? Galbraith complains (as he did in Monsters Are Attacking Tokyo) the Yoshio Tsuchiya’s vocal performance as the Controller of Planet X is lost in translation, but the real strength of his performance lies in his gaggle of eccentric hand gestures; the only thing truly lost are the few moments when he spouts his (reportedly improvised) alien language.
Even if you already own the ouit-of-print Scimitar DVD (which was re-released by another company shortly after Scimitar went out of business), it may be worth you while to pick up the Toho Masters Collection Disc. The bonus features are much better, and it is nice to finally have an opportunity to see the original Japanese version of the film; even if the differences are only minor, fans will want to check them out.

Godzilla and Rodan battle King Ghidorah on PLANET X

KAIJU DAISENSEO (“Great Monster War”; a.k.a. Invasion of Astro Monster; Monster Zero, 1965). Directed by Ishiro Honda. Written by Shinichi Sekizawa. Cast: Nick Adams, Akira Takarada, Jun Tazaki, Akira Kubo, Kumi Mizuno, Keiko Sawai, Yoshio Tsuchiya, Takamura Sasaki. Genzo Tabu.

 

Mothra vs. Godzilla (1964) – Film & DVD Review

Among fans and critics, this is generally considered the best Godzilla sequel from the original series of films, which ran from GOJIRA in 1954 to TERROR OF MECHA-GODZILLA IN 1975. (The monster was revived for two subsequent series, beginning in 1984 and 2000, respectively, plus the 1998 American film produced at TriStar.) MOTHRA VS. GODZILLA shows the Toho team (director Ishiro Honda, writer Shinichi Sekizawa, composer Akira Ifukube, and effects expert Eiji Tsuburaya) working in top form. Although the dark and serious tone of the original GOJIRA is long gone, the series had yet to descend into the juvenile antics of the 1970s. Only occasional penny pinching (fewer composite shots and elaborate miniatures) and a handful of minor gaffs mar this colorful, elaborate fantasy film, which is thoroughly enjoyable for fans and children, and might even impress a few non-fans.

The story follows a reporter, Ichiro (Takarada), and his female photographer Nakanishi (Hoshi), who are covering a story about a giant egg that washed ashore after a typhoon. A greedy businessman buys the egg from the local fisherman and, along with his investment partner, plans to build a theme park around it. The Shobijin (twin fairies from Infant Island, home of Mothra) arrive and ask for the return of the egg; the reporters, along with a sympathetic scientist (Koizumi) try to help, but they are unable to persuade the egg’s new owners to relinquish their legal rights in favor of doing the right thing.


Unfortunately, it turns out that Godzilla was also washed ashore by the typhoon; the monster arises from the sandy plain where he was buried and goes on a rampage. The reporters and the scientist head to Infant Island to beg the natives for Mothra’s help. The natives and the Shobijin, whose island was decimated by nuclear testing, are unsympathetic; after all, the so-called civilized world did not help them in their quest to return the egg. The men are ready to give up, but Nakashina makes a heart-felt, emotional plea, which convinces Mothra to join the fight. The giant moth dies in the battle with Godzilla but manages to protect her egg, which hatches not one but two young larvae. The greedy businessmen die while fighting each other in a hotel, which Godzilla trashes. The larvae pursue Godzilla to an island close off shore, where they cocoon him in their sticky web until he falls off a cliff, disappearing beneath the ocean.
MOTHRA VS. GODZILLA is a virtual remake of 1963’s KING KONG VS. GODZILLA: In both films, Godzilla is a radioactive monster threatening Japan, and his opponent is an over-sized animal living on a South Seas island where the natives revere him/her as a god. Both films feature island natives distinguished by their strange skin color (green in the previous film, orange here). Both films feature none-too-subtle attacks on corporate greed that puts profits ahead of morality. And both films end with Godzilla defeated by his foe, falling off a cliff and disappearing beneath the ocean (until the next film, of course).

http://pub32.bravenet.com/photocenter/remote/2724789253/F46B275E04.jpg

The chief difference between KING KONG VS. GODZILLA and MOTHRA VS. GODZILLA is that the previous film was a deliberate satire that poked fun at its corporate villains and played its monster battle for laughs, including much anthropomorphized wrestling action. MOTHRA VS. GODZILLA, on the other hand, features some comic relief but generally plays its story straight, and the monster action remains mostly animalistic in nature, avoiding the jump-kicks, somersaults, and back-flips performed by Kong and Godzilla.
Thanks to her colorful wings and graceful movements, Mothra creates a wonderful visual contrast to Godzilla’s scaly reptilian appearance, making her perhaps the best foe ever to square off against the nuclear monster. MOTHRA VS GODZILLA lacks the gravitas of the original GOJIRA; this is not a believable science-fiction story but an imaginative fantasy that requires a suspension of disbelief. Taken on its own terms, it works wonderfully well, even though it’s well past the time when Godzilla could frighten an audience as a walking metaphor for nuclear destruction and the horrors of war.
The result is fast-paced, exciting fun. The film is even moving, when Nakanishi begs the Infant islanders for help in spite of the wrongs they have suffered. The human cast take their roles seriously; the script delivers its message clearly (that humanity should work together for a better world) without being heavy-handed. The elaborate production, with its large cast, numerous locations, and extensive sets, is wonderfully helmed by Honda. And the special effects, though not always convincing, are beautifully done and always entertaining to watch.

Godzilla attacks - a blend of live-action and effects.

MEMORABLE MOMENTS 

In one of the greatest scenes in the series, a coordinated military attack strikes Godzilla with canon blast from the ground and napalm bombs from above. When the smoke clears, we see Godzilla with his head thrown back, roaring; as he lowers his face, it suddenly becomes clear that the top and back of his head is on fire! Amazingly, the shot continues a moment longer as Godzilla turns and strides away; it’s hard to believe that half a dozen crew people did not immediately rush into the shot with fire extinguishers instead of allowing suit-actor Haruo Nakajima to continue with the action.

GOOFS

Just before Godzilla leaves shore for the showdown with the Mothra caterpillars, there is a long shot of Godzilla striding along a miniature shoreline that we assume to be on the mainland. Moments later, after Godzilla has crossed the water to a nearby island, the same miniature shoreline is used to represent the island. Clearly, the miniature was built to represent the island. For some reason, the editor took a brief trim from this footage and used it to augment Godzilla’s appearance on the mainland, which otherwise consisted of live-action shots of actual locations, with Godzilla optically inserted into the background.

TRIVIA

The Godzilla suit for this film is one of the favorites among fans. It is lighter and less bulky, allowing for greater movement. The face loses some of the reptilian features from Godzilla’s previous appearances, in which he somewhat resembled a T-Rex mutated by atomic radiation. Its furrowed brows convey a sinister appearance, suggesting a bit more malevolent intent (as opposed to animal instinct) that helps contrast Godzilla with the benign Mothra.
This version of the Godzilla suit is also memorable for another reason: apparently through some kind of accident, the top jaw came loose during filming; it can be seen wobbling during Godzilla’s early scenes. Although an accident, this actually lends a bit of animation to Godzilla’s usually expressionless face.
As with the previous films in the series, a hand-puppet head was used for some close-ups of Godzilla. Typically, the close-up head does not completely match the head worn by Haruo Nakajima, the actor inside the rubber suit.

For some long shots of Godzilla crossing the ocean to a small island, the old suit from KING KONG VS. GODZILLA was used. The suit was also used for the shot of Godzilla, covered in Mothra’s web, tumbling over a cliff and into the ocean for the conclusion. This was done to avoid wear and tear on the new suit, as past experience had shown that the foam rubber Godzilla suit did not hold up well in water.

Mothra grabs Godzilla's tail.

Although the flying moth puppet from MOTHRA (1961) was reused for some shots, new puppets were built for Mothra in moth and larvae form. This was because the original puppets were created in a different scale and would not have appeared the correct size if photographed in the same shot with the Godzilla suit.
There is less building-bashing in MOTHRA VS. GODZILLA than in previous films. In an effort to keep the budget down, Godzilla briefly attacks a city after his first appearance, then heads to rural areas for most of the rest of the movie. His fight with Mothra in moth form takes place near a sandy beach; his fight with the larvae takes place on a rocky island.
The original title is “Mosura tai Gojira,” which translates as “Mothra versus Godzilla.” The U.S. distributor, American International Pictures, retitled the film “Godzilla Vs. The Thing” and mounted an advertising campaign to create a mystery regarding exactly what sort of foe Godzilla would fight. To justifying the title, the English dubbing includes a few lines of dialogue in which “Shobijin” (small fairies played by identical twins Emi and Yumi Ito) refer to Mothra as “The Mighty Thing.”
This is the only Godzilla film that contains more footage of Godzilla in the export version than in the Japanese original: the English-dubbed U.S. prints contain an early sequence in which the American navy attacks Godzilla on the beach with “Frontier” missiles, knocking the monster down but not killing him. Exactly why this scene is in the American verson but not the Japanese version has never been definitely explained. A common assumption is that the sequence was added to please U.S. distributor, but according to author Steve Ryfle (Japan’s Favorite Mon-Star), the scene existed in the original script, even before a U.S. distribution deal was signed. What is clear is that the Frontier missile sequence was not simply cut out from Japanese prints and retained in U.S. prints: two versions were filmed of the scene that immediately precedes the Frontier missile attack. In the Japanese version, a group of officials sit around a table discussing strategy, and a messenger arrives to report on Godzilla’s movements; this is followed by a shot of Godzilla walking through a hilly area, suggesting that he is moving away from the city. In the American version, the shot of Godzilla appears immediately after his first attack on a city; then the film cuts to the strategy meeting, with a slightly different group of officials, including a handful of Americans, sitting around the same table and discussing plans to use the new missiles. The fact that two versions of this scene were filmed suggests that there was a deliberate attempt to create an “alternate” version for U.S. consumption.
Emi and Yumi Ito were well known in their native land as the singing duo The Peanuts. Here, they sing both the “Mothra” song composed by Yuji Koseki for MOTHRA (1961), plus a “Lament for Infant Island” composed for this film by Akira Ifukube.Despite a few minor editorial changes (the addition of the Frontier missile sequence, the deletion of a shot of one villain with a bloody head after being gunned down by his partner), the Americanized GODZILLA VS THE THING remains mostly faithful to the Japanese original. In fact, this is the first Godzilla film to reach U.S. shores without major alterations: there is no new footage added by the American distributor; the dubbing retains most of the story and dialogue, and Akira Ifukube’s score is left intact (except for a brief edit to the Shobijin’s lament for Infant Island).

Singers Yumi and Emi Ito as Mothra's twin fairies.

DVD DETAILS

In the U.S., GODZILLA VS. THE THING has been released several times on VHS, laserdisc, and DVD (often with title on the box art changed to “Godzilla vs. Mothra”). Perhaps because this film was not heavily altered for U.S. release, there was less urgency from fans for obtaining a DVD that restored the original version, complete with Japanese language and English subtitles.
The Toho Master Collection DVD , released in the U.S. by Classic Media in 2007, includes both the Japanese-language MOTHRA VS. GODZILLA (with optional subtitles) and the Americanized GODZILLA VS. THE THING (with optional audio commentary). The disc comes in a silver slipcase that resembles a small book. The front cover features colorful poster artwork from the Japanese release; the back has three color images from the film; and the interior includes a black-and-white publicity photo that composites Mothra flying over Godzilla, who is waist deep in the ocean, to create a scene that does not appear in the film. Bonus features include an audio commentary, a poster slideshow, and a biography of Akira Ifukube.
The DVD menu features a collage of poster art from the film. The American and the Japanese version are each divided into 11 chapters, accessible from nearly identical menus: Both versions display the “Godzilla vs. the Thing” title card for the first chapter. However, Chapter 6 of GODZILLA VS THE THING, which begins with the alternate scene that introduces the Frontier missile sequence, is titled “Send in the Fleet.” Chapter 6 of MOTHRA VS. GODZILLA, which begins with a different version of the scene and omits the Frontier missile sequence, is titled “Military Orders.”
The slideshow features fifteen advertising images, backed by audio from the opening credits (including the main title music and the typhoon sound effects). One lobby card, from a 1980 reissue of the movie, features the anachronistic image of the goofy-looking Godzilla suit first seen in 1974’s GODZILLA VS. MECHA-GODZILLA.
The Ifukube biography consists of text that provides a brief rundown of the symphonic composer’s career, emphasizing his work on science-fiction film scores. It ends with a moving tribute from producer Shogo Tomiyama, who worked with Ifukube on Godzilla films in the 1990s.
The audio commentary by Steve Ryfle and Ed Godziszewski is insightful and informative. The duo discuss the changes made to the film for U.S. release, praise the dubbing, point out the film’s message, and offer up interesting tidbits about the techniques used to bring Godzilla and Mothra to life (e.g., special effects director Eiji Tsuburaya talked Toho Studios into purchasing an optical printer, a device that facilitated combining live-action with miniatures, in order to create smoother composite shots of Godzilla appearing above the real city skylines).
Although fans, Ryfle and Godziszewski are willing to point out flaws, such as the high-speed photography that makes Mothra’s wings beat fast enough to show her take flight – but which also makes Godzilla tumble over like a silent movie comedian. They criticize the artificial look of the Infant Island exteriors and report that director Ishiro Honda regretted not fighting for more elaborate island sets. Ryfle also notes that the story is mostly wrapped up by the time the larvae hatch from Mothra’s egg, so the screenplay is forced to gin up a crisis (some school kids left on an island in Godzilla’s path) to fill up the final reel.

The newly hatched Mothra caterpillars head for battle.

If there is a problem with the commentary it is that the word “realistic” crops up too often in regards to the effects work. By this point in the Godzilla series, it is clear that there was less effort to make the monsters look big and convincing on screen; the scenes of Godzilla battling Mothra or miniatures tanks and airplanes are always exciting and eye-catching, but they are seldom truly convincing.
With all this, the Toho Masters DVD might sound like a must-have item for your collection; unfortunately, the disc falls short in one significant way: image quality. The American print is decent but slightly soft, with colors a tad faded, plus some noticeable scratches and speckling. The Japanese print is better, with a somewhat sharper image and less visible speckling.
The big problem is not colors or scratches but letterboxing, which does not do justice to the widescreen compositions of the original theatrical presentation. MOTHRA VS GODZILLA was shot in a 2.35 anamorphic process that filled the movie screen with special effects, action, beautiful locations, and elaborate sets – some of which are cut off on the DVD.
The American print is framed at approximately a 1.85 aspect ratio that omits large sections of the picture from the left and the right. This problem is most obvious during Godzilla’s brief raid on a metropolitan center. In one elaborate long shot, the camera pans from right to left across a crowd of fleeing people to reveal Godzilla in the far left background – except that he remains off-screen in this version, thanks to cropping off of the edges of the frame.
The Japanese print is considerably better but not perfect. The aspect ratio approximates the theatrical version, with only a minimal loss of picture information on the left and right. In the shot mentioned above, sharp-eyed viewers can catch a glimpse of Godzilla nosing his way into the left side of the frame just before the camera cuts away to another scene.
In this regard, the Toho Masters Collection DVD is inferior to the 1990s Scimitar DVD release of GODZILLA VS MOTHRA, which actually featured a widescreen and a full screen transfer of the English-dubbed GODZILLA VS THE THING.
The widescreen Scimitar transfer framed the image in the correct 2.35 aspect ratio. The print was perhaps darker and grainier, but the speckling was less obvious (except during composite photography). Although far from perfect, the Scimitar version presented the full image to the viewer, so that Godzilla’s dramatic entrance into the panning special effects shot in question was plainly visible.

The newly hatched Mothra caterpillars head for battle.

Because of incorrect letter-boxing, the Toho Masters Collection DVD cannot be considered an adequate replacement for the out-of-print Scimitar DVD. The Toho Masters disc is essential for American fans who want to obtain the Japanese version of MOTHRA VS. GODZILLA on DVD. The bonus features make it a nice addition to the collection of any G-Fan, even those who prefer the English-dubbed GODZILLA VS. THE THING. But cropped image transfer prevents this disc from being reckoned as the definitive DVD presentation of one of Toho’s most highly regarded classic monster movies.
MOTHRA VS. GODZILLA (Mosura Tai Gojira, a.k.a. “Godzilla vs. The Thing,” 1964). Produced by Tomoyuki Tanaka. Directed by Ishiro Honda. Written by Shinichi Sekizawa. Cast: Akira Takarada, Yuriko Hoshi, Hiroshi Koizumi, Yu Fujiki, The Peanuts (Emi and Yumi Ito), Yoshifumi Tajima, Kenji Sahara, Jun Tazaki, Kenzo Tabu, Haruo Nakajima.
RELATED ARTICLES: