On 16th May 2014, Toho’s greatest monster will return to the big screen in an American reboot. With just 26 weeks to go, we here at THN are counting down the GODZILLA back catalogue.
Director: Ishiro Honda
Starring: Akira Takarada, Yuriko Hoshi, Hiroshi Koizumi, Yu Fujiki, Emi Ito, Yumi Ito, Yoshifumi Tajima, Kenji Sahara, Jun Tazaki,Haruo Nakajima
Plot: A giant egg washes up on a beach in Japan and some unscrupulous business types set about making an attraction out of it. Meanwhile, Godzilla returns and only Mothra can help the humans. The only problem being, that’s her egg and the businessmen are not likely to give it back.
While Godzilla took a break from the big screen between 1955 and 1962, Toho decided to try their hand at a number of different giant beasts. First of all was RODAN, a Pterodactyl/Pteranodon (covering my bases there)-like creature that never really made a huge splash solo wise, but would become both an enemy and friend of Godzilla later on. Then we had the creature that many would say is second only to Godzilla in terms of fame and importance. MOTHRA got her own film in 1961, just a year before Godzilla was to return. Mothra was an entirely different beast. In MOTHRA, the huge caterpillar (later moth) merely came to the mainland in order to rescue her two fairy (teeny tiny ladies) protectors who had been kidnapped by a greedy businessman. Mothra was a clear hero, but due to its size and starting life as a child, it caused quite a bit of destruction.
The basic plot owed a lot to the original KING KONG, and its plot was also the basis for KING KONG VERSUS GODZILLA and MOTHRA VERSUS GODZILLA. Still, when you really just want to see monsters going at each other, the plot is usually secondary. After the success of KING KONG VERSUS GODZILLA, which is still the most successful Godzilla film to date, it seemed obvious that Godzilla’s future lay in taking on other monstrous creatures. Once again he’s the supporting act to the headliner, but he’s also the one we all came to see. At least he gets in the title this time around, as his next cinematic effort (released the same year) wouldn’t even acknowledge his presence in its title. This would also be the last time in the Showa series (1954-1975) that Godzilla would be the villain, as he became a heroic protector after this.
Opening with an ominous storm, we soon find ourselves following our protagonist Ichiro Sakai, who looks awfully familiar. Why, it’s none other than original GODZILLA star Akira Takarada! Now he’s playing a reporter looking into the recent typhoon, but once his photographer partner, Yoka (Hoshi), spots a strange object in the water, you can bet your biscuits we won’t be following this typhoon nonsense for long. Pretty soon, a giant egg is spotted in the ocean. Once it lands on the beach it is obvious that the effects are astounding. All sorts of techniques are incorporated to boggle the mind with the most realistic looking superimposing of the series so far. Both director Honda and special effects genius Eiji Tsuburaya also worked on MOTHRA, where they had many different obstacles to overcome.
Before long, the fisherman responsible for reeling in the egg have already sold the curiosity to a unscrupulous businessman who wishes to turn the egg into a brand new attraction at an amusement park. Although the film never goes into JURASSIC PARK territory, that is an idea for the future (crosses fingers). MOTHRA VERSUS GODZILLA certainly likes to look at the greedy side of humanity, where everything is for sale, including gigantic mysterious eggs. While the businessman gets involved with an even more sinister money hungry type, they are asked by the egg’s guardians, a pair of miniature (think Thumbelina) women (Emi & Yumi Ito), to return the egg or face the consequences. Of course, our money grabbing antagonists pay them no mind, and our fairy ladies must converse with our protagonists. This is the first time in a Godzilla movie that we are faced with obvious human villains. Mr. Tako in KING KONG VERSUS GODZILLA may have had similar intentions, but he was also vastly comical and never truly mean spirited. Even I’d consider exploiting a giant animal for financial gain. The protagonists fail to procure Mothra’s egg, with the villains trying to buy the miniature women as well. Our fairy guardians return to their island suggesting that Mothra will return with a vengeance. The superimposing proves itself to be very good in all of these early shots, with the fairies often moving and filled with life. The original MOTHRA had an abundance of dolls as stand ins, which removed some of the magic at times.
Not long after they’ve left, Godzilla makes his most spectacular entrance from underground. It makes a change from his deep sea arrivals, and it is still a sight to behold. Godzilla this time around is looking more complete than he ever has before. There isn’t a slight hint at the man below the suit, and Godzilla’s face has taken on more mammal-like characteristics. It adds an element of empathy for us as the audience since reptilian creatures have always seemed more alien. The build up to said scene is also terrific, with the early introduction of (what turns out to be) Godzilla’s scale, and then placing the focus squarely on Mothra. Godzilla’s arrival is announced with an erratic Geiger counter alerting us to his radiation. Godzilla is also handled quite differently in terms of his movement. It may sound odd, but this Godzilla is portrayed as very clumsy, but never for comedic effect. It is clear that he is a strange creature adapting to a world he doesn’t fit into, and that brings with it a huge level of sadness. He gets his tail caught and ends up destroying a tower, before tripping down a sudden dip and crashing into a temple. Although covered in a thick suit, we clearly see Godzilla’s frustration, and it’s easy to understand his aggression. They are simple, but very welcome touches to a character who could be portrayed as just a monster. The awkward movement is something that was purposefully put into a later monster classic, THE HOST, in which a mutated fish/tadpole winds up on land.
With Godzilla’s return there is only one viable option, and that’s for our heroes to travel to Infant Island (the home of Mothra) and ask for help. We get a clear message of where we are in the world today when it is noted that “Demonstrations against nuclear weapons don’t make the news anymore.” Less than 20 years after the event that rocked Japan and already the existence of nuclear weapons had become the norm. We’re reminded of such devastating effects once we arrive on Infant Island, where everything is lifeless and skeletons litter the coastlines. Again, taking a more serious perspective than last time, the tribe are not played for laughs this time. There is clear talk that addresses not tarring everyone with the same brush, but it’s also littered with some heavy handed dialogue concerning God and faith. I’m not against exploring religion in film, but it does seem very forced in this context. Thankfully, we are then treated to Mothra’s song, in which the fairies, portrayed by the Ito sisters who were also known as singing duet The Peanuts, rally Mothra to help humanity. It’s a lovely song with a catchy beat and has no need for you to understand the lyrics.
Mothra decides to help out human kind, despite the fact we’re all a bunch of shits (I’m paraphrasing). However, before she makes it to the mainland, we have some comeuppance for our cruel human characters. It’s no accident that the most graphic violence is between human and human, with a rather bloody face punching sequence showing the animosity of man as a stark contrast to the more playful fights between the titular beasts. The battle is a wonderful site to behold. Unlike Godzilla’s previous foes, this isn’t some guy in a suit. Mothra is brought to life by a series of puppetry techniques and glorious wirework. It gives Godzilla more of a challenge, as he may be a master on land and sea, but he struggles with airborne assaults. The sound effects may be repetitive in terms of the monsters’ screams, but it adds to a very uneasy feeling of despair and Mothra valiantly battles on. Mothra comes just in time, as Godzilla aims his frustration at her egg. It’s not quite clear as to Godzilla’s motives in singling out the egg, other than it moves the plot forward, and it proves he’s a villainous jerk. What it does allow is perhaps a more intricate reading into the battle of the sexes. Godzilla may represent the anger and destruction of man, while Mothra is the maternal protector. She fights for the survival of her baby-to-be, and in her dying moments she manages to cover the egg with her wing. It’s a striking image, and one that adds a little pathos familiar from the first Godzilla film.
Mothra’s passing will come as a shock to many, as it happens two thirds of the way through the film. Perhaps being the headliner isn’t all it’s cracked up to be. This leaves Godzilla to aim for an island where a bunch of school kids have been deserted along with their teacher during an evacuation. It’s a bit of a manipulative plot device, as previous Godzilla films have focused on his destruction as a whole, whereas this tries to shrink it down to an obvious and obnoxious tug at the heartstrings. We’re already hating on the G-man after he kills Mothra. Mothra’s egg hatches just in time and reveals twin caterpillars. They immediately set off after Godzilla and bring him down by covering him in some silky squirting. It’s a bit of a downer for a monster that held his own against King Kong and took out Mothra, to suddenly be taken out by two babies just minutes old, but at least we can argue he was outnumbered.
MOTHRA VERSUS GODZILLA brings out the best in both monsters, while giving a simple but enjoyable retread (get used to it) of their individual plots. It also showed that Ishiro Honda could handle both the comedy and serious aspects of the story without forcing them to collide rather than merge seamlessly. It’s also amazing to see how practical effects evolved in the decade since Godzilla films started. They also manage to be consistent throughout, with both Mothra and Godzilla looking equally awesome. Bringing Mothra and Godzilla together was a stroke of genius that somehow manages to dwarf the previous encounter. The human cast may not get as much of the focus, but Akira Takarada once again leads with strength and conviction with the entire cast and their reactions helping to enhance the believability of it all. A strong entry, and something for all later monster mashes to live up to.
Dub-Misstep: Not a misstep at all as it happens. The dialogue is very similar to the original and the only addition are some Americans planning to bomb Godzilla, which was actually shot by Toho for the American release. The only other clear difference is a less violent end for one of the characters which simply cuts to later action and doesn’t show a head wound. Even the Mothra song keeps its original form. Well done. Although, referring to Mothra as “The Thing” for the most part and calling the film GODZILLA VS. THE THING, is a bit unfair to Mothra. Although, it does bring up fantastic images of a Godzilla/John Carpenter crossover.
Monsters: This is the best looking Godzilla so far. He is joined by Toho’s second most famous creation, Mothra, who is a great opponent for Godzilla as their abilities and fighting styles are completely different. We also have Mothra’s twin larvae/caterpillar babies, who are surprisingly powerful.
Notes For GODZILLA (2014): This is how to do a Godzilla smackdown. Godzilla is the bad guy and is a real threat to everything and everyone, but isn’t particularly malicious. There’s enough plot and humour, and unlike KING KONG VERSUS GODZILLA, the comedy isn’t overbearing.
G-RATING:
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GODZILLA will be released 16th May 2014. It stars Aaron Taylor-Johnson, Elizabeth Olsen, Juliette Binoche, Ken Watanabe, Bryan Cranston, Sally Hawkins, Akira Takarada, and David Strathairn.
