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Pulgasari (Chosŏn'gŭl: 불가사리; RR: Bulgasari) is a 1985 North Korean dark fantasy-action monster film directed by Shin Sang-ok and Chong Gon Jo. The film starred Chang Son Hui and Pak Sung Ho and featured special effects by Duk Ho Kim, supervised by Teruyoshi Nakano. The film was loosely based on the legend of the Bulgasari. Director Shin had been kidnapped in 1978 by North Korean intelligence on the orders of Kim Jong-il, son of the then-ruling Kim Il-sung.
Plot
In feudal Korea, during the Goryeo Dynasty, a king controls the land with an iron fist, subjecting the peasantry to misery and starvation. An old blacksmith who was sent to prison for defending his people creates a tiny figurine of a monster by making a doll of rice, and before dying asks the gods of earth and sky to make his creation a living creature that protects the rebels and the oppressed.
When the figurine comes into contact with the blood of the blacksmith's daughter, the creature springs to life, becoming a giant metal-eating monster who the blacksmith's daughter names Pulgasari, which is the name of the mythical monster her father used to mention as an eater of iron and steel.
After much suffering, the peasants form an army, storm the palace of the Governor and kill him. The evil King becomes aware that there is a rebellion being planned in the country, and he intends to crush it, but he runs into Pulgasari, who fights with the peasant army to overthrow the corrupt monarchy.
In feudal Korea, during the Goryeo Dynasty, a king controls the land with an iron fist, subjecting the peasantry to misery and starvation. An old blacksmith who was sent to prison for defending his people creates a tiny figurine of a monster by making a doll of rice, and before dying asks the gods of earth and sky to make his creation a living creature that protects the rebels and the oppressed.
When the figurine comes into contact with the blood of the blacksmith's daughter, the creature springs to life, becoming a giant metal-eating monster who the blacksmith's daughter names Pulgasari, which is the name of the mythical monster her father used to mention as an eater of iron and steel.
After much suffering, the peasants form an army, storm the palace of the Governor and kill him. The evil King becomes aware that there is a rebellion being planned in the country, and he intends to crush it, but he runs into Pulgasari, who fights with the peasant army to overthrow the corrupt monarchy.
Cast
- Chang Son Hui as Ami
- Ham Gi Sop Ham Gi Sop as Inde
- Jong-uk Ri Jong-uk Ri as Ana
- Gwon Ri Gwon Ri as Takse (Ami's Father)
- Gyong-ae Yu Gyong-ae Yu as Inde's Mother
- Hye-chol Ro Hye-chol Ro as Inde's Brother
- Sang-hun Tae Sang-hun Tae as Rebel Forces
- Gi-chon Kim Gi-chon Kim as Rebel Forces
- In-chol Ri In-chol Ri as Rebel Forces
- Riyonun Ri Riyonun Ri as General Fuan
- Yong-hok Pak Yong-hok Pak as The King
- Pong-ilk Pak Pong-ilk Pak as The Governor
- Kenpachirô Satsuma Kenpachirô Satsuma as Pulgasary (suit actor)
- 'Little Man' Machan 'Little Man' Machan as Baby Pulgasari
Production
The film is based around a legendary creature called the "Pulgasari" (or "Bulgasari"). The original story was set in the city of Songdo (now Kaesong, North Korea).
Kim was a lifelong admirer of the director, as well as Godzilla and other Kaiju films. He kidnapped the former director and his wife, famous actress Choi Eun-hee, with the specific purpose of making fantasy/propaganda films for the North Korean government. Kim Jong-il also produced Pulgasari (through Korean Film Studio) and all the films that Sang-ok made before he and Choi managed to escape from their minders while on a festival tour in Austria. Specifically, the film was inspired by The Return of Godzilla. The staff from Japan's Toho Studios, the creators of Godzilla, participated in creating the film's special effects. They were tricked into coming as they thought they were filming in China.
Jonathan Ross stated that the film was intended by the North Korean Government to be a propaganda metaphor for the effects of unchecked capitalism and the power of the collective.
The film is based around a legendary creature called the "Pulgasari" (or "Bulgasari"). The original story was set in the city of Songdo (now Kaesong, North Korea).
Kim was a lifelong admirer of the director, as well as Godzilla and other Kaiju films. He kidnapped the former director and his wife, famous actress Choi Eun-hee, with the specific purpose of making fantasy/propaganda films for the North Korean government. Kim Jong-il also produced Pulgasari (through Korean Film Studio) and all the films that Sang-ok made before he and Choi managed to escape from their minders while on a festival tour in Austria. Specifically, the film was inspired by The Return of Godzilla. The staff from Japan's Toho Studios, the creators of Godzilla, participated in creating the film's special effects. They were tricked into coming as they thought they were filming in China.
Jonathan Ross stated that the film was intended by the North Korean Government to be a propaganda metaphor for the effects of unchecked capitalism and the power of the collective.
Legacy
Kenpachiro Satsuma was quoted as saying he preferred Pulgasari to TriStar's Godzilla. There has been some speculation that the director Shin Sang-ok included a hidden message of his own in the film; the monster of the movie was to be interpreted as a metaphor for Kim Il-sung betraying a people's revolution for his own purposes.
After finding out that his credit was removed from the movie, Shin Sang-ok also wrote a remake called The Adventures of Galgameth. In 2006, Pulgasari made its New York debut at the end of Columbia University Japanese culture center's yearlong “Godzilla” festival.
Shin Sang-ok and Choi Eun-hee's story
Pulgasari has gained some popularity over the years because of the shocking story of Shin Sang-ok and Choi Eun-hee's kidnapping at the hands of North Korea's government. During their strange captivity in the country the Shin and Choi were, respectively, director and leading actress in a number of North Korean films produced by Kim Jong-il. The director and leading actress made together a total of seven films, for which the couple – who were separated before their kidnapping – was simultaneously commissioned and forced to do by North Korea's government. However, Pulgasari does not feature Choi, and it was the last film directed by Shin before he and Choi escaped to the United States.
Kenpachiro Satsuma was quoted as saying he preferred Pulgasari to TriStar's Godzilla. There has been some speculation that the director Shin Sang-ok included a hidden message of his own in the film; the monster of the movie was to be interpreted as a metaphor for Kim Il-sung betraying a people's revolution for his own purposes.
After finding out that his credit was removed from the movie, Shin Sang-ok also wrote a remake called The Adventures of Galgameth. In 2006, Pulgasari made its New York debut at the end of Columbia University Japanese culture center's yearlong “Godzilla” festival.
Shin Sang-ok and Choi Eun-hee's story
Pulgasari has gained some popularity over the years because of the shocking story of Shin Sang-ok and Choi Eun-hee's kidnapping at the hands of North Korea's government. During their strange captivity in the country the Shin and Choi were, respectively, director and leading actress in a number of North Korean films produced by Kim Jong-il. The director and leading actress made together a total of seven films, for which the couple – who were separated before their kidnapping – was simultaneously commissioned and forced to do by North Korea's government. However, Pulgasari does not feature Choi, and it was the last film directed by Shin before he and Choi escaped to the United States.
Trivia
- Although the film is a North Korean production, director Sang-ok Shin is South Korean. North Korean dictator Kim Jong-il was a huge fan of Shin's, and since North and South Korea have technically been at war since 1951 and have no diplomatic relations, Kim had him kidnapped. Shin eventually escaped back to South Korea, but not before he had been forced to make this movie for the erratic North Korean leader.
- In the early 1990's, the North Koreans attempted to market this propaganda film to foreign countries with no success. Finally in 1998 it got its first international viewing in Japan where it gained a small cult following.
- A recently found poster suggests that Pulgasari is a remake of a 1962 South Korean film of the same name, although the poster may have been fake.
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The Return of Godzilla, released in Japan as Godzilla (ゴジラ Gojira), is a Japanese science fiction kaiju film produced by Toho. Directed by Koji Hashimoto, with special effects by Teruyoshi Nakano, the film starred Ken Tanaka, Yasuko Sawaguchi, and Yosuke Natsuki.
The sixteenth film in Toho's Godzilla series, it marked the beginning of a rebooted series of Godzilla films that ignores all the films from 1955's Godzilla Raids Again through 1975's Terror of Mechagodzilla. The film acts as a direct sequel to the original 1954 film Godzilla. Produced as part of Godzilla's 30th anniversary, the film returned the series to the darker themes and mood of some of the early films and returned Godzilla to his destructive antagonistic roots.
The film was used as the basis for Godzilla 1985. Edited and with new scenes shot in the United States, Godzilla 1985 was released theatrically in the United States in the Summer of 1985 by New World Pictures. The American version of the film featured Canadian actor Raymond Burr reprising his character Steve Martin, from the film Godzilla, King of the Monsters!, which was also made in the same way.
The sixteenth film in Toho's Godzilla series, it marked the beginning of a rebooted series of Godzilla films that ignores all the films from 1955's Godzilla Raids Again through 1975's Terror of Mechagodzilla. The film acts as a direct sequel to the original 1954 film Godzilla. Produced as part of Godzilla's 30th anniversary, the film returned the series to the darker themes and mood of some of the early films and returned Godzilla to his destructive antagonistic roots.
The film was used as the basis for Godzilla 1985. Edited and with new scenes shot in the United States, Godzilla 1985 was released theatrically in the United States in the Summer of 1985 by New World Pictures. The American version of the film featured Canadian actor Raymond Burr reprising his character Steve Martin, from the film Godzilla, King of the Monsters!, which was also made in the same way.
Plot
Three months after a volcanic eruption on Daikoku Island, the Yahata-Maru Japanese fishing vessel is caught in strong currents off its shores. As the boat drifts into shore, the island begins to erupt, and a giant monster lifts itself out of the volcano. A few days later, reporter Goro Maki is sailing in the area and finds the vessel intact but deserted. As he explores the vessel, he finds all the crew dead except for one young man called Hiroshi Okumura, who has been badly wounded. Suddenly a giant Shockirus sea louse attacks but is eventually killed with some difficulty.
In Tokyo, Okumura realizes by looking at pictures that the monster he saw was a new Godzilla. However the news of Godzilla's return is kept secret to avoid panic until Godzilla attacks a second time and destroys a Soviet submarine. The Soviets believe the attack was done by the Americans, and a diplomatic crisis ensues which threatens to escalate into war. The Japanese intervene and finally announce that Godzilla was behind the attack. The Japanese arrange a meeting with the Soviet and American ambassadors and, after some debate over the issue, Prime Minister Mitamura decides nuclear weapons will not be used on Godzilla even if it were to attack the Japanese mainland. The Japanese Self-Defense Forces are put on alert and search for Godzilla.
Three months after a volcanic eruption on Daikoku Island, the Yahata-Maru Japanese fishing vessel is caught in strong currents off its shores. As the boat drifts into shore, the island begins to erupt, and a giant monster lifts itself out of the volcano. A few days later, reporter Goro Maki is sailing in the area and finds the vessel intact but deserted. As he explores the vessel, he finds all the crew dead except for one young man called Hiroshi Okumura, who has been badly wounded. Suddenly a giant Shockirus sea louse attacks but is eventually killed with some difficulty.
In Tokyo, Okumura realizes by looking at pictures that the monster he saw was a new Godzilla. However the news of Godzilla's return is kept secret to avoid panic until Godzilla attacks a second time and destroys a Soviet submarine. The Soviets believe the attack was done by the Americans, and a diplomatic crisis ensues which threatens to escalate into war. The Japanese intervene and finally announce that Godzilla was behind the attack. The Japanese arrange a meeting with the Soviet and American ambassadors and, after some debate over the issue, Prime Minister Mitamura decides nuclear weapons will not be used on Godzilla even if it were to attack the Japanese mainland. The Japanese Self-Defense Forces are put on alert and search for Godzilla.
Soon, Godzilla appears on an island off the coast of Japan, determined to feed off a nuclear power plant there. When Godzilla attacks the facility and feeds off the reactor, he is distracted by a flock of birds, and leaves the facility almost as quickly as he arrived. Okumura and his friends realize that Godzilla reacts to the same signal as birds, and Professor Hayashida decides to use this method to lure Godzilla away from Tokyo. Meanwhile, the Soviets have their own plans to counter the threat posed by Godzilla, and a Soviet control ship disguised as a freighter in Tokyo Harbor prepares to launch a nuclear missile from one of their orbiting satellites should Godzilla attack.
Godzilla is later sighted at Tokyo Bay, forcing mass evacuations out of the city and a state of emergency is declared. The JASDF attacks Godzilla with Mitsubishi F-1 fighter jets, but their missiles are useless against him. Godzilla then proceeds to the coast, where the waiting army, equipped with tanks, rocket launchers and soldiers armed with Howa Type 64 assault rifles, proceeds to fire on Godzilla, but they are quickly subdued. Meanwhile, aboard the Soviet ship, one of the crew members attempts to stop the missile from launching as Godzilla then proceeds towards Tokyo's business district, wreaking havoc along the way. There, he is confronted by four laser-armed trucks known as Hyper Laser Cannons, and then the Super X, a piloted VTOL craft constructed in secret to defend Tokyo in case of emergency, in particular a nuclear attack.
Godzilla is later sighted at Tokyo Bay, forcing mass evacuations out of the city and a state of emergency is declared. The JASDF attacks Godzilla with Mitsubishi F-1 fighter jets, but their missiles are useless against him. Godzilla then proceeds to the coast, where the waiting army, equipped with tanks, rocket launchers and soldiers armed with Howa Type 64 assault rifles, proceeds to fire on Godzilla, but they are quickly subdued. Meanwhile, aboard the Soviet ship, one of the crew members attempts to stop the missile from launching as Godzilla then proceeds towards Tokyo's business district, wreaking havoc along the way. There, he is confronted by four laser-armed trucks known as Hyper Laser Cannons, and then the Super X, a piloted VTOL craft constructed in secret to defend Tokyo in case of emergency, in particular a nuclear attack.
Because Godzilla's heart is similar to a nuclear reactor, the cadmium shells that are fired into his mouth by the Super X seal and slow down his heart and Godzilla falls down unconscious. Unfortunately, the city is faced with a greater threat when a Soviet missile is launched from the satellite, leaving the Japanese government and people helpless to stop it. However, the Americans intervene and shoot down the missile with one of theirs before it can hit Tokyo. Unfortunately, the atmospheric nuclear blast creates an electrical storm, which revives Godzilla once more.
Godzilla has a final battle with the Super X, eventually damaging the aircraft and forcing it to make an emergency landing where he destroys it by toppling a building on it. Godzilla continues his rampage, until Professor Hayashida is successful with his invention and uses the bird call device to distract him. Godzilla leaves Tokyo and swims across the Japanese sea to volcanic Mt. Mihara, where he notices the signal device. As he walks towards it, he falls into the mouth of the volcano where he is surrounded by detonators, which are activated by Okumura, creating a controlled volcanic eruption that traps Godzilla for good, at least for the time being.
Godzilla has a final battle with the Super X, eventually damaging the aircraft and forcing it to make an emergency landing where he destroys it by toppling a building on it. Godzilla continues his rampage, until Professor Hayashida is successful with his invention and uses the bird call device to distract him. Godzilla leaves Tokyo and swims across the Japanese sea to volcanic Mt. Mihara, where he notices the signal device. As he walks towards it, he falls into the mouth of the volcano where he is surrounded by detonators, which are activated by Okumura, creating a controlled volcanic eruption that traps Godzilla for good, at least for the time being.
Cast
Production
The screenplay was first written in 1980, but as an entirely different film. Godzilla was to fight a shape-shifting monster named Bagan, and the Super X played a much smaller role. Among the SDF weapons in this script that made it to the big screen were the Water Beetle (an underwater mech) and the Giant Basu (which is equipped with a giant arm to capture submarines).
- Ken Tanaka as Goro Maki
- Yasuko Sawaguchi as Naoko Okumura
- Yosuke Natsuki as Professor Makoto Hayashida
- Keiju Kobayashi as Prime Minister Seiki Mitamura
- Shin Takuma as Hiroshi Okumura
- Eitaro Ozawa as Minister of Finance Kanzaki
- Hiroshi Koizumi as Professor Minami
- Mizuho Suzuki as Minister of Foreign Affairs Seiichi Emori
- Taketoshi Naito as Chief Cabinet Secretary Takegami
- Yoshifumi Tajima as Minister of the Environment Hidaka
- Kenpachiro Satsuma as Godzilla
Production
The screenplay was first written in 1980, but as an entirely different film. Godzilla was to fight a shape-shifting monster named Bagan, and the Super X played a much smaller role. Among the SDF weapons in this script that made it to the big screen were the Water Beetle (an underwater mech) and the Giant Basu (which is equipped with a giant arm to capture submarines).
Producer Tomoyuki Tanaka offered Ishirō Honda a chance to direct this film, but he strongly rejected the offer, because of what came of Godzilla in the 1970s, and his belief that Godzilla should have been permanently laid to rest after Eiji Tsuburaya's death. Also, at this time, he was busy assisting his friend Akira Kurosawa with films he was directing, such as Kagemusha and Ran.
Veteran Godzilla actor Akihiko Hirata, who appeared in several past Godzilla films (best known of his role of Doctor Serizawa from Godzilla) was slated to play Professor Hayashida; however, he had died from throat cancer before production began. Yosuke Natsuki, another veteran, took the role instead. Stuntman Kenpachiro Satsuma (who previously played Hedorah and Gigan in the original Godzilla films) played Godzilla for the first time, as a replacement for another stuntman who backed out at the last minute.
Veteran Godzilla actor Akihiko Hirata, who appeared in several past Godzilla films (best known of his role of Doctor Serizawa from Godzilla) was slated to play Professor Hayashida; however, he had died from throat cancer before production began. Yosuke Natsuki, another veteran, took the role instead. Stuntman Kenpachiro Satsuma (who previously played Hedorah and Gigan in the original Godzilla films) played Godzilla for the first time, as a replacement for another stuntman who backed out at the last minute.
Aside from being heavy, the suit was very dangerous (it was not only built from the outside in, but not made to fit him), and Satsuma lost a lot of weight during filming. This mildly mirrored what Haruo Nakajima went through when he played Godzilla in the original 1954 film. Subsequent Godzilla suits worn by Satsuma were much safer and more comfortable, as they were custom-made to fit him (even though the suits still had some dangers of their own).
The lifelike animatronic Godzilla prop used in close-up shots is the 20-foot (6.1 m) "Cybot Godzilla." It was heavily touted in the publicity department at the time, even though it was not used in the film as extensively as promoted. A full-size replica of Godzilla's foot was also built, albeit all of the scenes in which it is used were removed from the American version (the sole exception being a shot of the foot crushing a row of parked cars during the attack on the nuclear power plant).
Prior to New World Pictures' release of the film, Toho had the film dubbed in Hong Kong. This "Toho international version", titled The Return of Godzilla is uncut and was released in the United Kingdom in the 1990s. So far, this version has not been made available in the United States.
Reception
Box Office
The Return of Godzilla was a reasonable success in Japan, with attendance figures at approximately 3,200,000 and the box office gross being approximately $11 million (the film's budget was $6.25 million).
When Godzilla 1985 failed at the box office, it was the last Godzilla film produced by Toho to receive any major release in North American theaters until Godzilla 2000 fifteen years later.
Critical Reception
The New World version of the film was almost universally criticized by North American critics. However, the Japanese version was received better, mainly by fans; many praised it for being very close to the original film.
The lifelike animatronic Godzilla prop used in close-up shots is the 20-foot (6.1 m) "Cybot Godzilla." It was heavily touted in the publicity department at the time, even though it was not used in the film as extensively as promoted. A full-size replica of Godzilla's foot was also built, albeit all of the scenes in which it is used were removed from the American version (the sole exception being a shot of the foot crushing a row of parked cars during the attack on the nuclear power plant).
Prior to New World Pictures' release of the film, Toho had the film dubbed in Hong Kong. This "Toho international version", titled The Return of Godzilla is uncut and was released in the United Kingdom in the 1990s. So far, this version has not been made available in the United States.
Reception
Box Office
The Return of Godzilla was a reasonable success in Japan, with attendance figures at approximately 3,200,000 and the box office gross being approximately $11 million (the film's budget was $6.25 million).
When Godzilla 1985 failed at the box office, it was the last Godzilla film produced by Toho to receive any major release in North American theaters until Godzilla 2000 fifteen years later.
Critical Reception
The New World version of the film was almost universally criticized by North American critics. However, the Japanese version was received better, mainly by fans; many praised it for being very close to the original film.
Awards
In 1985, the film won the Japan Academy Award for Special Effects.
Home Video
The international version was released on VHS (dubbed in English) in the UK in 1998. The running time matches that of the Japanese version, and the only notable difference is the English text and dubbing. This version of the film has remained unreleased in both the USA and Canada.
This film was distributed to DVD in Japan, Hong Kong, Germany, Finland, Sweden, Thailand, Spain, Italy and France, but never legitimately in the United States and Canada due to legal issues. Since the release of Godzilla vs. Biollante in 2012, The Return of Godzilla remains the only Godzilla film to not have been legitimately released on DVD in the United States.
Adaptations
In 1988 Dark Horse Comics released a six-issue limited series, Godzilla, which was an American adaptation of the Japanese manga adaptation of The Return of Godzilla.
In 1985, the film won the Japan Academy Award for Special Effects.
Home Video
The international version was released on VHS (dubbed in English) in the UK in 1998. The running time matches that of the Japanese version, and the only notable difference is the English text and dubbing. This version of the film has remained unreleased in both the USA and Canada.
This film was distributed to DVD in Japan, Hong Kong, Germany, Finland, Sweden, Thailand, Spain, Italy and France, but never legitimately in the United States and Canada due to legal issues. Since the release of Godzilla vs. Biollante in 2012, The Return of Godzilla remains the only Godzilla film to not have been legitimately released on DVD in the United States.
Adaptations
In 1988 Dark Horse Comics released a six-issue limited series, Godzilla, which was an American adaptation of the Japanese manga adaptation of The Return of Godzilla.
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Gamera, Super Monster (宇宙怪獣ガメラ Uchū Kaijū Gamera, lit. Space Monster Gamera) is a 1980 Japanese kaiju film directed by Noriaki Yuasa. It is the eighth film in the Gamera film series.
Plot
When the evil alien Zanon comes to enslave Earth, all hope seems lost. The Earth's resident superheroes, the Spacewomen, are powerless to stop him. They must enlist the help of a young boy who has a special connection with the giant turtle Gamera. The Friend of All Children then battles Gyaos (a huge vampire bat/pterosaur hybrid), Zigra (an alien shark), Viras (a alien squid), Jiger (a female giant prehistoric dinosaur), Guiron (a knife-headed alien monster) and finally Barugon (an enormous lizard whose tongue sprays a freezing gas that can freeze things solid and whose back spines emit a powerful rainbow ray that can melt or dissolve any solid object). Gamera sacrifices his life in the end to destroy Zanon once and for all and protect Earth.
When the evil alien Zanon comes to enslave Earth, all hope seems lost. The Earth's resident superheroes, the Spacewomen, are powerless to stop him. They must enlist the help of a young boy who has a special connection with the giant turtle Gamera. The Friend of All Children then battles Gyaos (a huge vampire bat/pterosaur hybrid), Zigra (an alien shark), Viras (a alien squid), Jiger (a female giant prehistoric dinosaur), Guiron (a knife-headed alien monster) and finally Barugon (an enormous lizard whose tongue sprays a freezing gas that can freeze things solid and whose back spines emit a powerful rainbow ray that can melt or dissolve any solid object). Gamera sacrifices his life in the end to destroy Zanon once and for all and protect Earth.
Casts
- Mach Fumiake as Kilara
- Yaeko Kojima as Marsha
- Yoko Komatsu as Mitan
- Keiko Kudo as Giruge
- Koichi Maeda as Keiichi
- Toshie Takada as Keiichi's mother
Production
Gamera: Super Monster contains extensive stock footage of the entire Gamera film series, as well as Space Battleship Yamato and Galaxy Express 999. Almost all of the footage of Gamera is stock footage.
Release
Gamera: Super Monster was released theatrically in Japan on March 20, 1980 where it was distributed by New Daiei.
Gamera: Super Monster contains extensive stock footage of the entire Gamera film series, as well as Space Battleship Yamato and Galaxy Express 999. Almost all of the footage of Gamera is stock footage.
Release
Gamera: Super Monster was released theatrically in Japan on March 20, 1980 where it was distributed by New Daiei.
DVD releases
Elvira's Movie Macabre
The movie was featured on a 1983 episode of Elvira's Movie Macabre, which Shout! Factory released on a DVD in 2007 featuring together with the 1967 British film They Came from Beyond Space. The two films can each be watched with or without the Elvira host segments.
Cinema Insomnia
In 2007, Gamera, Super Monster was shown on the horror hosted television series Cinema Insomnia. Apprehensive Films later released the Cinema Insomnia episode onto DVD in both regular and special "Slime Line" editions.
2010/2011 release
Shout! Factory acquired the rights from Kadokawa Pictures for all eight of the Showa-era Gamera films and have issued the uncut Japanese versions on DVD for the first time in North America. These "Special Edition" DVDs were released in sequential order, starting with Gamera: The Giant Monster (1965) on May 18, 2010.
Elvira's Movie Macabre
The movie was featured on a 1983 episode of Elvira's Movie Macabre, which Shout! Factory released on a DVD in 2007 featuring together with the 1967 British film They Came from Beyond Space. The two films can each be watched with or without the Elvira host segments.
Cinema Insomnia
In 2007, Gamera, Super Monster was shown on the horror hosted television series Cinema Insomnia. Apprehensive Films later released the Cinema Insomnia episode onto DVD in both regular and special "Slime Line" editions.
2010/2011 release
Shout! Factory acquired the rights from Kadokawa Pictures for all eight of the Showa-era Gamera films and have issued the uncut Japanese versions on DVD for the first time in North America. These "Special Edition" DVDs were released in sequential order, starting with Gamera: The Giant Monster (1965) on May 18, 2010.
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The Mighty Peking Man (猩猩王) (Mandarin: Xingxing Wang - which translates to "Gorilla King" in English) is a 1977 monster film produced by Shaw Brothers Studio to capitalize on the craze surrounding the 1976 remake of King Kong. The film was originally released in the US in 1980 as Goliathon.
The film was directed by Ho Meng Hua and produced by Runme Shaw; the special effects were directed by Sadamasa Arikawa, with Koichi Kawakita as assistant FX director,who would move on to the Heisei Godzilla movies, the Heisei Gamera trilogy and the Yonggary remake. It starred Danny Lee and Evelyne Kraft.
The film was directed by Ho Meng Hua and produced by Runme Shaw; the special effects were directed by Sadamasa Arikawa, with Koichi Kawakita as assistant FX director,who would move on to the Heisei Godzilla movies, the Heisei Gamera trilogy and the Yonggary remake. It starred Danny Lee and Evelyne Kraft.
Plot
A party from Hong Kong headed up by Johnny (Danny Lee) are exploring the Indian side of the Himalayan mountains and discover the eponymous Peking Man, a Yeti, along with a beautiful blonde wild woman named Samantha (Evelyne Kraft) whose parents had been killed in a plane crash. Samantha was raised by Utam (the Peking Man) with nothing to wear but an animal-skin bikini. Like Tarzan, she has learned both to swing through the trees on vines and to communicate with and command the jungle animals, with the exception of a venomous snake who bites her on the inner thigh, requiring the hero Johnny to suck out the poison while Samantha's leopard friend and Utam fight the snake. Shortly thereafter, they fall in love.
Johnny and his partners bring Samantha and Utam to Hong Kong, where Utam goes on display to the incredulous public. While in Hong Kong, Samantha doesn't seem to prefer women's clothing and continues to wear her animal-skin bikini. Johnny, meanwhile, reconciles with the girlfriend whose romantic betrayal with his brother had been the impetus behind his sudden decision to explore the Himalayas.
A party from Hong Kong headed up by Johnny (Danny Lee) are exploring the Indian side of the Himalayan mountains and discover the eponymous Peking Man, a Yeti, along with a beautiful blonde wild woman named Samantha (Evelyne Kraft) whose parents had been killed in a plane crash. Samantha was raised by Utam (the Peking Man) with nothing to wear but an animal-skin bikini. Like Tarzan, she has learned both to swing through the trees on vines and to communicate with and command the jungle animals, with the exception of a venomous snake who bites her on the inner thigh, requiring the hero Johnny to suck out the poison while Samantha's leopard friend and Utam fight the snake. Shortly thereafter, they fall in love.
Johnny and his partners bring Samantha and Utam to Hong Kong, where Utam goes on display to the incredulous public. While in Hong Kong, Samantha doesn't seem to prefer women's clothing and continues to wear her animal-skin bikini. Johnny, meanwhile, reconciles with the girlfriend whose romantic betrayal with his brother had been the impetus behind his sudden decision to explore the Himalayas.
Samantha sees this and runs off, nearly getting raped. Utam goes berserk and squashes the rapist. During Samantha's running, Utam ends up on a rampage. Utam then goes to the tallest building he can find (namely the Jardine House), and climbs it. Johnny and Samantha catch up to Utam and plan to get him out of Hong Kong and back to their jungle. Utam is burned/shot to death by several helicopters and planes in a scene greatly reminiscent of the ending of Kong, and falls off. Samantha is seemingly killed in an explosion during the conflict while Johnny receives a minor gunshot wound to the lower leg.
Cast
- Danny Lee - Johnny Feng
- Evelyne Kraft - Samantha
- Ku Feng - Lu Tien
- Lin Wei-tu - David Chen
- Norman Chu - Ah Lung
- Wu Hang-sheng - Ah Pi
- Hsiao Yao - Huang
- Chen Ping - Lin Chang
Production
The Mighty Peking Man had a budget of six-million Hong Kong dollars for the Shaw Bros. studio. The film took over a year to complete and was shot in Mysore, India.
Release
The Mighty Peking Man was distributed by Shaw Bros. in Hong Kong.
On 23 April 1999, Quentin Tarantino re-released The Mighty Peking Man in North America through his Rolling Thunder Pictures distribution company with Miramax to much like how when it was originally released in Hong Kong, when it was trying to capitalize on the craze of the 1976 remake of King Kong. It was re-released to capitalize on the craze of the American Godzilla remake, the Mighty Joe Young remake and the Yonggary remake
The Mighty Peking Man had a budget of six-million Hong Kong dollars for the Shaw Bros. studio. The film took over a year to complete and was shot in Mysore, India.
Release
The Mighty Peking Man was distributed by Shaw Bros. in Hong Kong.
On 23 April 1999, Quentin Tarantino re-released The Mighty Peking Man in North America through his Rolling Thunder Pictures distribution company with Miramax to much like how when it was originally released in Hong Kong, when it was trying to capitalize on the craze of the 1976 remake of King Kong. It was re-released to capitalize on the craze of the American Godzilla remake, the Mighty Joe Young remake and the Yonggary remake
Reception
Variety reviewed a 100 minute long Cantonese-language version of the film stating it was an "interesting if not unique Hongkong-made escapist entertainment for the inquisitive middle-of-the-roaders audience of other countries." and "it is high camp, chinese style and for this reason it just might make it in less demanding markets."
In retrospective reviews, Roger Ebert gave the film three stars out of a possible four in the Chicago Sun-Times, and, incidentally, actually upgraded his rating for the thematically similar Infra-Man:
"Mighty Peking Man is very funny, although a shade off the high mark of Infra-Man, which was made a year earlier, and is my favorite Hong Kong monster film. Both were produced by the legendary Runme Shaw, who, having tasted greatness, obviously hoped to repeat. I find to my astonishment that I gave Infra-Man only two and a half stars when I reviewed it. That was 22 years ago, but a fellow will remember a lot of things you wouldn't think he'd remember. I'll bet a month hasn't gone by since that I haven't thought of that film. I am awarding Mighty Peking Man three stars, for general goofiness and a certain level of insane genius, but I cannot in good conscience rate it higher than Infra-Man. So, in answer to those correspondents who ask if I have ever changed a rating on a movie: Yes, Infra-Man moves up to three stars."
Variety reviewed a 100 minute long Cantonese-language version of the film stating it was an "interesting if not unique Hongkong-made escapist entertainment for the inquisitive middle-of-the-roaders audience of other countries." and "it is high camp, chinese style and for this reason it just might make it in less demanding markets."
In retrospective reviews, Roger Ebert gave the film three stars out of a possible four in the Chicago Sun-Times, and, incidentally, actually upgraded his rating for the thematically similar Infra-Man:
"Mighty Peking Man is very funny, although a shade off the high mark of Infra-Man, which was made a year earlier, and is my favorite Hong Kong monster film. Both were produced by the legendary Runme Shaw, who, having tasted greatness, obviously hoped to repeat. I find to my astonishment that I gave Infra-Man only two and a half stars when I reviewed it. That was 22 years ago, but a fellow will remember a lot of things you wouldn't think he'd remember. I'll bet a month hasn't gone by since that I haven't thought of that film. I am awarding Mighty Peking Man three stars, for general goofiness and a certain level of insane genius, but I cannot in good conscience rate it higher than Infra-Man. So, in answer to those correspondents who ask if I have ever changed a rating on a movie: Yes, Infra-Man moves up to three stars."
- Published on
The Crater Lake Monster is a 1977 B-movie horror film directed by William R. Stromberg for Crown International Pictures, and starring Richard Cardella. The script was also written by Stromberg and Cardella, and their affiliation with The Crater Lake Monster marked the zenith of their careers.
The storyline revolves around a giant plesiosaur, akin to the Loch Ness Monster, which appears in Crater Lake in Northern California, near Susanville (not to be confused with the much more famous Crater Lake in Oregon). As people are attacked by the monster, the Sheriff (Cardella) investigates along with a group of scientists in order to stop the creature.
The storyline revolves around a giant plesiosaur, akin to the Loch Ness Monster, which appears in Crater Lake in Northern California, near Susanville (not to be confused with the much more famous Crater Lake in Oregon). As people are attacked by the monster, the Sheriff (Cardella) investigates along with a group of scientists in order to stop the creature.
Plot
In Crater Lake, Northern California, Dr. Richard Calkins (Hyman) is informed by his colleague Dan Turner (Garrison) that he and his girlfriend Susan Patterson (Cobb) have made an incredible discovery in a nearby cave system. The three head down and discover a system of cave drawings, including what appears to be a depiction of people fighting off a Plesiosaurus, thus providing evidence that dinosaurs existed at the same time as man. However, a flaming meteorite crashes into the lake just overhead, resulting in a cave-in that destroys the cave system and the drawings, while the three scientists are barely able to escape alive. The local sheriff, Steve Hanson (Cardella), sees the meteorite crash and radios in the incident before continuing on his patrol.
Several months later, Sheriff Hanson meets with the three scientists to go search for the meteorite. Turner and Patterson dive down to the bottom of the lake, only to find that the meteorite is still too hot to recover and has resulted in the entire lake becoming significantly warmer than before, rising to approximately 90 degrees. Somewhere else on the lake, a birdwatcher (Hal Scharn) is setting up his equipment when the monster suddenly rises out of the water, moves onto the shore, and kills him.
In Crater Lake, Northern California, Dr. Richard Calkins (Hyman) is informed by his colleague Dan Turner (Garrison) that he and his girlfriend Susan Patterson (Cobb) have made an incredible discovery in a nearby cave system. The three head down and discover a system of cave drawings, including what appears to be a depiction of people fighting off a Plesiosaurus, thus providing evidence that dinosaurs existed at the same time as man. However, a flaming meteorite crashes into the lake just overhead, resulting in a cave-in that destroys the cave system and the drawings, while the three scientists are barely able to escape alive. The local sheriff, Steve Hanson (Cardella), sees the meteorite crash and radios in the incident before continuing on his patrol.
Several months later, Sheriff Hanson meets with the three scientists to go search for the meteorite. Turner and Patterson dive down to the bottom of the lake, only to find that the meteorite is still too hot to recover and has resulted in the entire lake becoming significantly warmer than before, rising to approximately 90 degrees. Somewhere else on the lake, a birdwatcher (Hal Scharn) is setting up his equipment when the monster suddenly rises out of the water, moves onto the shore, and kills him.
Two friends, Arnie Chabot (Roberts) and Mitch Kowalski (Siegel), running low on money, decide to start a boat rental service. Their first customer is U.S. senator Jack Fuller (Eliot), who rents a rowboat for a quick fishing trip for $20. However, he is attacked and killed by the monster. Arnie and Mitch see the empty boat drifting in the middle of the lake and go out to retrieve it, finding only some large blood stains inside the boat. They bring the boat back to shore as evidence for the Sheriff.
Some time later, a performer named Ross Conway (Hoover) and his wife Paula (Lewis), are on their way to a show when their car suddenly begins to break down. They stop at a gas station and learn from the mechanic (John Crowder) that their car won't be repaired for several more days. The attendant tells them that the fastest method of transportation at this point is by boat across the lake. The couple heads down to Arnie and Mitch's dock to rent a motorboat for $25 and head out. While out on the lake, they are attacked by the monster, but manage to outrun it due to the boat's motor and run it aground. When the monster pursues them onto the shore, Ross empties the can of gasoline into the boat and sets it on fire, with the blaze scaring the monster away.
Some time later, a performer named Ross Conway (Hoover) and his wife Paula (Lewis), are on their way to a show when their car suddenly begins to break down. They stop at a gas station and learn from the mechanic (John Crowder) that their car won't be repaired for several more days. The attendant tells them that the fastest method of transportation at this point is by boat across the lake. The couple heads down to Arnie and Mitch's dock to rent a motorboat for $25 and head out. While out on the lake, they are attacked by the monster, but manage to outrun it due to the boat's motor and run it aground. When the monster pursues them onto the shore, Ross empties the can of gasoline into the boat and sets it on fire, with the blaze scaring the monster away.
Arnie and Mitch, as they walk away from renting the boat out to the couple, begin to argue about their boat-renting service, with Arnie constantly claiming that they're his boats instead of "our boats." Mitch claims that he is tired of being bossed around by Arnie, and the two eventually fight. Their scuffle leads to the water, where the two discover the severed head of Fuller floating in the lake just as the Sheriff arrives. As he takes in the head for evidence, he orders them to stay out of the lake, stay away from the shore, and to not rent anymore boats. Realizing that the couple from earlier is still out there, Arnie and Mitch head out in another boat to search for them. They eventually discover the charred remains of the motorboat and the distraught couple, both too mortified to explain what happened to them. The couple is taken away in an ambulance, and the Sheriff issues a stern warning for Arnie and Mitch to not head back out onto the lake.
While at the local diner, the Sheriff spots a man (Sonny Shepard) who is wanted for armed robbery in the nearest town that killed the clerk (Mike Simmons) and another customer (Mary Winford), and quickly pursues him into the forest. After the robber drives his car off a cliff and jumps out, the Sheriff pursues him on foot. The chase eventually leads them down to the shore, where the Sheriff shoots him in the knee, then stops and hides behind a tree to reload. During the brief pause, the monster quickly snatches the robber and drags him under. The Sheriff does not hear it happen, but discovers a large blood stain on a nearby rock. Meanwhile, Calkins' autopsy report on Fuller's head comes in, and he tells the Sheriff that the wounds were caused by an animal's teeth, and the attacking animal is not only of a significant size, but also living in the lake.
While at the local diner, the Sheriff spots a man (Sonny Shepard) who is wanted for armed robbery in the nearest town that killed the clerk (Mike Simmons) and another customer (Mary Winford), and quickly pursues him into the forest. After the robber drives his car off a cliff and jumps out, the Sheriff pursues him on foot. The chase eventually leads them down to the shore, where the Sheriff shoots him in the knee, then stops and hides behind a tree to reload. During the brief pause, the monster quickly snatches the robber and drags him under. The Sheriff does not hear it happen, but discovers a large blood stain on a nearby rock. Meanwhile, Calkins' autopsy report on Fuller's head comes in, and he tells the Sheriff that the wounds were caused by an animal's teeth, and the attacking animal is not only of a significant size, but also living in the lake.
When the Sheriff returns the next day to the location where the robber went missing, he finds several massive footprints before the monster suddenly emerges. He fires all six shots in his revolver at it before jumping in his car and driving away. He tells Calkins, Turner, and Patterson about the incident, and his description of the monster fits that of a Plesiosaurus. While the three scientists are excited at the idea of a living dinosaur in the lake, the Sheriff is determined to kill it before it takes more lives.
The Sheriff, Calkins, Turner, and Patterson host a town meeting in the diner the next day, informing the town of the danger and what they plan to do to stop the monster. Arnie and Mitch ultimately take the scientists' side in favor of keeping the monster alive, saying it'll bring in a significant amount of money for the town. However, a man named Ferguson (Joe Sasway) is attacked by the monster and barely manages to make it to safety inside the diner. The Sheriff, Turner, Patterson, Arnie, and Mitch all head outside to confront the monster, which is just outside the barricade of farming vehicles and a wall of hay bails. The Sheriff starts up a bulldozer, but Arnie attempts to stop him at gunpoint, saying that the monster must live. The Sheriff convinces him that nothing will stop the monster without killing it, and Arnie jumps in the back, shotgun at the ready. As the monster draws closer, Arnie panics and attempts to flee, only to be caught and killed by the monster. The Sheriff slams into the monster with the bulldozer, causing it to drop Arnie's lifeless body. When it reaches its head down to try to pick up Arnie's body again, the Sheriff drives the bulldozer forward and repeatedly slams the bulldozer into the monster's neck, finally killing it.
In the aftermath of the battle, the Sheriff, Calkins, Turner, Patterson, and Mitch all mourn Arnie's death, with Mitch vowing to continue the boat rental service that he and Arnie started, softly repeating "our boats...our boats."
The Sheriff, Calkins, Turner, and Patterson host a town meeting in the diner the next day, informing the town of the danger and what they plan to do to stop the monster. Arnie and Mitch ultimately take the scientists' side in favor of keeping the monster alive, saying it'll bring in a significant amount of money for the town. However, a man named Ferguson (Joe Sasway) is attacked by the monster and barely manages to make it to safety inside the diner. The Sheriff, Turner, Patterson, Arnie, and Mitch all head outside to confront the monster, which is just outside the barricade of farming vehicles and a wall of hay bails. The Sheriff starts up a bulldozer, but Arnie attempts to stop him at gunpoint, saying that the monster must live. The Sheriff convinces him that nothing will stop the monster without killing it, and Arnie jumps in the back, shotgun at the ready. As the monster draws closer, Arnie panics and attempts to flee, only to be caught and killed by the monster. The Sheriff slams into the monster with the bulldozer, causing it to drop Arnie's lifeless body. When it reaches its head down to try to pick up Arnie's body again, the Sheriff drives the bulldozer forward and repeatedly slams the bulldozer into the monster's neck, finally killing it.
In the aftermath of the battle, the Sheriff, Calkins, Turner, Patterson, and Mitch all mourn Arnie's death, with Mitch vowing to continue the boat rental service that he and Arnie started, softly repeating "our boats...our boats."
Cast
- Sheriff Steve Hanson - Richard Cardella
- Arnie Chabot - Glenn Roberts
- Mitch Kowalski - Mark Siegel
- Richard Calkins - Bob Hyman
- Dan Turner - Richard Garrison
- Susan Patterson - Kacey Cobb
- Ross Conway - Michael Hoover
- Paula Conway - Suzanne Lewis
- Senator Jack Fuller - Marv Eliot
- Blackmailer - Garry Johnston
- Waitress - Susy Claycomb
- Villager - Jim Goeppinger
Reception
The film is mostly notable for being an example of David W. Allen's early stop-motion animation under the process name "Fanta-Mation". Otherwise, the film was widely panned by critics, with DVD Drive-In calling it "one of the worst giant monster flicks of all time". The film suffered from financing and publication problems with Crown International; as Cardella recounts:
“Crown International was part of the financing and they just screwed up everything. They pulled their support for some key scenes (that would have explained a lot and plugged some of the obvious holes), added a canned score that really sucked, and turned it over to some hack to edit. The asshole didn't even use a fade or dissolve in the whole freakin' picture!”
Despite being a critical flop, the film was a commercial success and made $3 million in spite of the under $100,000 budget. The film gained a VHS release on United Home Video, and DVD release on Rhino Home Video. In 2011, The Crater Lake Monster was used as fodder for the Rifftrax comedy team. Mill Creek Entertainment released The Crater Lake Monster on Blu-ray disc as part of a double-feature disc in March 2011, pairing it with Galaxina, and as part of a 3 double sided DVD set called 12 Creature Features in 2012.
The film is mostly notable for being an example of David W. Allen's early stop-motion animation under the process name "Fanta-Mation". Otherwise, the film was widely panned by critics, with DVD Drive-In calling it "one of the worst giant monster flicks of all time". The film suffered from financing and publication problems with Crown International; as Cardella recounts:
“Crown International was part of the financing and they just screwed up everything. They pulled their support for some key scenes (that would have explained a lot and plugged some of the obvious holes), added a canned score that really sucked, and turned it over to some hack to edit. The asshole didn't even use a fade or dissolve in the whole freakin' picture!”
Despite being a critical flop, the film was a commercial success and made $3 million in spite of the under $100,000 budget. The film gained a VHS release on United Home Video, and DVD release on Rhino Home Video. In 2011, The Crater Lake Monster was used as fodder for the Rifftrax comedy team. Mill Creek Entertainment released The Crater Lake Monster on Blu-ray disc as part of a double-feature disc in March 2011, pairing it with Galaxina, and as part of a 3 double sided DVD set called 12 Creature Features in 2012.
- Published on
King Kong is a 1976 American monster film produced by Dino De Laurentiis and directed by John Guillermin. It is a modern remake of the 1933 film of the same name about a giant ape that is captured and imported to New York City for exhibition. Featuring special effects by Carlo Rambaldi, it stars Jeff Bridges, Charles Grodin and Jessica Lange in her first film role.
The remake's screenplay was written by Lorenzo Semple Jr., based on the 1933 screenplay by James Ashmore Creelman and Ruth Rose, and from the original idea by Merian C. Cooper and Edgar Wallace.
The film was the fifth highest-grossing film of 1977 according to box office statistics compiled during its release by Variety. It won the Academy Award for Best Visual Effects and was also nominated for Best Cinematography and Best Sound.
Of the three King Kong films, it is the only one to feature the World Trade Center instead of the Empire State Building.
A sequel titled King Kong Lives was released in 1986.
The remake's screenplay was written by Lorenzo Semple Jr., based on the 1933 screenplay by James Ashmore Creelman and Ruth Rose, and from the original idea by Merian C. Cooper and Edgar Wallace.
The film was the fifth highest-grossing film of 1977 according to box office statistics compiled during its release by Variety. It won the Academy Award for Best Visual Effects and was also nominated for Best Cinematography and Best Sound.
Of the three King Kong films, it is the only one to feature the World Trade Center instead of the Empire State Building.
A sequel titled King Kong Lives was released in 1986.
Plot
In 1976, Fred Wilson, an executive of the Petrox Oil Company, forms an expedition based on infrared imagery which reveals a previously undiscovered Indian Ocean island hidden by a permanent cloud bank. Wilson believes that the island holds vast untapped deposits of oil, a potential fortune which he is determined to secure for Petrox. Unknown to Wilson or the crew, Jack Prescott, a primate paleontologist who wants to see the island for himself, has stowed away on the expedition's vessel, the Petrox Explorer. Prescott reveals himself when he warns the crew that the cloud bank may be caused by some unknown, and potentially dangerous, phenomenon.
Wilson orders Prescott locked up, believing him to be a corporate spy from a rival oil company. While being escorted to lock-up, Prescott spots a life raft which, upon inspection, is found to be carrying the beautiful and unconscious Dwan. After conducting a thorough background check on the 'spy', Wilson realizes that he is telling the truth and appoints Prescott as the expedition's official photographer, requesting that, due to his medical training, he be present when Dwan revives. When she does regain consciousness, Dwan states that she is an aspiring actress who was aboard a director's yacht, which suddenly and inexplicably exploded.
In 1976, Fred Wilson, an executive of the Petrox Oil Company, forms an expedition based on infrared imagery which reveals a previously undiscovered Indian Ocean island hidden by a permanent cloud bank. Wilson believes that the island holds vast untapped deposits of oil, a potential fortune which he is determined to secure for Petrox. Unknown to Wilson or the crew, Jack Prescott, a primate paleontologist who wants to see the island for himself, has stowed away on the expedition's vessel, the Petrox Explorer. Prescott reveals himself when he warns the crew that the cloud bank may be caused by some unknown, and potentially dangerous, phenomenon.
Wilson orders Prescott locked up, believing him to be a corporate spy from a rival oil company. While being escorted to lock-up, Prescott spots a life raft which, upon inspection, is found to be carrying the beautiful and unconscious Dwan. After conducting a thorough background check on the 'spy', Wilson realizes that he is telling the truth and appoints Prescott as the expedition's official photographer, requesting that, due to his medical training, he be present when Dwan revives. When she does regain consciousness, Dwan states that she is an aspiring actress who was aboard a director's yacht, which suddenly and inexplicably exploded.
When the Petrox Explorer arrives at the island, the team discovers a primitive tribe of natives who live within the confines of a gigantic wall. The tribal chief shows an immediate interest in the blonde Dwan, offering to trade several of the native women for her, an offer firmly rejected by Jack. The team then learn that while the island does indeed contain large deposits of oil, it is of such low quality that it is unusable. Later that night, the natives secretly board the ship and kidnap Dwan, drugging her and offering her as a sacrifice to a giant ape known as Kong. Kong frees Dwan from the stronghold and retreats into the depths of the island.
Although an awesome and terrifying sight, the soft-hearted Kong quickly becomes infatuated by Dwan, whose rambling monologue both calms and fascinates the monstrous beast, taming his baser, more violent instincts. After Dwan falls into mud, Kong takes her back to a waterfall to wash her and dry her with great gusts of his warm breath.
In the meantime, Jack and First Mate Carnahan lead several crew members on a rescue mission to save Dwan. The search party encounters Kong while crossing a log bridge. Enraged by the intrusion into his territory, Kong rolls the huge log, sending Carnahan and all but one of the team plummeting to their deaths. Jack and Boan are the only ones to survive. While Boan returns to the village, Jack presses on looking for Dwan. Kong takes Dwan to his lair. As he starts to undress her, a giant snake appears and attacks them. While the distracted Kong is fighting the snake, Jack arrives and rescues Dwan. After killing the snake, Kong chases them back to the native village. Smashing down the huge gates, he falls into a pit trap that Wilson and the crew have dug, where he is overcome by chloroform.
Although an awesome and terrifying sight, the soft-hearted Kong quickly becomes infatuated by Dwan, whose rambling monologue both calms and fascinates the monstrous beast, taming his baser, more violent instincts. After Dwan falls into mud, Kong takes her back to a waterfall to wash her and dry her with great gusts of his warm breath.
In the meantime, Jack and First Mate Carnahan lead several crew members on a rescue mission to save Dwan. The search party encounters Kong while crossing a log bridge. Enraged by the intrusion into his territory, Kong rolls the huge log, sending Carnahan and all but one of the team plummeting to their deaths. Jack and Boan are the only ones to survive. While Boan returns to the village, Jack presses on looking for Dwan. Kong takes Dwan to his lair. As he starts to undress her, a giant snake appears and attacks them. While the distracted Kong is fighting the snake, Jack arrives and rescues Dwan. After killing the snake, Kong chases them back to the native village. Smashing down the huge gates, he falls into a pit trap that Wilson and the crew have dug, where he is overcome by chloroform.
After learning that the oil cannot be refined, Wilson has instead decided to salvage the expedition by transporting the captive Kong to America as a promotional gimmick for Petrox. When they reach New York City, Kong is put on display, bound in chains with a large crown on his head. When Kong sees a group of reporters pushing and shoving Dwan for interviews, the ape, believing that Dwan is being harmed, breaks free of his bonds. A stampede ensues as panic engulfs the throng, with people crushed and trampled as Kong strides through the crowd. Wilson, trying to flee, loses his footing and is crushed underfoot by Kong.
Jack and Dwan flee across the Queensboro Bridge to Manhattan and take refuge in an abandoned bar, where Jack notices a similarity between the Manhattan skyline (notably the World Trade Center Twin Towers) and the mountainous terrain of Kong's island. He runs downstairs to call the mayor's office and tells them to let Kong climb to the top of the World Trade Center. Before Jack can return, Kong discovers Dwan and snatches her from the bar, then makes his way to the World Trade Center with Jack and the National Guard in pursuit.
Kong climbs to the roof of the South Tower of the World Trade Center, where he is attacked by soldiers armed with flamethrowers. Kong manages to evade them with a spectacular leap across to the roof of the North Tower. He rips pieces of equipment from the roof and throws them at the soldiers, killing them when he throws a tank of flammable material. Ignoring Jack's earlier request for safe, live capture, military helicopters are sent in to kill Kong (Most likely since Petrox is facing major indictment). After ensuring Dwan's safety, Kong fights the attacking helicopters, downing two of them. Dwan desperately pleads for the military to break off their assault, but the pilots continue attacking. The relentless hail of bullets finally brings down Kong. As Dwan approaches Kong and puts out her hand to touch him, he rolls over the edge of the roof, crashing to the plaza hundreds of feet below. Dwan rushes down to comfort him and tearfully watches him take his last breath. An enormous crowd gathers around the giant ape's body as Dwan is surrounded by photographers. Jack fights his way through the crowd to get to Dwan, but stops short as she is taken away by journalists, despite her cries to him.
Jack and Dwan flee across the Queensboro Bridge to Manhattan and take refuge in an abandoned bar, where Jack notices a similarity between the Manhattan skyline (notably the World Trade Center Twin Towers) and the mountainous terrain of Kong's island. He runs downstairs to call the mayor's office and tells them to let Kong climb to the top of the World Trade Center. Before Jack can return, Kong discovers Dwan and snatches her from the bar, then makes his way to the World Trade Center with Jack and the National Guard in pursuit.
Kong climbs to the roof of the South Tower of the World Trade Center, where he is attacked by soldiers armed with flamethrowers. Kong manages to evade them with a spectacular leap across to the roof of the North Tower. He rips pieces of equipment from the roof and throws them at the soldiers, killing them when he throws a tank of flammable material. Ignoring Jack's earlier request for safe, live capture, military helicopters are sent in to kill Kong (Most likely since Petrox is facing major indictment). After ensuring Dwan's safety, Kong fights the attacking helicopters, downing two of them. Dwan desperately pleads for the military to break off their assault, but the pilots continue attacking. The relentless hail of bullets finally brings down Kong. As Dwan approaches Kong and puts out her hand to touch him, he rolls over the edge of the roof, crashing to the plaza hundreds of feet below. Dwan rushes down to comfort him and tearfully watches him take his last breath. An enormous crowd gathers around the giant ape's body as Dwan is surrounded by photographers. Jack fights his way through the crowd to get to Dwan, but stops short as she is taken away by journalists, despite her cries to him.
Cast
- Jeff Bridges as Jack Prescott
- Jessica Lange as Dwan
- Charles Grodin as Fred S. Wilson
- John Randolph as Captain Ross
- René Auberjonois as Roy Bagley
- Ed Lauter as First Mate Carnahan
- Julius Harris as Boan
- Jack O'Halloran as Joe Perko
- Dennis Fimple as Sunfish
- Jorge Moreno as Garcia
- Mario Gallo as Timmons
- John Lone as Chinese Cook
- John Agar as City Official
- Sid Conrad as Petrox Chairman
- Keny Long as Ape Masked Man
- Garry Walberg as Army General
- George Whiteman as Army Helicopter Pilot
- Wayne Heffley as Air Force Colonel
- Donald F. Glut (uncredited) as Guy in amphitheatre bleachers where Kong escapes
- Rick Baker (uncredited) as King Kong
Production
Screenplay
The script was written by Lorenzo Semple Jr., who later recalled:
"We made a very deliberate attempt not to be anything like the original movie in tone or mood. Dino wanted it to be light and amusing, rather than portentous. I don't think the original was meant to be mythic... The original King Kong is extremely crude. I don't mean it's not wonderful. It was remarkable for its time, but it was a very small back-lot picture. We thought times had changed so much that audiences were more sophisticated. Dino felt we could have more fun with it. We hoped to do sensational things with advanced special effects on a big screen."
Semple says Universal wanted to make their own version of the story, The Legend of King Kong, from a script by Bo Goldman, to be directed by Joseph Sargent and starring Peter Falk as Carl Denham.
Casting
Meryl Streep has said that she was considered for the role of Dwan, but was deemed too unattractive by producer Dino De Laurentiis. Dwan was also proposed to Barbra Streisand but she turned it down. The role eventually went to Jessica Lange.
Filming
Producer Dino De Laurentiis first approached Roman Polanski to direct the picture.
According to King Kong: The History of a Movie Icon, director John Guillermin, known to have had outbursts from time to time on the set, got into a public shouting match with executive producer Federico De Laurentiis (son of producer Dino De Laurentiis). After the incident, Dino De Laurentiis was reported to have threatened to fire Guillermin if he did not start treating the cast and crew better. Rick Baker, who designed and wore the ape suit in collaboration with Carlo Rambaldi, was extremely disappointed in the final suit, which he felt was not at all convincing. He gives all the credit for its passable appearance to cinematographer Richard H. Kline. The only time that the collaboration of Baker and Rambaldi went smoothly was during the design of the mechanical Kong mask. Baker's design and Rambaldi's cable work combined to give Kong's face a wide range of expression that was responsible for much of the film's emotional impact. Baker gave much of the credit for its effectiveness to Rambaldi and his mechanics.
To film the scene where the Petrox Explorer finds Dwan in the life raft, Jessica Lange spent hours in a rubber raft in the freezing cold, drenched and wearing only a slinky black dress. Although Lange was not aware of it, there were sharks circling the raft the entire time. Shooting of this scene took place in the channel between Los Angeles and Catalina Island during the last week in January 1976.
On one of the nights of filming Kong's death at the World Trade Center, over 30,000 people showed up at the site to be extras for the scene. Although the crowd was well behaved, the Port Authority of New York & New Jersey (owner of the World Trade Center complex) became concerned that the weight of so many people would cause the plaza to collapse, and ordered the producers to shut down the filming. However, the film makers had already got the shot they wanted of the large crowd rushing toward Kong's body. They returned to the site days later to finish filming the scene, with a much smaller crowd of paid extras.
According to Bahrenburg, five different masks were created by Carlo Rambaldi to convey various emotions. Separate masks were necessary as there were too many cables and mechanics required for all the expressions to fit in one single mask. To complete the look of a gorilla, Baker wore contact lenses so his eyes would resemble those of a gorilla.
Rambaldi's mechanical Kong was 40 ft (12.2 m) tall and weighed 6½ tons. It cost £500,000 to create. Despite months of preparation, the final device proved to be impossible to operate convincingly, and is only seen in a series of brief shots totaling less than 15 seconds.
Music
The film's score was composed and conducted by John Barry. A soundtrack album of highlights from the score was released in 1976 by Reprise Records on LP. This album was released on CD, first as a bootleg by the Italian label Mask in 1998, and then as a legitimate, licensed release by Film Score Monthly in 2005. On October 2, 2012, Film Score Monthly released the complete score on a two-disc set; the first disc features the remastered complete score, while the second disc contains the remastered original album, along with alternate takes of various cues.
Screenplay
The script was written by Lorenzo Semple Jr., who later recalled:
"We made a very deliberate attempt not to be anything like the original movie in tone or mood. Dino wanted it to be light and amusing, rather than portentous. I don't think the original was meant to be mythic... The original King Kong is extremely crude. I don't mean it's not wonderful. It was remarkable for its time, but it was a very small back-lot picture. We thought times had changed so much that audiences were more sophisticated. Dino felt we could have more fun with it. We hoped to do sensational things with advanced special effects on a big screen."
Semple says Universal wanted to make their own version of the story, The Legend of King Kong, from a script by Bo Goldman, to be directed by Joseph Sargent and starring Peter Falk as Carl Denham.
Casting
Meryl Streep has said that she was considered for the role of Dwan, but was deemed too unattractive by producer Dino De Laurentiis. Dwan was also proposed to Barbra Streisand but she turned it down. The role eventually went to Jessica Lange.
Filming
Producer Dino De Laurentiis first approached Roman Polanski to direct the picture.
According to King Kong: The History of a Movie Icon, director John Guillermin, known to have had outbursts from time to time on the set, got into a public shouting match with executive producer Federico De Laurentiis (son of producer Dino De Laurentiis). After the incident, Dino De Laurentiis was reported to have threatened to fire Guillermin if he did not start treating the cast and crew better. Rick Baker, who designed and wore the ape suit in collaboration with Carlo Rambaldi, was extremely disappointed in the final suit, which he felt was not at all convincing. He gives all the credit for its passable appearance to cinematographer Richard H. Kline. The only time that the collaboration of Baker and Rambaldi went smoothly was during the design of the mechanical Kong mask. Baker's design and Rambaldi's cable work combined to give Kong's face a wide range of expression that was responsible for much of the film's emotional impact. Baker gave much of the credit for its effectiveness to Rambaldi and his mechanics.
To film the scene where the Petrox Explorer finds Dwan in the life raft, Jessica Lange spent hours in a rubber raft in the freezing cold, drenched and wearing only a slinky black dress. Although Lange was not aware of it, there were sharks circling the raft the entire time. Shooting of this scene took place in the channel between Los Angeles and Catalina Island during the last week in January 1976.
On one of the nights of filming Kong's death at the World Trade Center, over 30,000 people showed up at the site to be extras for the scene. Although the crowd was well behaved, the Port Authority of New York & New Jersey (owner of the World Trade Center complex) became concerned that the weight of so many people would cause the plaza to collapse, and ordered the producers to shut down the filming. However, the film makers had already got the shot they wanted of the large crowd rushing toward Kong's body. They returned to the site days later to finish filming the scene, with a much smaller crowd of paid extras.
According to Bahrenburg, five different masks were created by Carlo Rambaldi to convey various emotions. Separate masks were necessary as there were too many cables and mechanics required for all the expressions to fit in one single mask. To complete the look of a gorilla, Baker wore contact lenses so his eyes would resemble those of a gorilla.
Rambaldi's mechanical Kong was 40 ft (12.2 m) tall and weighed 6½ tons. It cost £500,000 to create. Despite months of preparation, the final device proved to be impossible to operate convincingly, and is only seen in a series of brief shots totaling less than 15 seconds.
Music
The film's score was composed and conducted by John Barry. A soundtrack album of highlights from the score was released in 1976 by Reprise Records on LP. This album was released on CD, first as a bootleg by the Italian label Mask in 1998, and then as a legitimate, licensed release by Film Score Monthly in 2005. On October 2, 2012, Film Score Monthly released the complete score on a two-disc set; the first disc features the remastered complete score, while the second disc contains the remastered original album, along with alternate takes of various cues.
Distribution
Extended television version
When King Kong made its network television debut on NBC in 1978, a number of scenes deleted from the theatrical version were reinstated to make the film longer. This version also features several changes to the John Barry score, including entirely alternate cues for places that no music existed in the theatrical version, as well as several different edits of cues. To date, the only DVD appearance of this extra footage is in the form of five deleted/extended scenes on the Region 2 release.
Home media
Momentum Pictures released a Region 2 DVD of this film in 2001 on the label with a photo gallery and a theatrical trailer. This has now been deleted according to the online retailer site Zavvi. Optimum Releasing has confirmed a new re-release of this film on Region 2 with deleted scenes and the theatrical trailer from the previous issue. There are only two deleted scenes on the DVD. This is the extended scene of the brawl between Kong and the Snake. The other scene is the demise of Wilson at the New York unveiling of Kong. The film has been released on Blu-ray in Region B territories, although this disc is region-free and can work in any Blu-ray machine
Extended television version
When King Kong made its network television debut on NBC in 1978, a number of scenes deleted from the theatrical version were reinstated to make the film longer. This version also features several changes to the John Barry score, including entirely alternate cues for places that no music existed in the theatrical version, as well as several different edits of cues. To date, the only DVD appearance of this extra footage is in the form of five deleted/extended scenes on the Region 2 release.
Home media
Momentum Pictures released a Region 2 DVD of this film in 2001 on the label with a photo gallery and a theatrical trailer. This has now been deleted according to the online retailer site Zavvi. Optimum Releasing has confirmed a new re-release of this film on Region 2 with deleted scenes and the theatrical trailer from the previous issue. There are only two deleted scenes on the DVD. This is the extended scene of the brawl between Kong and the Snake. The other scene is the demise of Wilson at the New York unveiling of Kong. The film has been released on Blu-ray in Region B territories, although this disc is region-free and can work in any Blu-ray machine
Reception
King Kong was commercially successful, earning Paramount Pictures back over triple its budget. The film ended up at #5 on Variety's chart of the top domestic (U.S.) moneymakers of 1977. (The film was released in December 1976 and therefore earned the majority of its money during the early part of 1977.) The film made just over $90 million worldwide on a $24 million budget.
After months of much anticipation for the film's release, the film received mostly mixed responses from critics at the time of its initial release, especially from fans of the original King Kong. However, it did obtain positive reviews from several prominent critics. Pauline Kael in The New Yorker, Richard Schickel in Time, Charles Champlin in the Los Angeles Times, Roger Ebert in the Chicago Sun-Times, and 'Murf' in Variety, among others, responded favorably to the film's pathos and (often campy) sense of humor. Kael, in particular, truly loved the film, noting "I don't think I've ever before seen a movie that was a comic-strip great romance in the way this one is — it's a joke that can make you cry." The performances by Bridges and Grodin were generally well regarded, and even the film's detractors found Richard H. Kline's Academy Award-nominated cinematography and John Barry's musical score noteworthy.
Critical response to King Kong continues to be mixed. Of the 37 reviewers on Rotten Tomatoes regarding the title, 49% reflect positive reactions. The critical consensus states that the film "represents a significant visual upgrade over the original, but falls short of its classic predecessor in virtually every other respect." According to Entertainment Tonight's Leonard Maltin, the film "...has great potential; yet it dispels all the mythic, larger-than-life qualities of the original with idiotic characters and campy approach."
The movie's success and notoriety helped launch the career of Jessica Lange, although she reportedly received some negative publicity regarding her debut performance that, according to film reviewer Marshall Fine, "almost destroyed her career". Although Lange won the Golden Globe Award for Best Acting Debut in a Motion Picture - Female for Kong, she did not appear in another film for three years and spent that time training intensively in acting.
King Kong found new and sustained life on television. NBC bought the rights to air the movie and it was a ratings success. NBC paid De Laurentiis $19.5 million for the rights to two showings over five years, the highest amount any network had ever paid for a film at that time. This led De Laurentiis Entertainment Group to make a sequel, King Kong Lives (1986), starring Linda Hamilton. Unlike the 1976 remake, the sequel was a critical and commercial failure.
Awards
The film received three Academy Award nominations and won one.
King Kong was commercially successful, earning Paramount Pictures back over triple its budget. The film ended up at #5 on Variety's chart of the top domestic (U.S.) moneymakers of 1977. (The film was released in December 1976 and therefore earned the majority of its money during the early part of 1977.) The film made just over $90 million worldwide on a $24 million budget.
After months of much anticipation for the film's release, the film received mostly mixed responses from critics at the time of its initial release, especially from fans of the original King Kong. However, it did obtain positive reviews from several prominent critics. Pauline Kael in The New Yorker, Richard Schickel in Time, Charles Champlin in the Los Angeles Times, Roger Ebert in the Chicago Sun-Times, and 'Murf' in Variety, among others, responded favorably to the film's pathos and (often campy) sense of humor. Kael, in particular, truly loved the film, noting "I don't think I've ever before seen a movie that was a comic-strip great romance in the way this one is — it's a joke that can make you cry." The performances by Bridges and Grodin were generally well regarded, and even the film's detractors found Richard H. Kline's Academy Award-nominated cinematography and John Barry's musical score noteworthy.
Critical response to King Kong continues to be mixed. Of the 37 reviewers on Rotten Tomatoes regarding the title, 49% reflect positive reactions. The critical consensus states that the film "represents a significant visual upgrade over the original, but falls short of its classic predecessor in virtually every other respect." According to Entertainment Tonight's Leonard Maltin, the film "...has great potential; yet it dispels all the mythic, larger-than-life qualities of the original with idiotic characters and campy approach."
The movie's success and notoriety helped launch the career of Jessica Lange, although she reportedly received some negative publicity regarding her debut performance that, according to film reviewer Marshall Fine, "almost destroyed her career". Although Lange won the Golden Globe Award for Best Acting Debut in a Motion Picture - Female for Kong, she did not appear in another film for three years and spent that time training intensively in acting.
King Kong found new and sustained life on television. NBC bought the rights to air the movie and it was a ratings success. NBC paid De Laurentiis $19.5 million for the rights to two showings over five years, the highest amount any network had ever paid for a film at that time. This led De Laurentiis Entertainment Group to make a sequel, King Kong Lives (1986), starring Linda Hamilton. Unlike the 1976 remake, the sequel was a critical and commercial failure.
Awards
The film received three Academy Award nominations and won one.
- Winner Best Visual Effects (Carlo Rambaldi, Glen Robinson and Frank Van der Veer), shared with Logan's Run (1976).
- Nominee Best Cinematography (Richard H. Kline).
- Nominee Best Sound (Harry W. Tetrick, William McCaughey, Aaron Rochin and Jack Solomon).
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Terror of Mechagodzilla (released in Japan as Counterattack of Mechagodzilla (メカゴジラの逆襲 Mekagojira no Gyakushū)) is a 1975 Japanese science fiction kaiju film produced by Toho. Directed by Ishirō Honda and featuring special effects by Teruyoshi Nakano, the film starred Tomoko Ai, Gorō Mutsumi, and Akihiko Hirata. This film was the 15th and final film in the original series of Godzilla films, before the series reboot in 1984. A direct sequel to the previous year's Godzilla vs. Mechagodzilla, this film was the least successful commercially of the entire Godzilla franchise. The movie takes place between Godzilla vs. Mechagodzilla and Destroy All Monsters. This was the last Godzilla film directed by Ishirō Honda.
In the United States, it received a very limited theatrical release in the summer of 1978 by Bob Conn Enterprises as The Terror of Godzilla.
In the United States, it received a very limited theatrical release in the summer of 1978 by Bob Conn Enterprises as The Terror of Godzilla.
Plot
Continuing after the end of the final film, Interpol agents, led by Inspector Kusaka, search for the wreck of Mechagodzilla at the bottom of the Okinawan Sea. Using the submarine, Akatsuki, they hope to gather information on the robot's builders, the alien simians. The Akatsuki is suddenly attacked by a giant aquatic dinosaur called Titanosaurus, and the crew vanishes.
Interpol starts an investigation into the incident. With the help of marine biologist Akira Ichinose, they trace the Titanosaurus to a reclusive, mad scientist named Shinzô Mafune, who wants to destroy all mankind. While Ichinose is visiting his old home in the seaside forest of Manazuru, they meet Mafune's lone daughter, Katsura. She tells them that not only is her father dead, but she burned all of the notes about the giant dinosaur (at her father's request). Unknownst to them, Mafune is still alive and well. He is visited by his friend Tsuda, who is an aide to the simian alien leader Mugal. He is leading the project to quickly rebuild Mechagodzilla. Mugal offers their services to Mafune, so that his Titanosaurus and their Mechagodzilla 2 will be the ultimate weapons. They hope to wipe out mankind and rebuild the world for themselves.
But things are complicated for both factions when Ichinose falls in love with Katsura and unwittingly gives her Interpol's information against Titanosaurus, the new Mechagodzilla, and the aliens. It's also discovered that Katsura is actually a cyborg, due to undergoing surgery and Mugal still has uses for her. Meanwhile, Mafune is desperate to unleash Titanosaurus without the aliens' permission, so he releases it on Yokosuka one night. By then, Interpol discovers that supersonic waves are the Titanosaurus' weakness. They had a supersonic wave oscillator ready, but Katsura sabotaged the machine before they could use it. Fortunately, Godzilla arrives to fight off Titanosaurus.
Continuing after the end of the final film, Interpol agents, led by Inspector Kusaka, search for the wreck of Mechagodzilla at the bottom of the Okinawan Sea. Using the submarine, Akatsuki, they hope to gather information on the robot's builders, the alien simians. The Akatsuki is suddenly attacked by a giant aquatic dinosaur called Titanosaurus, and the crew vanishes.
Interpol starts an investigation into the incident. With the help of marine biologist Akira Ichinose, they trace the Titanosaurus to a reclusive, mad scientist named Shinzô Mafune, who wants to destroy all mankind. While Ichinose is visiting his old home in the seaside forest of Manazuru, they meet Mafune's lone daughter, Katsura. She tells them that not only is her father dead, but she burned all of the notes about the giant dinosaur (at her father's request). Unknownst to them, Mafune is still alive and well. He is visited by his friend Tsuda, who is an aide to the simian alien leader Mugal. He is leading the project to quickly rebuild Mechagodzilla. Mugal offers their services to Mafune, so that his Titanosaurus and their Mechagodzilla 2 will be the ultimate weapons. They hope to wipe out mankind and rebuild the world for themselves.
But things are complicated for both factions when Ichinose falls in love with Katsura and unwittingly gives her Interpol's information against Titanosaurus, the new Mechagodzilla, and the aliens. It's also discovered that Katsura is actually a cyborg, due to undergoing surgery and Mugal still has uses for her. Meanwhile, Mafune is desperate to unleash Titanosaurus without the aliens' permission, so he releases it on Yokosuka one night. By then, Interpol discovers that supersonic waves are the Titanosaurus' weakness. They had a supersonic wave oscillator ready, but Katsura sabotaged the machine before they could use it. Fortunately, Godzilla arrives to fight off Titanosaurus.
Later, when Ichinose visits Katsura, he is captured by the aliens. Tied up, Ichinose can only watch as Mafune and the aliens unleash Mechagodzilla and Titanosaurus on Yokosuka, while Interpol struggles to repair their sonic wave machine and the Japanese armed forces struggle to keep the two monsters at bay. Katsura, while being controlled by Mugal, ignores Ichinose and controls both the dinosaur and the robot as they destroy the city.
Godzilla comes to the rescue, though he is outmatched by the two titans. While Interpol distracts Titanosaurus with the supersonic wave oscillator, Godzilla is able to focus on attacking Mechagodzilla. Interpol agents infiltrate the aliens' hideout, rescue Ichinose, and kill Mafune and many of the aliens. The remaining aliens attempt to escape in their ship, but Godzilla shoots them down. Katsura, while being embraced by Ichinose, shoots herself to destroy Mechagodzilla. Godzilla, with the help of the oscillator, defeats Titanosaurus, and heads back to sea.
Godzilla comes to the rescue, though he is outmatched by the two titans. While Interpol distracts Titanosaurus with the supersonic wave oscillator, Godzilla is able to focus on attacking Mechagodzilla. Interpol agents infiltrate the aliens' hideout, rescue Ichinose, and kill Mafune and many of the aliens. The remaining aliens attempt to escape in their ship, but Godzilla shoots them down. Katsura, while being embraced by Ichinose, shoots herself to destroy Mechagodzilla. Godzilla, with the help of the oscillator, defeats Titanosaurus, and heads back to sea.
Cast
Production
The original screenplay that Yukiko Takayama created after winning Toho's story contest for the next establishment in the Godzilla series, which was picked by assistant producer Kenji Tokoro and was submitted for approval on July 1, 1974, less than four months after Godzilla vs. Mechagodzilla (1974) was released.
The original concept is similar to the finished version of Terror of Mechagodzilla, with many of the changes being budgetary in nature. The most obvious alteration is the removal of the two monsters called the Titans, which merged to create Titanosaurus in the first draft. It was an interesting concept, although something that was also under explained considering the magnitude of such an occurrence of the creatures merging. Another noticeable change to the script is that of the final battle, which doesn't move to the countryside but instead would have reduced Tokyo to rubble during the ensuing conflict between the three monsters.
- Katsuhiko Sasaki as Akira Ichinose
- Tomoko Ai as Katsura Mafune
- Akihiko Hirata as Dr. Shinji Mafune
- Katsumasa Uchida as Jiro Murakoshi, Interpol Agent
- Goro Mutusmi as Mugal, Black Hole Alien Leader
- Toru Ibuki as Tsuda, Black Hole Alien Lieutenant
- Kenji Sahara as General Segawa
Production
The original screenplay that Yukiko Takayama created after winning Toho's story contest for the next establishment in the Godzilla series, which was picked by assistant producer Kenji Tokoro and was submitted for approval on July 1, 1974, less than four months after Godzilla vs. Mechagodzilla (1974) was released.
The original concept is similar to the finished version of Terror of Mechagodzilla, with many of the changes being budgetary in nature. The most obvious alteration is the removal of the two monsters called the Titans, which merged to create Titanosaurus in the first draft. It was an interesting concept, although something that was also under explained considering the magnitude of such an occurrence of the creatures merging. Another noticeable change to the script is that of the final battle, which doesn't move to the countryside but instead would have reduced Tokyo to rubble during the ensuing conflict between the three monsters.
After her initial draft, Takayama submitted a revised version on October 14, 1974. This went through a third revision on December 4, and then yet another on December 28 of that same year before it was met with approval and filming began.
Bob Connn Enterprises theatrical poster for the 1978 U.S release of The Terror of Godzilla. The poster art mistakenly features King Ceasar, not Titanosaurus and paints Godzilla as the film's primary antagonist, instead of Mechagodzilla.
English Versions
The film was given a North American theatrical release in March 1978 by Bob Conn Enterprises under the title The Terror of Godzilla. This version runs 78 minutes, five minutes shorter than the Japanese print. Just as Cinema Shares had done with the previous three Godzilla movies, Bob Conn Enterprises chose to utilize the Toho-produced English dub instead of hiring American voice actors to re-dub the film. The Terror of Godzilla was heavily edited to obtain a "G" rating from the MPAA. Several scenes with violent content were entirely removed, disrupting the flow of the narrative. Rumor has it that an unedited print, still titled The Terror of Godzilla, was shown in theaters as well.
The film was given a North American theatrical release in March 1978 by Bob Conn Enterprises under the title The Terror of Godzilla. This version runs 78 minutes, five minutes shorter than the Japanese print. Just as Cinema Shares had done with the previous three Godzilla movies, Bob Conn Enterprises chose to utilize the Toho-produced English dub instead of hiring American voice actors to re-dub the film. The Terror of Godzilla was heavily edited to obtain a "G" rating from the MPAA. Several scenes with violent content were entirely removed, disrupting the flow of the narrative. Rumor has it that an unedited print, still titled The Terror of Godzilla, was shown in theaters as well.
Henry Saperstein, who sold the theatrical rights to Bob Conn Enterprises, also released the film to television in late 1978, this time under the title Terror of Mechagodzilla. This version runs 89 minutes, which is actually six minutes longer than the Japanese version. It included a prologue about the history of Godzilla, with footage from Monster Zero and Godzilla's Revenge (itself using stock footage from Godzilla vs. the Sea Monster and Son of Godzilla). The rest of this version was uncut with the exception of the shot of Katsura's breasts.
In the mid-1980s, the US TV version, Terror of Mechagodzilla, was replaced by the theatrical edit, The Terror of Godzilla, on television and home video. For some reason, the title was also changed to Terror of Mechagodzilla. The 1994 Paramount release of Terror of Mechagodzilla listed a running time of 89 minutes on the slipcase, implying that this release would be the longer version first shown on American TV. The actual video cassette featured the edited theatrical version. In a 1995 interview with G-Fan, Henry Saperstein was surprised to hear about this mistake. In the mid-2000s, the television version showed up again on Monsters HD, and in 2007, it made its home video debut as the US version on the Classic Media DVD. Although the added prologue was framed for fullscreen television, it was cropped and shown in widescreen on the disc. The rest of the movie featured the audio from Saperstein's television version synced to video from the Japanese version.
In the mid-1980s, the US TV version, Terror of Mechagodzilla, was replaced by the theatrical edit, The Terror of Godzilla, on television and home video. For some reason, the title was also changed to Terror of Mechagodzilla. The 1994 Paramount release of Terror of Mechagodzilla listed a running time of 89 minutes on the slipcase, implying that this release would be the longer version first shown on American TV. The actual video cassette featured the edited theatrical version. In a 1995 interview with G-Fan, Henry Saperstein was surprised to hear about this mistake. In the mid-2000s, the television version showed up again on Monsters HD, and in 2007, it made its home video debut as the US version on the Classic Media DVD. Although the added prologue was framed for fullscreen television, it was cropped and shown in widescreen on the disc. The rest of the movie featured the audio from Saperstein's television version synced to video from the Japanese version.
The first article about the movie's storyline was published in a 1977 issue of "Japanese Giants" (published by Brad Boyle) and was written by Richard H. Campbell, creator of The Godzilla Fan News Letter.
Titles
Counterattack of Mechagodzilla - Japanese title.
Terror of Mechagodzilla - Toho's official English title. Henry Saperstein's TV version was also titled this. All subsequent versions of the film released in the U.S. have been given this title as well, including The Terror of Godzilla version. The fully uncut UK video also featured this title.
The Terror of Godzilla - U.S. theatrical release title.
Monsters from an Unknown Planet - UK theatrical release title.
Titles
Counterattack of Mechagodzilla - Japanese title.
Terror of Mechagodzilla - Toho's official English title. Henry Saperstein's TV version was also titled this. All subsequent versions of the film released in the U.S. have been given this title as well, including The Terror of Godzilla version. The fully uncut UK video also featured this title.
The Terror of Godzilla - U.S. theatrical release title.
Monsters from an Unknown Planet - UK theatrical release title.
Box Office
In Japan, the film sold 970,000 tickets. It would be the least-attended Godzilla film in Japan and also one of only two Godzilla films to sell less than one million tickets. As a result, the series was put on hold. Toho had no intention of permanently ending the Godzilla series. Throughout the remainder of the decade, several new stories were submitted by writers and producers. None of these films, however, were made. It wasn't until 1984 and Godzilla's 30th anniversary that Toho would start production on a new Godzilla movie. Despite the movie's poor box office and critical reception at the time of its original release, it has become a favorite among fans due to its dark nature, brief but entertaining kaiju battles, and the return of series veterans Ishiro Honda and Akira Ifukube.
In Japan, the film sold 970,000 tickets. It would be the least-attended Godzilla film in Japan and also one of only two Godzilla films to sell less than one million tickets. As a result, the series was put on hold. Toho had no intention of permanently ending the Godzilla series. Throughout the remainder of the decade, several new stories were submitted by writers and producers. None of these films, however, were made. It wasn't until 1984 and Godzilla's 30th anniversary that Toho would start production on a new Godzilla movie. Despite the movie's poor box office and critical reception at the time of its original release, it has become a favorite among fans due to its dark nature, brief but entertaining kaiju battles, and the return of series veterans Ishiro Honda and Akira Ifukube.
DVD Release
Second Classic Media Release
Released: November 20, 2007 in the Godzilla Collection box set. Singular release April 29, 2008.
Aspect Ratio: 2.55:1
Sound: English, Japanese
Supplements: Women of Godzilla Featurette, Audio commentary, Theatrical trailer (later pressings only)
Region 1
First Classic Media Release
Released: September 17, 2002
Sound: English
Subtitles: None
Supplements: Trailer for 2002 Nintendo Gamecube video game, Godzilla: Destroy All Monsters Melee
Also released as part of the Ultimate Godzilla DVD Collection, which was simultaneously released on September 17, 2002
Region 1
Simitar Entertainment
Released: May 6, 1998
Video: Fullscreen
Sound: English mono, English 5.1 (Edited The Terror of Godzilla version)
Supplements: Godzilla trailers; Godzilla video art gallery; Film facts; Trivia game; DVD-ROM (Screensavers, printable art gallery, web access)
Region 1
Second Classic Media Release
Released: November 20, 2007 in the Godzilla Collection box set. Singular release April 29, 2008.
Aspect Ratio: 2.55:1
Sound: English, Japanese
Supplements: Women of Godzilla Featurette, Audio commentary, Theatrical trailer (later pressings only)
Region 1
First Classic Media Release
Released: September 17, 2002
Sound: English
Subtitles: None
Supplements: Trailer for 2002 Nintendo Gamecube video game, Godzilla: Destroy All Monsters Melee
Also released as part of the Ultimate Godzilla DVD Collection, which was simultaneously released on September 17, 2002
Region 1
Simitar Entertainment
Released: May 6, 1998
Video: Fullscreen
Sound: English mono, English 5.1 (Edited The Terror of Godzilla version)
Supplements: Godzilla trailers; Godzilla video art gallery; Film facts; Trivia game; DVD-ROM (Screensavers, printable art gallery, web access)
Region 1
- Published on
Godzilla vs. Mechagodzilla (ゴジラ対メカゴジラ Gojira Tai Mekagojira), is a 1974 Japanese science fiction kaiju film produced by Toho. Directed by Jun Fukuda and featuring special effects by Teruyoshi Nakano, the film starred Gorō Mutsumi, Hiroshi Koizumi and Kenji Sahara. The 14th film of the Godzilla series, it featured a slightly bigger budget with higher production values then the previous few films of the series. The film introduced a mechanical version of Godzilla called Mechagodzilla, and also introduced a character called King Caesar based on the legend of the Shisa.
The film received a very limited theatrical release in the United States in early 1977 by Cinema Shares as Godzilla vs. The Bionic Monster. After roughly a week into its release, the film was reissued with the altered title of Godzilla vs. The Cosmic Monster.
The film received a very limited theatrical release in the United States in early 1977 by Cinema Shares as Godzilla vs. The Bionic Monster. After roughly a week into its release, the film was reissued with the altered title of Godzilla vs. The Cosmic Monster.
Plot
Strange events are taking place in Okinawa. An Azumi priestess has a terrifying vision of a city being destroyed by a giant monster. A type of metal not found on earth is discovered in a cave by a spelunker, Masahiko Shimizu, who takes it to Professor Miyajima for examination. An excavation led by Masahiko's brother Keisuke accidentally uncovers a chamber filled with ancient artifacts and a mural bearing an ominous prophecy: "When a black mountain appears above the clouds, a huge monster will arise and try to destroy the world; but then, when the red moon sets and the sun rises in the west, two more shall appear to save humanity." Keisuke is joined by archaeologist Saeko Kaneshiro, who translates the prophecy and takes one of the artifacts, bearing the likeness of the legendary monster King Caesar, to study. Two men stalk them, one who speaks to them and claims to be a reporter interested in the story, the other of whom attempts to steal the statue from them but fails and flees.
Before long, the first sign appears in the form of a black cloud that looks like a mountain. Godzilla (or so it seems) emerges from Mount Fuji and begins a destructive rampage, despite the fact that he has become tolerant of humans within the last few years. Anguirus, usually Godzilla's ally, confronts him only to be mutilated and forced to retreat, but not before inflicting a wound that exposes something shiny and metallic beneath Godzilla's skin. Keisuke arrives shortly after to make sure that his brother and the professor are out of harm's way and discovers another sample of the strange metal. Godzilla's rampage continues, but another Godzilla arrives and the two begin to fight. Soon, the challenger is revealed to be the true Godzilla, while the other turns out to be Mechagodzilla, a massive robot armed with advanced weaponry. The real Godzilla is severely wounded but inflicts some damage on the machine; both monsters retreat hastily. Miyajima hypothesizes, based on MechaGodzilla's advanced technology and composition of unearthly metals, that the robot is an alien super weapon.
Keisuke and Saeko take the statue of King Caesar back to the temple by cruise ship, but are confronted by the thief once again. During the fight, the stranger's head is wounded and the skin on half of his face melts away to reveal an apelike visage. The intruder attempts to kill Keisuke and nearly succeeds, but a bullet from an unseen gunman kills him and propels him overboard. Keisuke and Saeko catch a brief glimpse of the "reporter" once again. Meanwhile, Godzilla arrives on Monster Island during a thunderstorm and is struck by lightning multiple times, seemingly reinvigorating him.
Strange events are taking place in Okinawa. An Azumi priestess has a terrifying vision of a city being destroyed by a giant monster. A type of metal not found on earth is discovered in a cave by a spelunker, Masahiko Shimizu, who takes it to Professor Miyajima for examination. An excavation led by Masahiko's brother Keisuke accidentally uncovers a chamber filled with ancient artifacts and a mural bearing an ominous prophecy: "When a black mountain appears above the clouds, a huge monster will arise and try to destroy the world; but then, when the red moon sets and the sun rises in the west, two more shall appear to save humanity." Keisuke is joined by archaeologist Saeko Kaneshiro, who translates the prophecy and takes one of the artifacts, bearing the likeness of the legendary monster King Caesar, to study. Two men stalk them, one who speaks to them and claims to be a reporter interested in the story, the other of whom attempts to steal the statue from them but fails and flees.
Before long, the first sign appears in the form of a black cloud that looks like a mountain. Godzilla (or so it seems) emerges from Mount Fuji and begins a destructive rampage, despite the fact that he has become tolerant of humans within the last few years. Anguirus, usually Godzilla's ally, confronts him only to be mutilated and forced to retreat, but not before inflicting a wound that exposes something shiny and metallic beneath Godzilla's skin. Keisuke arrives shortly after to make sure that his brother and the professor are out of harm's way and discovers another sample of the strange metal. Godzilla's rampage continues, but another Godzilla arrives and the two begin to fight. Soon, the challenger is revealed to be the true Godzilla, while the other turns out to be Mechagodzilla, a massive robot armed with advanced weaponry. The real Godzilla is severely wounded but inflicts some damage on the machine; both monsters retreat hastily. Miyajima hypothesizes, based on MechaGodzilla's advanced technology and composition of unearthly metals, that the robot is an alien super weapon.
Keisuke and Saeko take the statue of King Caesar back to the temple by cruise ship, but are confronted by the thief once again. During the fight, the stranger's head is wounded and the skin on half of his face melts away to reveal an apelike visage. The intruder attempts to kill Keisuke and nearly succeeds, but a bullet from an unseen gunman kills him and propels him overboard. Keisuke and Saeko catch a brief glimpse of the "reporter" once again. Meanwhile, Godzilla arrives on Monster Island during a thunderstorm and is struck by lightning multiple times, seemingly reinvigorating him.
Masahiko, Miyajima and his daughter Ikuko go to explore the cave where the metal was first found and are captured by the apelike aliens of the Third Planet from the Black Hole, who plan to use MechaGodzilla to conquer Earth. Their leader, Kuronuma, forces Miyajima to repair the robot. While Saeko checks into a hotel and guards the statue, Keisuke goes to meet his brother at the caves and instead encounters the reporter, who explains that his name is Nanbara and he is actually an Interpol agent who has been tracking the aliens and believed Keisuke to be connected to them. Nanbara and Keisuke infiltrate the alien base and free the prisoners. The team then splits up, with Miyajima, Nanbara, and Masahiko returning to the alien base and deliberately getting recaptured by Kuronuma, while Keisuke and Ikuko pick up Saeko and the statue from the hotel.
In the early hours of the morning, a lunar eclipse results in a red moon and a mirage creates the illusion of the sun rising in the west. The team realizes that the time has come to awaken King Caesar. They meet with the Azumi priestess and her grandfather, and place the statue on a platform in the temple, revealing the monster's resting place. However, just then, Kuronuma dispatches MechaGodzilla. The priestess sings a hymn that awakens King Caesar, and Godzilla appears shortly afterward. King Caesar and Godzilla fight together, but they are no match for MechaGodzilla's vast array of weapons. Eventually, Godzilla uses the electricity stored in his body from the lightning to create a magnetic field that ensnares the robot, then removes its head, shutting off its controls. While the mortified aliens are distracted, Nanbara and the others free themselves, kill their captors, and sabotage the base, fleeing as it burns and collapses on itself. With the enemy defeated, Godzilla heads out to sea and King Caesar returns to its resting place while the heroes rejoice.
In the early hours of the morning, a lunar eclipse results in a red moon and a mirage creates the illusion of the sun rising in the west. The team realizes that the time has come to awaken King Caesar. They meet with the Azumi priestess and her grandfather, and place the statue on a platform in the temple, revealing the monster's resting place. However, just then, Kuronuma dispatches MechaGodzilla. The priestess sings a hymn that awakens King Caesar, and Godzilla appears shortly afterward. King Caesar and Godzilla fight together, but they are no match for MechaGodzilla's vast array of weapons. Eventually, Godzilla uses the electricity stored in his body from the lightning to create a magnetic field that ensnares the robot, then removes its head, shutting off its controls. While the mortified aliens are distracted, Nanbara and the others free themselves, kill their captors, and sabotage the base, fleeing as it burns and collapses on itself. With the enemy defeated, Godzilla heads out to sea and King Caesar returns to its resting place while the heroes rejoice.
Cast
Production
Giant Monsters Converge on Okinawa! Showdown in Zanpamisaki was the original concept for the 20th anniversary film for the Godzilla franchise. The story was created by Shinichi Sekisawa and Masami Fukushima, while the screenplay was developed by Hiroyasu Yamaura and Jun Fukuda and was submitted in 1973. The concept continued the trend of aliens using a monster to try and conquer Earth, and was also the second attempt to try and create an entry in the Godzilla series that took place in Okinawa after the scrapped Godzilla vs. Redmoon. Nami, best known as the princess who awoke King Caesar by singing to him. If she was going to play a similar role with Mothra in this production, or something else altogether, is unknown.
- Masaaki Daimon as Keisuke Shimizu
- Kazuya Aoyama as Masahiko Shimizu
- Akihiko Hirata as Professor Hideto Miyajima
- Hiroshi Koizumi as Professor Wagura
- Reiko Tajima as Saeko Kaneshiro
- Hiromi Matsushita as Ikuko Miyajima
- Goro Mutsumi as Kuronuma, Black Hole Alien Leader
- Shin Kishida as Nanbara, Interpol Agent
Production
Giant Monsters Converge on Okinawa! Showdown in Zanpamisaki was the original concept for the 20th anniversary film for the Godzilla franchise. The story was created by Shinichi Sekisawa and Masami Fukushima, while the screenplay was developed by Hiroyasu Yamaura and Jun Fukuda and was submitted in 1973. The concept continued the trend of aliens using a monster to try and conquer Earth, and was also the second attempt to try and create an entry in the Godzilla series that took place in Okinawa after the scrapped Godzilla vs. Redmoon. Nami, best known as the princess who awoke King Caesar by singing to him. If she was going to play a similar role with Mothra in this production, or something else altogether, is unknown.
Eventually, this idea was taken back to the drawing board for a heavy reworking. In its next phase of script writing, Mothra and Garugan had been replaced by King Barugan and Mechagodzilla respectively while this new draft was titled Showdown in Zanpamisaki: Godzilla vs Mechagodzilla. The Garuga Aliens were also replaced with the Black Hole Aliens, while the disguise aspect of Mechagodzilla was added in. In terms of King Barugan, the creature was a crimson and bronze colored monster that was 50 meters tall, weighed 30,000 tons, boasted prism reflective eyes and horns that were said to deliver the final blow to his enemies. During the concept phase, the horns were dropped and the name was changed to King Caesar, leading to the final version of Godzilla vs. Mechagodzilla (1974).
Box Office
According to The Godzilla Fan News Letter by Richard H. Campbell, the film sold approximately 1,330,000 tickets in Japan - modest business, but an improvement of about 350,000 over the previous last 5 Godzilla films.
Box Office
According to The Godzilla Fan News Letter by Richard H. Campbell, the film sold approximately 1,330,000 tickets in Japan - modest business, but an improvement of about 350,000 over the previous last 5 Godzilla films.
English Versions
In 1977, Cinema Shares purchased the rights to Godzilla vs. Mechagodzilla and released the movie through Downtown Distribution under the title Godzilla vs. Bionic Monster. As they had done with Godzilla vs. Megalon the previous year, Cinema Shares simply utilized the Toho-produced English dub. In July 1977, Universal Studios filed a lawsuit threat against Cinema Shares, claiming that the title was too similar to their TV productions, The Six Million Dollar Man and its spin-off The Bionic Woman. Cinema Shares retitled the film Godzilla vs. Cosmic Monster.
In 1977, Cinema Shares purchased the rights to Godzilla vs. Mechagodzilla and released the movie through Downtown Distribution under the title Godzilla vs. Bionic Monster. As they had done with Godzilla vs. Megalon the previous year, Cinema Shares simply utilized the Toho-produced English dub. In July 1977, Universal Studios filed a lawsuit threat against Cinema Shares, claiming that the title was too similar to their TV productions, The Six Million Dollar Man and its spin-off The Bionic Woman. Cinema Shares retitled the film Godzilla vs. Cosmic Monster.
As with most of the other 1970's Godzilla films, the Japanese version of Godzilla vs. Mechagodzilla featured several scenes with violent content and strong language. Strangely, Cinema Shares retained the violent monster action, including a shot of Godzilla spraying blood. The edits include:
A new title card. In the Japanese and international versions, Godzilla's name flashes several times while a mountain explodes in the background. As Masaru Sato's music plays, the full title is revealed. In the Cosmic Monster version, the screen turns bright red (covering up the original title) and the film title and copyright information appear. Widescreen versions of the title sequence feature the poster art to the right of the title, but this is not visible in the 16mm prints that have circulated since the early 1980s.
The opening credits have been deleted.
Also deleted is a scene in which Nanbara, the INTERPOL agent, strangles one of the aliens. The final shoot-out between Nanbara and three of the simian invaders is similarly edited.
At the end of the Japanese version, King Caesar returns to his resting place and Godzilla to the sea. In a short epilogue, the Azumi princess runs through her homeland celebrating with many of the characters. One of the King Caesar statues appear as the Japanese symbol for "end" appears. Cinema Shares cut this short epilogue, with the exception of the final shot of the statue. A red bar appears on the right side of the screen, with "THE END" overlaid on it.
A new title card. In the Japanese and international versions, Godzilla's name flashes several times while a mountain explodes in the background. As Masaru Sato's music plays, the full title is revealed. In the Cosmic Monster version, the screen turns bright red (covering up the original title) and the film title and copyright information appear. Widescreen versions of the title sequence feature the poster art to the right of the title, but this is not visible in the 16mm prints that have circulated since the early 1980s.
The opening credits have been deleted.
Also deleted is a scene in which Nanbara, the INTERPOL agent, strangles one of the aliens. The final shoot-out between Nanbara and three of the simian invaders is similarly edited.
At the end of the Japanese version, King Caesar returns to his resting place and Godzilla to the sea. In a short epilogue, the Azumi princess runs through her homeland celebrating with many of the characters. One of the King Caesar statues appear as the Japanese symbol for "end" appears. Cinema Shares cut this short epilogue, with the exception of the final shot of the statue. A red bar appears on the right side of the screen, with "THE END" overlaid on it.
In 1988, New World Video released the film along with Godzilla 1985, and Godzilla vs. Gigan. This print was Toho's original, uncut international version, which restored all the cuts made by Cinema Shares. The film was shown on The Sci-Fi Channel throughout the 1990s under the title Godzilla vs. the Cosmic Monster, although this version was in fact Toho's international version with a new title card.
In 2004, TriStar released the international version on DVD. The original Japanese audio was included as an extra audio track.
Titles
Godzilla vs. Mechagodzilla - Japanese title, Toho's official English title, and the UK and US home video title.
Godzilla vs. The Bionic Monster - Original American title.
Godzilla vs. The Cosmic Monster - Second American release title and UK theatrical release title.
In 2004, TriStar released the international version on DVD. The original Japanese audio was included as an extra audio track.
Titles
Godzilla vs. Mechagodzilla - Japanese title, Toho's official English title, and the UK and US home video title.
Godzilla vs. The Bionic Monster - Original American title.
Godzilla vs. The Cosmic Monster - Second American release title and UK theatrical release title.
Reception
The movie has become popular among fans in recent years for its exotic music, colorful special effects and entertaining monster fights. The film's robust themes and fairly complex plot stand out against a time when the Godzilla franchise was being fueled by increasingly lower production values.[citation needed]
Outside of the circle, however, public reception is luke-warm at best and the movie garners only 6 stars (out of a possible ten) at IMDB. However, it does retain an above-average score (60%) at Rotten Tomatoes.
The movie has become popular among fans in recent years for its exotic music, colorful special effects and entertaining monster fights. The film's robust themes and fairly complex plot stand out against a time when the Godzilla franchise was being fueled by increasingly lower production values.[citation needed]
Outside of the circle, however, public reception is luke-warm at best and the movie garners only 6 stars (out of a possible ten) at IMDB. However, it does retain an above-average score (60%) at Rotten Tomatoes.
- Published on
Godzilla vs. Megalon (ゴジラ対メガロ Gojira tai Megaro) is a 1973 Japanese science fiction kaiju film produced by Toho. Directed and co-written by Jun Fukuda with special effects by Teruyoshi Nakano, the film starred Katsuhiko Sasaki, Hiroyuki Kawase, Yutaka Hayashi, and American actor Robert Dunham. It was the thirteenth film in the Godzilla franchise. Heavily influenced by the tokusatsu superhero TV shows of the time, the film had Godzilla essentially acting as a costar to a huge robotic superhero character called Jet Jaguar.
The film was released theatrically in the United States in the summer of 1976 by Cinema Shares. Afterwards it became the only Godzilla film to receive a television premiere on a major U.S network, as NBC aired it on prime time television in the summer of 1977, where it was hosted by actor John Belushi dressed in a Godzilla costume.
The film was released theatrically in the United States in the summer of 1976 by Cinema Shares. Afterwards it became the only Godzilla film to receive a television premiere on a major U.S network, as NBC aired it on prime time television in the summer of 1977, where it was hosted by actor John Belushi dressed in a Godzilla costume.
Plot
In the year 197X, the most recent underground nuclear test, set off near the Aleutians, sends shockwaves as far south as Monster Island, disturing the monsters, and even causing Anguirus to fall into a fault opened up by the consequential earthquakes.
For years, Seatopia, the undersea civilization, has been heavily affected by this nuclear testing conducted by the surface nations of the world. Upset by these tests, the Seatopians plan to unleash their civilization's god, Megalon, to the surface to destroy the world out of vengeance.
On the surface, an inventor named Goro Ibuki, his nephew Rokuro and their friend Hiroshi Jinkawa are off on an outing near a lake when Seatopia makes itself known to the Earth by drying up the lake the trio was relaxing nearby and using it as a base of operation (unknown to our heroes.) As they return home they are ambushed by agents of Seatopia who are trying to steal Jet Jaguar, a humanoid robot under construction by the trio of inventors. However the Agents' first attempt is botched and they are forced to flee to safety.
Some time later, Jet Jaguar is completed but the trio of inventors are knocked unconscious by the returning seatopian agents. The agents's plan is to use Jet Jaguar to guide and direct Megalon to destroy whatever city Seatopia commands. Goro and Rokuro are sent to be killed, while Hiroshi is taken hostage. Megalon is finally released to the surface while Jet Jaguar is put under the control of the Seatopians and is used to guide Megalon to attack Tokyo with the Japan Self Defense Forces failing to defeat the monster. Eventually, the trio of heroes manage to escape their situation with the Seatopians and reunite to devise a plan to send Jet Jaguar to get Godzilla's help using Jet Jaguar's secondary control system.
In the year 197X, the most recent underground nuclear test, set off near the Aleutians, sends shockwaves as far south as Monster Island, disturing the monsters, and even causing Anguirus to fall into a fault opened up by the consequential earthquakes.
For years, Seatopia, the undersea civilization, has been heavily affected by this nuclear testing conducted by the surface nations of the world. Upset by these tests, the Seatopians plan to unleash their civilization's god, Megalon, to the surface to destroy the world out of vengeance.
On the surface, an inventor named Goro Ibuki, his nephew Rokuro and their friend Hiroshi Jinkawa are off on an outing near a lake when Seatopia makes itself known to the Earth by drying up the lake the trio was relaxing nearby and using it as a base of operation (unknown to our heroes.) As they return home they are ambushed by agents of Seatopia who are trying to steal Jet Jaguar, a humanoid robot under construction by the trio of inventors. However the Agents' first attempt is botched and they are forced to flee to safety.
Some time later, Jet Jaguar is completed but the trio of inventors are knocked unconscious by the returning seatopian agents. The agents's plan is to use Jet Jaguar to guide and direct Megalon to destroy whatever city Seatopia commands. Goro and Rokuro are sent to be killed, while Hiroshi is taken hostage. Megalon is finally released to the surface while Jet Jaguar is put under the control of the Seatopians and is used to guide Megalon to attack Tokyo with the Japan Self Defense Forces failing to defeat the monster. Eventually, the trio of heroes manage to escape their situation with the Seatopians and reunite to devise a plan to send Jet Jaguar to get Godzilla's help using Jet Jaguar's secondary control system.
After uniting with Japan's Defense Force, Goro manages to regain control of Jet Jaguar and sends the robot to Monster Island to bring Godzilla to fight Megalon. Without a guide to control its actions, Megalon flails around relentlessly and aimlessly fighting with the Defense Force and destroying the outskirts of Tokyo. The Seatopians learn of Jet Jaguar's turn and thus send out a distress call to the Nebula M aliens (from the previous film) to send Gigan to assist them.
As Godzilla journeys to fight Megalon, Jet Jaguar programs into a safeguard mode and grows to gigantic proportions to face Megalon himself until Godzilla arrives. The battle is roughly at a standstill between robot and monster, until Gigan arrives and both Megalon and Gigan double team Jet Jaguar. Godzilla finally arrives to assist Jet Jaguar and the odds become evened. After a long and brutal fight, Gigan and Megalon both retreat and Godzilla and Jet Jaguar shake hands on a job well done. Godzilla returns to Monster Island, and Jet Jaguar returns to his previous, human-sized state and reunites with his inventors.
As Godzilla journeys to fight Megalon, Jet Jaguar programs into a safeguard mode and grows to gigantic proportions to face Megalon himself until Godzilla arrives. The battle is roughly at a standstill between robot and monster, until Gigan arrives and both Megalon and Gigan double team Jet Jaguar. Godzilla finally arrives to assist Jet Jaguar and the odds become evened. After a long and brutal fight, Gigan and Megalon both retreat and Godzilla and Jet Jaguar shake hands on a job well done. Godzilla returns to Monster Island, and Jet Jaguar returns to his previous, human-sized state and reunites with his inventors.
Cast
- Katsuhiko Sasaki as Inventor Goro Ibuki
- Hiroyuki Kawase as Rokuro 'Roku-chan' Ibuki
- Yutaka Hayashi as Hiroshi Jinkawa
- Robert Dunham as Emperor Antonio of Seatopia
- Kotaro Tomita as Lead Seatopian Agent
- Ulf Ôtsuki as Seatopian Agent
- Gentaro Nakajima as Truck Driver (as Gen Nakajima)
- Sakyo Mikami as Truck Driver's Assistant
- Fumiyo Ikeda as Man from Unit 1
- Kanta Mori as Japan Special Defense Forces Chief
- Shinji Takagi as Godzilla
- Hideto Odachi as Megalon
- Tsugutoshi Komada as Jet Jaguar
- Kenpachiro Satsuma as Gigan (as Kengo Nakayama)
Production
Godzilla Vs. Megalon was originally planned as a non-Godzilla film, a solo vehicle for Jet Jaguar, which was the result of a contest Toho had for children in mid-to-late 1972. The winner of the contest was an elementary school student, who submitted the drawing of a robot called Red Arone, which superficially resembled both Ultraman and Mazinger Z. The robot was renamed Jet Jaguar and was set to star in Jet Jaguar vs. Megalon, which pitted him against Megalon. However, after doing some screen tests and storyboards, Toho figured Jet Jaguar would not be able to carry the film on his own, either in screen appearance or marketing value, so they shut the project down during pre-production. Nearly a month later, producer Tomoyuki Tanaka called in screenwriter Shinichi Sekizawa to revise the script to add Godzilla and Gigan. To make up for lost production time, the film was shot in a hasty three weeks. The production time totaled at nearly six months, from planning to finish.
Godzilla Vs. Megalon was originally planned as a non-Godzilla film, a solo vehicle for Jet Jaguar, which was the result of a contest Toho had for children in mid-to-late 1972. The winner of the contest was an elementary school student, who submitted the drawing of a robot called Red Arone, which superficially resembled both Ultraman and Mazinger Z. The robot was renamed Jet Jaguar and was set to star in Jet Jaguar vs. Megalon, which pitted him against Megalon. However, after doing some screen tests and storyboards, Toho figured Jet Jaguar would not be able to carry the film on his own, either in screen appearance or marketing value, so they shut the project down during pre-production. Nearly a month later, producer Tomoyuki Tanaka called in screenwriter Shinichi Sekizawa to revise the script to add Godzilla and Gigan. To make up for lost production time, the film was shot in a hasty three weeks. The production time totaled at nearly six months, from planning to finish.
Shinji Takagi (Godzilla), Kenpachiro Satsuma (Gigan), Tsugutoshi Komada (Jet Jaguar) and Hideto Odachi (Megalon) rehearse their fight scenes in a school's gymnasium.
According to Teruyoshi Nakano, the Godzilla suit made for this film (known as the Megaro-Goji) was made in a week, the fastest featured Godzilla suit ever made to date. Godzilla was portrayed by stunt actor Shinji Takagi.
There are three notable deleted scenes. A scene towards the end of the film in which Antonio ponders aloud if sending Megalon to destroy the world above is really any different from what the people above are doing with atomic testing. Another is a roughly minute-long "conversation" between Gigan and Megalon that consists of quirky gestures and bodily movements. One that can be seen in the Japanese trailer has Jet Jaguar blinding Megalon with his flashlight eyes right before Megalon starts to kick at him while Gigan holds him down.
There are three notable deleted scenes. A scene towards the end of the film in which Antonio ponders aloud if sending Megalon to destroy the world above is really any different from what the people above are doing with atomic testing. Another is a roughly minute-long "conversation" between Gigan and Megalon that consists of quirky gestures and bodily movements. One that can be seen in the Japanese trailer has Jet Jaguar blinding Megalon with his flashlight eyes right before Megalon starts to kick at him while Gigan holds him down.
There are, interestingly, no major female characters in the movie, making this the only Godzilla film without a female lead.
Toho's popular kaiju character Anguirus appears in some stock footage from Destroy All Monsters and in two newly filmed scenes on Monster Island. In the second new scene, Anguirus appears largely as he did in the previous film, Godzilla vs. Gigan. The first brief scene of Anguirus shows the monster without his fangs. This modification would carry over into his last appearance the next year in Godzilla vs. Mechagodzilla.
Toho's popular kaiju character Anguirus appears in some stock footage from Destroy All Monsters and in two newly filmed scenes on Monster Island. In the second new scene, Anguirus appears largely as he did in the previous film, Godzilla vs. Gigan. The first brief scene of Anguirus shows the monster without his fangs. This modification would carry over into his last appearance the next year in Godzilla vs. Mechagodzilla.
English Versions
In 1976, Cinema Shares released Godzilla vs. Megalon theatrically. Riding the coattails of Dino De Laurentiis' big-budget King Kong remake, The poster art showed Godzilla and Megalon battling on top of the World Trade Center, despite the fact that no scenes were set in New York City. As it would with its later Godzilla releases, Cinema Shares opted to use the English dub created by Toho.
Cinema Shares originally released the film with very few edits. Eventually, more cuts were made, supposedly to keep a "G"-rating from the MPAA. Edits include:
The opening credits, except for the title and a "Produced by Toho-Eizo Co., Ltd." credit.
Rokuro being abducted by Seatopian agents, who pull him into their car.
The Seatopian agents knocking out Rokuro and barging inside.
Scenes in the container truck that showed pin-ups on the back wall. They are Playboy centerfolds of Deanna Baker and Gloria Root.
A scene of the bearded Caucasian Seatopian agent being thrown down a cliff by the truck drivers.
The lead Seatopian is hit in the face with the model jet, causing him to bleed.
The same Seatopian agent is crushed by a boulder hurled by Megalon.
With this being the first of the three Cinema Shares Godzilla releases, the publicity factor was high. Along with the poster, buttons with one of the four monsters' faces on them were released. Given away at theatrical showings was a comic herald that told a simplified version of the film. There were several errors like monster's names and locations and events. The theatrical trailer for the film also contain these errors, most notably Jet Jaguar being called "Robotman."
The press kit also included Godzilla, Megalon, Gigan, and Jet Jaguar in cars. This is a reflection of the Aurora kits with Godzilla riding a race car. Along with the press kit was a "Vote Godzilla for President" ad that, if mailed in, resulted in the receipt of a free ticket to the film.
In 1976, Cinema Shares released Godzilla vs. Megalon theatrically. Riding the coattails of Dino De Laurentiis' big-budget King Kong remake, The poster art showed Godzilla and Megalon battling on top of the World Trade Center, despite the fact that no scenes were set in New York City. As it would with its later Godzilla releases, Cinema Shares opted to use the English dub created by Toho.
Cinema Shares originally released the film with very few edits. Eventually, more cuts were made, supposedly to keep a "G"-rating from the MPAA. Edits include:
The opening credits, except for the title and a "Produced by Toho-Eizo Co., Ltd." credit.
Rokuro being abducted by Seatopian agents, who pull him into their car.
The Seatopian agents knocking out Rokuro and barging inside.
Scenes in the container truck that showed pin-ups on the back wall. They are Playboy centerfolds of Deanna Baker and Gloria Root.
A scene of the bearded Caucasian Seatopian agent being thrown down a cliff by the truck drivers.
The lead Seatopian is hit in the face with the model jet, causing him to bleed.
The same Seatopian agent is crushed by a boulder hurled by Megalon.
With this being the first of the three Cinema Shares Godzilla releases, the publicity factor was high. Along with the poster, buttons with one of the four monsters' faces on them were released. Given away at theatrical showings was a comic herald that told a simplified version of the film. There were several errors like monster's names and locations and events. The theatrical trailer for the film also contain these errors, most notably Jet Jaguar being called "Robotman."
The press kit also included Godzilla, Megalon, Gigan, and Jet Jaguar in cars. This is a reflection of the Aurora kits with Godzilla riding a race car. Along with the press kit was a "Vote Godzilla for President" ad that, if mailed in, resulted in the receipt of a free ticket to the film.
Godzilla vs. Megalon was given a high-profile prime-time NBC network premiere in 1977, with an introduction and bumper segments by John Belushi in a Godzilla suit also used on Saturday Night Live. NBC extensively cut the film so that it would fit in a one-hour time slot.
Box Office
In Japan, Godzilla vs. Megalon sold approximately 980,000 tickets. It was the first Godzilla film to sell less than one million admissions.
The film was a huge success in American theaters, earning $383,744 in its first three days in Texas and Louisiana alone.
Critical Reception
Godzilla vs. Megalon was released theatrically in America on May 9, 1976, though the San Francisco Chronicle indicates that it opened there in June, and The New York Times indicates that it opened in New York City on July 11. New York Times film critic Vincent Canby, who a decade before had given a negative review to Ghidorah, the Three-Headed Monster, gave Godzilla vs. Megalon a generally positive review. In his review on July 12, 1976, Canby said, "Godzilla vs. Megalon completes the canonization of Godzilla...It's been a remarkable transformation of character - the dragon has become St. George...It's wildly preposterous, imaginative and funny (often intentionally). It demonstrates the rewards of friendship, between humans as well as monsters, and it is gentle."
Box Office
In Japan, Godzilla vs. Megalon sold approximately 980,000 tickets. It was the first Godzilla film to sell less than one million admissions.
The film was a huge success in American theaters, earning $383,744 in its first three days in Texas and Louisiana alone.
Critical Reception
Godzilla vs. Megalon was released theatrically in America on May 9, 1976, though the San Francisco Chronicle indicates that it opened there in June, and The New York Times indicates that it opened in New York City on July 11. New York Times film critic Vincent Canby, who a decade before had given a negative review to Ghidorah, the Three-Headed Monster, gave Godzilla vs. Megalon a generally positive review. In his review on July 12, 1976, Canby said, "Godzilla vs. Megalon completes the canonization of Godzilla...It's been a remarkable transformation of character - the dragon has become St. George...It's wildly preposterous, imaginative and funny (often intentionally). It demonstrates the rewards of friendship, between humans as well as monsters, and it is gentle."
While Megalon and Gigan are still remembered by fans and reused in many videogames, Jet Jaguar is sometimes seen as more of a joke or a spinoff of Ultraman.
Legacy
Godzilla vs. Megalon has attracted the ire of many Godzilla fans in the decades since its original release. The film contributed to the reputation of Godzilla films in the United States as cheap children's entertainment that should not be taken seriously. It's been described as "incredibly, undeniably, mind-numbingly bad" and one of the "poorer moments" in the history of kaiju films.
In particular, the special effects of the film have been heavily criticized. One review described the Godzilla costume as appearing to be "crossed with Kermit the Frog" and another sneeringly compared it to Godzilla vs. Gigan, stating that it did "everything wrong that Gigan did, and then some." However, most of the criticism is of the lack of actual special effects work, as most of it consists of stock footage from previous films, including Godzilla vs. Gigan and Ghidorah, the Three-Headed Monster, and a few pieces of effects work has garnered praise, specifically a scene where Megalon breaks through a dam and the draining of the lake.
Legacy
Godzilla vs. Megalon has attracted the ire of many Godzilla fans in the decades since its original release. The film contributed to the reputation of Godzilla films in the United States as cheap children's entertainment that should not be taken seriously. It's been described as "incredibly, undeniably, mind-numbingly bad" and one of the "poorer moments" in the history of kaiju films.
In particular, the special effects of the film have been heavily criticized. One review described the Godzilla costume as appearing to be "crossed with Kermit the Frog" and another sneeringly compared it to Godzilla vs. Gigan, stating that it did "everything wrong that Gigan did, and then some." However, most of the criticism is of the lack of actual special effects work, as most of it consists of stock footage from previous films, including Godzilla vs. Gigan and Ghidorah, the Three-Headed Monster, and a few pieces of effects work has garnered praise, specifically a scene where Megalon breaks through a dam and the draining of the lake.
The other aspects of the film have been similarly skewered. The acting is usually described as flat and generally poor, and as not improving, or sometimes, worsening, the already weak script. One part of the film, on the other hand, has garnered almost universal praise: Godzilla's final attack on Megalon, a flying kick. It has been called the saving grace of the film, and was made famous by the mock exclamations of shock and awe displayed on Godzilla vs. Megalon's appearance on Mystery Science Theater 3000. Through the end of season three to the middle of season five, that clip would be shown at the opening of each show.
Despite all this, the film is also one of the most widely seen Godzilla films in the United States — it was popular in its initial theatrical release, largely due to an aggressive marketing campaign, including elaborate posters of the two title monsters battling atop New York City's World Trade Center towers, presumably to capitalize on the hype surrounding the Dino De Laurentiis remake of King Kong, which used a similar image for its own poster.
Home Media Releases
Media Blasters (Tokyo Shock) has acquired the DVD rights to Godzilla vs. Megalon and Destroy All Monsters. Both films were released under the company's division, Tokyo Shock. Media Blasters originally planned to release Godzilla vs. Megalon on DVD and Blu-ray on December 20, 2011; however, due to technical difficulties with the dubbing and Toho yet to give its approval for the release, the DVD / Blu-ray release was delayed. Media Blasters finally released the film on August 14, 2012 but only on a bare-bones DVD. Also, a manufacturing error led to the originally planned version featuring bonus content to be released by accident. These special feature versions are incredibly rare, and are not labelled differently from the standard version, making them nearly impossible to find.
Despite all this, the film is also one of the most widely seen Godzilla films in the United States — it was popular in its initial theatrical release, largely due to an aggressive marketing campaign, including elaborate posters of the two title monsters battling atop New York City's World Trade Center towers, presumably to capitalize on the hype surrounding the Dino De Laurentiis remake of King Kong, which used a similar image for its own poster.
Home Media Releases
Media Blasters (Tokyo Shock) has acquired the DVD rights to Godzilla vs. Megalon and Destroy All Monsters. Both films were released under the company's division, Tokyo Shock. Media Blasters originally planned to release Godzilla vs. Megalon on DVD and Blu-ray on December 20, 2011; however, due to technical difficulties with the dubbing and Toho yet to give its approval for the release, the DVD / Blu-ray release was delayed. Media Blasters finally released the film on August 14, 2012 but only on a bare-bones DVD. Also, a manufacturing error led to the originally planned version featuring bonus content to be released by accident. These special feature versions are incredibly rare, and are not labelled differently from the standard version, making them nearly impossible to find.
Alpha Video
Released:January 22, 2002
Video: Fullscreen
Sound: English
Region 1
Note: Unlicensed by Toho; out of print
The Mystery Science Theater 3000 Collection, Volume 10
Released:August 29, 2006
Aspect Ratio: 1.33:1
Sound: English
Region 1
Note: The original release of this set included Godzilla vs. Megalon, which was replaced with The Giant Gila Monster after Rhino attempted to license the film from a third party which had no claim to the movie.
Released:January 22, 2002
Video: Fullscreen
Sound: English
Region 1
Note: Unlicensed by Toho; out of print
The Mystery Science Theater 3000 Collection, Volume 10
Released:August 29, 2006
Aspect Ratio: 1.33:1
Sound: English
Region 1
Note: The original release of this set included Godzilla vs. Megalon, which was replaced with The Giant Gila Monster after Rhino attempted to license the film from a third party which had no claim to the movie.
Madman Entertainment
Released: June 21, 2006
Video: Widescreen
Sound: English, Japanese
Subtitles English
Region 4
Note: Contains both the original version (Japanese audio with English subtitles only) and the edited G version (English audio only).
Media Blasters-Tokyo Shock
Released: August 14, 2012
Video: Widescreen (Anamorphic)
Sound: Japanese (Dolby Digital 5.1 and 2.0 Mono), English (Dolby Digital 2.0 Mono)
Subtitles English
Region 1
Note: Contains both the Japanese version and uncut English dub.
Extras (If you are lucky enough to find a copy with them):
Audio commentary with Steve Ryfle and Stuart Galbraith IV featuring Mel Maron
Interview with English dub voice actor Ted Thomas (Featurette)
Trailers and TV Spots
Image Gallery
Easter Egg (Other Godzilla Trailers)
Released: June 21, 2006
Video: Widescreen
Sound: English, Japanese
Subtitles English
Region 4
Note: Contains both the original version (Japanese audio with English subtitles only) and the edited G version (English audio only).
Media Blasters-Tokyo Shock
Released: August 14, 2012
Video: Widescreen (Anamorphic)
Sound: Japanese (Dolby Digital 5.1 and 2.0 Mono), English (Dolby Digital 2.0 Mono)
Subtitles English
Region 1
Note: Contains both the Japanese version and uncut English dub.
Extras (If you are lucky enough to find a copy with them):
Audio commentary with Steve Ryfle and Stuart Galbraith IV featuring Mel Maron
Interview with English dub voice actor Ted Thomas (Featurette)
Trailers and TV Spots
Image Gallery
Easter Egg (Other Godzilla Trailers)
- Published on
Daigoro vs. Goliath (怪獣大奮戦 ダイゴロウ対ゴリアス Kaijû daifunsen: Daigorou tai Goriasu?, lit. Great Desperate Monster Battle: Daigoro Against Goliath) is a 1972 tokusatsu kaiju film. The film was produced as a collaboration between Tsuburaya Productions and Toho Company Ltd. and was released to Japanese theaters on December 17, 1972.
Plot
Daigoro is a monster who became orphaned after the military used Intercontinental missiles to kill his mother, who did what she could to protect him. Only one man stood up to that call. He pitied the child, and took the infant as his own to Japan and raised him there. Soon Daigoro grew too big for a man to take care of, since he needed feeding too often. This caused the man to make Daigoro an icon for a business so he could be fed.
Elsewhere, a monster named Goliath crashed to Earth. The two monsters engaged in battle. Daigoro did his best to stand his ground, but Goliath defeated him by striking him with lightning from his horn. Goliath then left to test his power against the world, leaving Daigoro to die. However, Daigoro recovered and practiced daily for his next battle against Goliath. After an intense fight Daigoro breathed his fire ray and managed to defeat Goliath. The humans then grabbed Goliath while he was weak, and strapped him to a rocket to blast into space.
Daigoro is a monster who became orphaned after the military used Intercontinental missiles to kill his mother, who did what she could to protect him. Only one man stood up to that call. He pitied the child, and took the infant as his own to Japan and raised him there. Soon Daigoro grew too big for a man to take care of, since he needed feeding too often. This caused the man to make Daigoro an icon for a business so he could be fed.
Elsewhere, a monster named Goliath crashed to Earth. The two monsters engaged in battle. Daigoro did his best to stand his ground, but Goliath defeated him by striking him with lightning from his horn. Goliath then left to test his power against the world, leaving Daigoro to die. However, Daigoro recovered and practiced daily for his next battle against Goliath. After an intense fight Daigoro breathed his fire ray and managed to defeat Goliath. The humans then grabbed Goliath while he was weak, and strapped him to a rocket to blast into space.
Cast
- Shinsuke Minami as Goro Kizawa
- Kazuya Kosaka as Saito
- Akiji Koboyashi as Hitoshi Suzuki
- Hachiro Misumi as Goro Hachi
- Jun Hamamura as Doctor
- Hideo Sunazuka as Middle-Aged Man
- Masao Komatsu
- Kiyoshi Hitomi as Newscaster
- Fusako Amachi as Yoshiko
- Reiko Hitomi as Umeko Onisawa
- Miyako Tasaka as Woman
- Chizuko Tashiro as Saito's Girlfriend
- Daisuke Wakamiya as Grandfather
- Hajime Imamura as Father
- Hisao Sasaki, Hiroshi Ikaida, Tsutomu Yamadera as Zookeeper
- Shigeru Tsuji as Assistant
- Katsumi Ishiyama as Zookeeper Boss
- Tomonori Yazaki as Taro
- Koichi Murata, Shigeyuki Sunouchi, Stanley Furnace, Kyoko Kawai, Kyoko Ito as Kids
- Hiroshi Inuzuka as Uncle
- Taiyu Wakamiya
- Geru Tsujishi
- Tetsuo Yamamura as Daigoro
- Hisashi Kato as Goliath
Production
- Directed by Toshihiro Iijima
- Written by Kitao Chiba
- Produced by Hajime Tsuburaya
- Music by Toru Fuyuki
- Cinematography by Yuzo Inagaki
- Special Effects by Teruyoshi Nakano
U.S. Release
Daigoro vs. Goliath has never received an official release in any form in the United States. However, the fansub group Hi no Tori translated the film into English in 2011.
DVD and Blu-ray Releases
Though Daigoro vs. Goliath is not available on Blu-ray, an HD version can be rented or purchased on the Japanese version of Amazon Video.
Daigoro vs. Goliath has never received an official release in any form in the United States. However, the fansub group Hi no Tori translated the film into English in 2011.
DVD and Blu-ray Releases
Though Daigoro vs. Goliath is not available on Blu-ray, an HD version can be rented or purchased on the Japanese version of Amazon Video.
