- Published on
Son of Godzilla, (released in Japan as Monster Island's Decisive Battle: Godzilla's Son (怪獣島の決戦 ゴジラの息子 Kaijū-tō no Kessen Gojira no Musuko)), is a 1967 Japanese science fiction kaiju film produced by Toho. Directed by Jun Fukuda with special effects by Sadamasa Arikawa (supervised by Eiji Tsuburaya), the film starred Tadao Takashima, Akira Kubo, and Akihiko Hirata. The 8th film in the Godzilla series, it was also the second of two island themed Godzilla adventures that Toho produced with slightly smaller budgets than most of the Godzilla films from this time period. Continuing the trend of shifting the series towards younger audiences, the film introduced an infant Godzilla named Minilla.
The film was released straight to television in the United States in 1969 by the Walter Reade organization.
The film was released straight to television in the United States in 1969 by the Walter Reade organization.
Plot
A team of scientists are trying to perfect a weather-controlling system. Their efforts are hampered by the arrival of a nosy reporter and by the sudden presence of 2-meter tall giant praying mantises. The first test of the weather control system goes awry when the remote control for a radioactive balloon is jammed by an unexplained signal coming from the center of the island. The balloon detonates prematurely, creating a radioactive storm that causes the giant mantises to grow to enormous sizes. Investigating the mantises, which are named Kamacuras (Gimantis in the English-dubbed version), the scientists find the monstrous insects digging an egg out from under a pile of earth. The egg hatches, revealing a baby Godzilla. The scientists realize that the baby's telepathic cries for help were the cause of the interference that ruined their experiment. Shortly afterwards, Godzilla himself arrives on the island, demolishing the scientist's base as he rushes to defend the baby. Godzilla kills two of the Kamacuras during the battle while one manages to fly away to safety, Godzilla then adopts the baby.
The baby Godzilla, named Minilla, quickly grows to about half the size of his father, and Godzilla instructs him on the important monster skills of roaring and using his atomic ray. At first, Minilla has difficulty producing anything more than atomic smoke rings, but Godzilla discovers that stressful conditions (i.e. stomping on his tail,) or motivation produces a true radioactive blast. Minilla comes to the aid of Reiko when she is attacked by a Kamacuras, but inadvertently awakens Kumonga (Spiga in the English-dubbed version), a giant spider that was sleeping in a valley. Kumonga attacks the caves where the scientists are hiding, and Minilla stumbles into the fray.
A team of scientists are trying to perfect a weather-controlling system. Their efforts are hampered by the arrival of a nosy reporter and by the sudden presence of 2-meter tall giant praying mantises. The first test of the weather control system goes awry when the remote control for a radioactive balloon is jammed by an unexplained signal coming from the center of the island. The balloon detonates prematurely, creating a radioactive storm that causes the giant mantises to grow to enormous sizes. Investigating the mantises, which are named Kamacuras (Gimantis in the English-dubbed version), the scientists find the monstrous insects digging an egg out from under a pile of earth. The egg hatches, revealing a baby Godzilla. The scientists realize that the baby's telepathic cries for help were the cause of the interference that ruined their experiment. Shortly afterwards, Godzilla himself arrives on the island, demolishing the scientist's base as he rushes to defend the baby. Godzilla kills two of the Kamacuras during the battle while one manages to fly away to safety, Godzilla then adopts the baby.
The baby Godzilla, named Minilla, quickly grows to about half the size of his father, and Godzilla instructs him on the important monster skills of roaring and using his atomic ray. At first, Minilla has difficulty producing anything more than atomic smoke rings, but Godzilla discovers that stressful conditions (i.e. stomping on his tail,) or motivation produces a true radioactive blast. Minilla comes to the aid of Reiko when she is attacked by a Kamacuras, but inadvertently awakens Kumonga (Spiga in the English-dubbed version), a giant spider that was sleeping in a valley. Kumonga attacks the caves where the scientists are hiding, and Minilla stumbles into the fray.
Kumonga traps Minilla and the final Kamacuras with his webbing, but as Kumonga begins to feed on the deceased Kamacuras, Godzilla arrives to save the day. Godzilla saves his son and they work together to defeat Kumonga by using their atomic rays on the giant spider. The scientists finally use their perfected weather altering device on the island and the once tropical island becomes buried in snow and ice. As the scientists are saved by an American submarine, Godzilla and Minilla begin to hibernate as they wait for the island to become tropical again.
Cast
- Akira Kubo as Goro Maki
- Tadao Takashima as Dr. Tsunezo Kusumi
- Akihiko Hirata as Dr. Hujisaki
- Bibari "Beverly" Maeda as Saeko (Reiko) Matsumiya
- Yoshio Tsuchiya as Hurukawa
- Kenji Sahara as Morio
- Ken'ichiro Maruyama as Ozawa
- Seishiro Kuno Tashiro
- Yasuhiko Saijo as Suzuki
- Susumu Kurobe as Weather observation airplane captain
- Kazuo Suzuki as Weather observation aeronaut
- Wataru Oomae as Weather observation airplane radio operator
- Tyoutarou Tougin as Weather observation airplane crewman
- Ousmane Yusef as Submarine captain
- Haruo Nakajima as Godzilla (Water scenes only)
- Yū Sekida and Seiji Onaka as Godzilla
- Little Man Machan as Minilla
Box Office
In Japan, the film sold approximately 2,480,000 tickets.
Reception
Son of Godzilla has received generally positive reviews. The film currently holds a 63% rating on Rotten Tomatoes.
English Version
Shortly after the film's Japanese release, Toho had Son of Godzilla dubbed into English by Frontier Enterprises in Tokyo. As with nearly all Toho international versions, the dubbed version corresponds directly to uncut Japanese film. Frontier Enterprises owner William Ross dubs Dr. Kusumi (Tadao Takashima), while the part of Goro Maki (Akira Kubo) is dubbed by Burr Middleton, son of Charles B. Middleton. This version of the film was released on video in 1992 by PolyGram Video, Ltd. in the United Kingdom.
In the United States, Son of Godzilla was distributed directly to television by the Walter Reade Organization in 1969. The movie was re-dubbed by Titan Productions, Inc in New York. Peter Fernandez wrote and directed the dubbing script and voiced Goro Maki. Walter Reade Organization deleted almost all of the pre-credit sequence. All that remains in this version is a brief shot of Godzilla roaring and approaching the camera. The opening credits are also deleted, although the underlying footage is still present. In both English dubs, the monsters Kamacuras and Kumonga are called "Gimantis" and "Spiega", respectively. The character, "Saeko", is also called "Reiko" in both dubbed versions.
The original US version of the film was the one seen on American television and home video for over thirty years. In 2004, Tri-Star Home Video released the international version (and optional Japanese audio track) on DVD. The international version was later broadcast on Turner Classic Movies in 2008.
In Japan, the film sold approximately 2,480,000 tickets.
Reception
Son of Godzilla has received generally positive reviews. The film currently holds a 63% rating on Rotten Tomatoes.
English Version
Shortly after the film's Japanese release, Toho had Son of Godzilla dubbed into English by Frontier Enterprises in Tokyo. As with nearly all Toho international versions, the dubbed version corresponds directly to uncut Japanese film. Frontier Enterprises owner William Ross dubs Dr. Kusumi (Tadao Takashima), while the part of Goro Maki (Akira Kubo) is dubbed by Burr Middleton, son of Charles B. Middleton. This version of the film was released on video in 1992 by PolyGram Video, Ltd. in the United Kingdom.
In the United States, Son of Godzilla was distributed directly to television by the Walter Reade Organization in 1969. The movie was re-dubbed by Titan Productions, Inc in New York. Peter Fernandez wrote and directed the dubbing script and voiced Goro Maki. Walter Reade Organization deleted almost all of the pre-credit sequence. All that remains in this version is a brief shot of Godzilla roaring and approaching the camera. The opening credits are also deleted, although the underlying footage is still present. In both English dubs, the monsters Kamacuras and Kumonga are called "Gimantis" and "Spiega", respectively. The character, "Saeko", is also called "Reiko" in both dubbed versions.
The original US version of the film was the one seen on American television and home video for over thirty years. In 2004, Tri-Star Home Video released the international version (and optional Japanese audio track) on DVD. The international version was later broadcast on Turner Classic Movies in 2008.
Trivia
Son of Godzilla is very similar to the previous year's Ebirah, Horror of the Deep. Both take place largely on a south pacific island populated by monsters, and both include a "native girl" among the cast. Also, both end in a similar way, with the heroes waving goodbye to the monsters as the island is destroyed/frozen. The similarities are due to the faces behind the scenes that worked on both films, including director Jun Fukuda and music composer Masaru Sato.
The suit in this film, MusukoGoji, was used again in Godzilla vs. Gigan for the water scenes.
Son of Godzilla is the last Showa era film that takes place within a set continuity, as the next year's Destroy All Monsters took place 32 years after the events of this film. 1969's All Monsters Attack hardly picks up where Son of Godzilla left off, and the next five films (1971's Godzilla vs. Hedorah through 1975's Terror of MechaGodzilla) fare no better in terms of tying the 1960's and 1970's films together in one, flawless timeline. What happens to Godzilla, his son, and the other monsters between 1967 and 1971 (between the films Son of Godzilla and Godzilla vs. Hedorah) is up to the viewer to decide.
Son of Godzilla is very similar to the previous year's Ebirah, Horror of the Deep. Both take place largely on a south pacific island populated by monsters, and both include a "native girl" among the cast. Also, both end in a similar way, with the heroes waving goodbye to the monsters as the island is destroyed/frozen. The similarities are due to the faces behind the scenes that worked on both films, including director Jun Fukuda and music composer Masaru Sato.
The suit in this film, MusukoGoji, was used again in Godzilla vs. Gigan for the water scenes.
Son of Godzilla is the last Showa era film that takes place within a set continuity, as the next year's Destroy All Monsters took place 32 years after the events of this film. 1969's All Monsters Attack hardly picks up where Son of Godzilla left off, and the next five films (1971's Godzilla vs. Hedorah through 1975's Terror of MechaGodzilla) fare no better in terms of tying the 1960's and 1970's films together in one, flawless timeline. What happens to Godzilla, his son, and the other monsters between 1967 and 1971 (between the films Son of Godzilla and Godzilla vs. Hedorah) is up to the viewer to decide.
DVD Release
Sony Pictures
Released: December 14, 2004
Aspect ratio: Anamorphic widescreen (2.35:1)
Sound: Japanese (2.0), English (2.0)
Supplements: Trailers for Godzilla: Tokyo S.O.S., Steamboy, and Kaena: The Prophecy
Region 1
Note: English dub track is Toho's international version
Rated PG for some sci-fi monster violence
Sony Pictures
Released: December 14, 2004
Aspect ratio: Anamorphic widescreen (2.35:1)
Sound: Japanese (2.0), English (2.0)
Supplements: Trailers for Godzilla: Tokyo S.O.S., Steamboy, and Kaena: The Prophecy
Region 1
Note: English dub track is Toho's international version
Rated PG for some sci-fi monster violence
Details (Original film)
- Directed by Jun Fukuda
- Produced by Tomoyuki Tanaka
- Screenplay by Shinichi Sekizawa, Kazue Shiba
- Music by Masaru Sato
- Cinematography Kazuo Yamada
- Edited by Ryohei Fujii
- Production company Toho Studios
- Distributed by Toho
- Release date 16 December 1967 (Japan)
- Running time 86 minutes
- Country Japan
- Language Japanese
- Box office ¥260 million
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Yongary: Monster from the Deep (Hangul: 대괴수 용가리; RR: Taekoesu Yongary; lit. Great Monster Yongary) is a 1967 South Korean/Japanese science fiction kaiju film featuring Yonggary, produced by Keukdong Entertainment Company and Toei. The film is directed by Kim Ki-duk, with special effects by Kenichi Nakagawa.
The film was made to rival the success of Godzilla and featured the same style and techniques of special effects filmmaking used in Godzilla films and other Kaiju films utilizing suitmation and miniature sets. The Japanese production company Toei helped co-produce the film with Keukdong Entertainment. The film was released in South Korea on September 28, 1967 and released direct to television in the United States by American International Television in 1969 as Yongary, Monster from the Deep. The film spawned a reimagining in 1999 titled Yonggary, also produced in South Korea.
The film was made to rival the success of Godzilla and featured the same style and techniques of special effects filmmaking used in Godzilla films and other Kaiju films utilizing suitmation and miniature sets. The Japanese production company Toei helped co-produce the film with Keukdong Entertainment. The film was released in South Korea on September 28, 1967 and released direct to television in the United States by American International Television in 1969 as Yongary, Monster from the Deep. The film spawned a reimagining in 1999 titled Yonggary, also produced in South Korea.
Plot
In South Korea, a family gathers for the wedding of an astronaut, however, the astronaut is called back to duty to monitor a nuclear test in the Middle East. The test triggers an earthquake that shifts the epicenter to the heart of Korea. The authorities initially withhold this information from the public until they’re sure the quake strikes but once the earthquake reaches the Hwanghae province, the authorities impose martial law for the area.
During the quake, a photographer takes pictures of the ground splitting, which reveals a giant creature moving inside. The photographer manages to get away but crashes his car due to the quake. The photographer manages to reach the authorities and deliver the photographs of the creature before succumbing to his injuries. The authorities name the creature “Yongary”, after an old Korean fable about a monster connected with earthquakes.
While South Korea is being evacuated, the military is dispatched to the Inwang area to attack Yongary but with no success. Illo, a young scientist, decides to go to Seoul to find a weakness in Yongary. His girlfriend, Soona, opposes this but he goes anyway.
In South Korea, a family gathers for the wedding of an astronaut, however, the astronaut is called back to duty to monitor a nuclear test in the Middle East. The test triggers an earthquake that shifts the epicenter to the heart of Korea. The authorities initially withhold this information from the public until they’re sure the quake strikes but once the earthquake reaches the Hwanghae province, the authorities impose martial law for the area.
During the quake, a photographer takes pictures of the ground splitting, which reveals a giant creature moving inside. The photographer manages to get away but crashes his car due to the quake. The photographer manages to reach the authorities and deliver the photographs of the creature before succumbing to his injuries. The authorities name the creature “Yongary”, after an old Korean fable about a monster connected with earthquakes.
While South Korea is being evacuated, the military is dispatched to the Inwang area to attack Yongary but with no success. Illo, a young scientist, decides to go to Seoul to find a weakness in Yongary. His girlfriend, Soona, opposes this but he goes anyway.
Soona and her younger brother, Icho, pursue Illo to try to stop him. Yongary eventually reaches Seoul and causes complete destruction. During the rampage, Illo and Soona lose Icho and walk around trying to find him.
The military suggests using guided missiles against Yongary but the authorities fear the missiles might do more damage than the monster and may destroy the landmarks of old Korea, however, the authorities decide that Korea’s future is more important and agree to use the guided missiles. Icho manages to escape through the city’s sewers and reaches an oil refinery where he finds Yongary drinking oil and gasoline. Icho turns off the main valve which causes Yongary to go berserk and destroy a tank that triggers a chemical reaction that makes Yongary itch and scratch.
The military suggests using guided missiles against Yongary but the authorities fear the missiles might do more damage than the monster and may destroy the landmarks of old Korea, however, the authorities decide that Korea’s future is more important and agree to use the guided missiles. Icho manages to escape through the city’s sewers and reaches an oil refinery where he finds Yongary drinking oil and gasoline. Icho turns off the main valve which causes Yongary to go berserk and destroy a tank that triggers a chemical reaction that makes Yongary itch and scratch.
Icho then returns to Illo’s house to tell him what happened at the refinery. Illo then reveals this discovery to the authorities and urges them to not use the guided missiles because they will give him more energy but his claims are brushed off and they proceed with the missile plan regardless. Illo then goes to work on a chemical to defeat Yongary using a precipitate of ammonia.
Yongary is then struck with Illo’s ammonia and missiles, which is enough to put him temporarily to sleep, however, Illo believes the ammonia needs more work. Icho takes a light device from Illo’s lab and shines it on an immobile Yongary, which triggers him to wake up. To Icho’s amusement, Yongary then begins dancing but then returns to his rampage.
Illo loads the finalized ammonia onto a helicopter and dumps it on Yongary in the Han River, where Yongary collapses and dies. The following morning, Illo is commended for his role in defeating Yongary, however, he cites Icho as the real hero for providing him with the information of Yongary’s eating habits. In the end, Icho expresses that Yongary was not evil by nature but rather, simply looking for food.
Yongary is then struck with Illo’s ammonia and missiles, which is enough to put him temporarily to sleep, however, Illo believes the ammonia needs more work. Icho takes a light device from Illo’s lab and shines it on an immobile Yongary, which triggers him to wake up. To Icho’s amusement, Yongary then begins dancing but then returns to his rampage.
Illo loads the finalized ammonia onto a helicopter and dumps it on Yongary in the Han River, where Yongary collapses and dies. The following morning, Illo is commended for his role in defeating Yongary, however, he cites Icho as the real hero for providing him with the information of Yongary’s eating habits. In the end, Icho expresses that Yongary was not evil by nature but rather, simply looking for food.
Cast
- Oh Young-il as Ko Il-woo (Illoo Nami in the English dub)
- Nam Jeong-im as Yoo Soon-a
- Kang Moon as Kim Yu-ri (On-na in the English dub)
- Lee Soon-jae as Yoo Kwang-nam
- Lee Kwang-ho as Yoo Young (Icho in the English dub)
- Kim Shin-jae as Kim Yu-ir's Mother
- Twist Kim as Soldier
- Cho Kyoung-min as Yonggary
- Ted Rusoff as Illoo Nami (Voice, English dub)
Production
Keukdong Entertainment Company employed staff from Equis Productions and Daiei Film's special effects staff to helm the film's special effects. Masao Yagi, who built the Godzilla and Gamera suits for Toho and Daiei, supervised the construction of the Yongary suit. Director Kim Ki-duk found that the suit lacked terror and was disappointed with the final results but proceeded to film with the suit since there was no time or money to produce a new suit. Lee Byoung-woo, the film's associate producer, acted as an intermediate between the South Korean filmmakers and the Japanese staff and helped train the South Korean staff in the special effects techniques used by the Japanese crew.
Principal photography began on April 3rd, 1967 while the special effects photography commenced on April 6th with Cho Kyoung-min performing in the Yongary suit, who was paid ₩100,000 ($400 in USD). The special effects took three months to shoot and were filmed in two studios in Seoul. The miniatures and models cost ₩5 million ($20,000 in USD), the 12 constructed sets cost ₩7 million ($27,000 in USD), and the Yongary suit cost ₩1.2 million ($5,000 in USD).
Keukdong Entertainment Company employed staff from Equis Productions and Daiei Film's special effects staff to helm the film's special effects. Masao Yagi, who built the Godzilla and Gamera suits for Toho and Daiei, supervised the construction of the Yongary suit. Director Kim Ki-duk found that the suit lacked terror and was disappointed with the final results but proceeded to film with the suit since there was no time or money to produce a new suit. Lee Byoung-woo, the film's associate producer, acted as an intermediate between the South Korean filmmakers and the Japanese staff and helped train the South Korean staff in the special effects techniques used by the Japanese crew.
Principal photography began on April 3rd, 1967 while the special effects photography commenced on April 6th with Cho Kyoung-min performing in the Yongary suit, who was paid ₩100,000 ($400 in USD). The special effects took three months to shoot and were filmed in two studios in Seoul. The miniatures and models cost ₩5 million ($20,000 in USD), the 12 constructed sets cost ₩7 million ($27,000 in USD), and the Yongary suit cost ₩1.2 million ($5,000 in USD).
- Director as Ki-duk Kim
- Screenwriter as Seo Yoon-seong
- Producer as Cha Tae-jin
- Music as Jeon Jeong-keun
- Directors of Photography as Byeon In-jib, Lee Seong-chun
- Special Effects as Kenichi Nakagawa, Masao Yagi (Yonggary suit maker), Akira Suzuki (mechanized props)
English version
For its release in North America, Keukdong Entertainment Company sold the film to American International Pictures and released it under the new title Yongary, Monster from the Deep through their television division in 1969. AIP attached Salvatore Billitteri to supervise the English version's post-production and had the film dubbed by Titra Studios. Infamously, when the film was being sold overseas, the producers (due to a lack of experience) shipped all the original materials, including negatives.
As a result, the original South Korean version of the film has been deemed lost and the AIP English version is the only version of the film that survives. The film was shown regularly during the '70s on syndicated television. U.S. ownership of the film kept changing: AIP was picked up by Filmways, Inc. in 1979, which merged with Orion Pictures, which was later acquired by Metro-Goldwyn-Mayer in 1997.
For its release in North America, Keukdong Entertainment Company sold the film to American International Pictures and released it under the new title Yongary, Monster from the Deep through their television division in 1969. AIP attached Salvatore Billitteri to supervise the English version's post-production and had the film dubbed by Titra Studios. Infamously, when the film was being sold overseas, the producers (due to a lack of experience) shipped all the original materials, including negatives.
As a result, the original South Korean version of the film has been deemed lost and the AIP English version is the only version of the film that survives. The film was shown regularly during the '70s on syndicated television. U.S. ownership of the film kept changing: AIP was picked up by Filmways, Inc. in 1979, which merged with Orion Pictures, which was later acquired by Metro-Goldwyn-Mayer in 1997.
Release
The film opened in Seoul on September 28, 1967 and sold 110,000 to 150,000 tickets during its theatrical run, which was a success for the film at the time due to a low number of cinemas in the country (550 screens total) and the population at the time being 25 million. For its German release, the film was re-titled as Godzilla's Todespranke (Godzilla's Hand of Death), despite not being related to Godzilla.
Home media
Orion Pictures released the film on VHS in November 1989. Alpha Video released a cropped, full-screen version of the film on DVD in March 2004. MGM released a widescreen remastered version of the film on DVD as part of their Midnite Movies series in September 2007, paired as a double feature with Konga. Kino Lorber released the film on Blu-ray in January 2016 which featured an audio commentary by Steve Ryfle (author of Japan's Favorite Monster: The Unofficial Biography of Godzilla) and Korean critic/scholar Kim Song-ho.
Due to the original prints having been lost, the film became unavailable on television and home media in its native country for 44 years until it was broadcast on television in Korea for the first time on June 19, 2011; however, it was the English dubbed version of the film that was broadcast with Korean subtitles taken from the film's original Korean script.
The film opened in Seoul on September 28, 1967 and sold 110,000 to 150,000 tickets during its theatrical run, which was a success for the film at the time due to a low number of cinemas in the country (550 screens total) and the population at the time being 25 million. For its German release, the film was re-titled as Godzilla's Todespranke (Godzilla's Hand of Death), despite not being related to Godzilla.
Home media
Orion Pictures released the film on VHS in November 1989. Alpha Video released a cropped, full-screen version of the film on DVD in March 2004. MGM released a widescreen remastered version of the film on DVD as part of their Midnite Movies series in September 2007, paired as a double feature with Konga. Kino Lorber released the film on Blu-ray in January 2016 which featured an audio commentary by Steve Ryfle (author of Japan's Favorite Monster: The Unofficial Biography of Godzilla) and Korean critic/scholar Kim Song-ho.
Due to the original prints having been lost, the film became unavailable on television and home media in its native country for 44 years until it was broadcast on television in Korea for the first time on June 19, 2011; however, it was the English dubbed version of the film that was broadcast with Korean subtitles taken from the film's original Korean script.
Analysis
Film scholar and critic Kim So-Young published an essay in 2000 where he noted how the evacuation and destruction scenes in the original Godzilla film reminded Japanese audiences of the atomic bombings of Hiroshima and Nagasaki, the evacuation and destruction scenes in Yongary similarly reminded Korean audiences of the Korean War. Young also addressed the film's theme of masculinity, stating that the astronaut and the young scientist are "tested to prove their masculinity throughout the story" and alludes to the country's crisis of masculinity at that time. Young addressed that Icho is the real hero of the film, believing Icho to be a mirror image of Yongary and a symbol of Korea's future.
Film scholar and critic Kim So-Young published an essay in 2000 where he noted how the evacuation and destruction scenes in the original Godzilla film reminded Japanese audiences of the atomic bombings of Hiroshima and Nagasaki, the evacuation and destruction scenes in Yongary similarly reminded Korean audiences of the Korean War. Young also addressed the film's theme of masculinity, stating that the astronaut and the young scientist are "tested to prove their masculinity throughout the story" and alludes to the country's crisis of masculinity at that time. Young addressed that Icho is the real hero of the film, believing Icho to be a mirror image of Yongary and a symbol of Korea's future.
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King Kong Escapes (released in Japan as Counterattack of King Kong (キングコングの逆襲 Kingu Kongu no Gyakushū), is a 1967 Japanese-American science-fiction kaiju film featuring King Kong, co-produced by Toho and Rankin/Bass. The film is directed by Ishiro Honda with special effects by Eiji Tsuburaya and stars Rhodes Reason, Linda Jo Miller, Akira Takarada, Mie Hama, Eisei Amamoto, with Haruo Nakajima as King Kong and Yū Sekida as Mechani-Kong and Gorosaurus. The film was a loose adaptation of the Rankin/Bass Saturday morning cartoon series The King Kong Show and was the second and final Japanese-produced film featuring King Kong. King Kong Escapes was released in Japan on July 22, 1967 and released in the United States on June 19, 1968.
Plot
An evil genius named Dr. Who creates Mechani-Kong, a robot version of King Kong, to dig for the highly radioactive Element X, found only at the North Pole. Mechani-Kong enters an ice cave and begins to dig into a glacier, but the radiation destroys its brain circuits and the robot shuts down. Who then sets his sights on getting the real Kong to finish the job. Who is taken to task by a beautiful female overseer, Madame Piranha. Her country's government is financing the doctor's schemes, and she frequently berates him for his failure to get results.
Meanwhile, a submarine commanded by Carl Nelson arrives at Mondo Island where the legendary King Kong lives. Much like the original 1933 film, the giant ape gets into an intense fight with Gorosaurus and a sea serpent. He falls in love with a female human. In this case, it is Lt. Susan Watson (played by Linda Jo Miller) following in the footsteps of Fay Wray.
Dr. Who subsequently goes to Mondo Island, abducts Kong and brings him back to his base at the North Pole. Kong is hypnotized by a flashing light device and fitted with a radio earpiece. Who commands Kong to retrieve the Element X from the cave.
An evil genius named Dr. Who creates Mechani-Kong, a robot version of King Kong, to dig for the highly radioactive Element X, found only at the North Pole. Mechani-Kong enters an ice cave and begins to dig into a glacier, but the radiation destroys its brain circuits and the robot shuts down. Who then sets his sights on getting the real Kong to finish the job. Who is taken to task by a beautiful female overseer, Madame Piranha. Her country's government is financing the doctor's schemes, and she frequently berates him for his failure to get results.
Meanwhile, a submarine commanded by Carl Nelson arrives at Mondo Island where the legendary King Kong lives. Much like the original 1933 film, the giant ape gets into an intense fight with Gorosaurus and a sea serpent. He falls in love with a female human. In this case, it is Lt. Susan Watson (played by Linda Jo Miller) following in the footsteps of Fay Wray.
Dr. Who subsequently goes to Mondo Island, abducts Kong and brings him back to his base at the North Pole. Kong is hypnotized by a flashing light device and fitted with a radio earpiece. Who commands Kong to retrieve the Element X from the cave.
(Apparently, Kong understands English perfectly.) Problems with the earpiece ensue and Who has to kidnap Susan Watson, the only person who can control Kong.
After Watson and her fellow officers are captured by Who, Madame Piranha unsuccessfully tries to seduce Nelson to bring him over to her side. Eventually Kong escapes and swims all the way to Japan where the climactic battle with Mechani-Kong transpires. Standing in for the Empire State Building from the original film is the Tokyo Tower where the two giants face off in the finale.
After Watson and her fellow officers are captured by Who, Madame Piranha unsuccessfully tries to seduce Nelson to bring him over to her side. Eventually Kong escapes and swims all the way to Japan where the climactic battle with Mechani-Kong transpires. Standing in for the Empire State Building from the original film is the Tokyo Tower where the two giants face off in the finale.
Cast
- Rhodes Reason - Commander Carl Nelson (voice actor: Kei Taguchi)
- Akira Takarada - Lt. Commander Jiro Nomura
- Linda Jo Miller - Lt. Susan Watson (Japanese voice actor: Akiko Santou; English (redubbed) voice actor: unknown)
- Hideyo Amamoto - Dr. Who
- Mie Hama - Madame Piranha
- Yoshifumi Tajima - Chief
- Nadao Kirino - Dr. Who's assistant
- Shoichi Hirose Toru Ibuki Nadao Kirino Susumu Kurobe Sachio Sakai Kazuo Suzuki Yoshifumi Tajima - Dr Who Henchman
- Andrew Hughes - United Nations journalist
- Ryūji Kita - Police inspector
- Masaaki Tachibana - Self-Defense Force soldier
- Ikio Sawamura - Mondo Islander
- Yasuhisa Tsutsumi - General
- Osman Yusuf - Submariner
- Haruo Nakajima - King Kong
- Yū Sekida - Mechani-Kong and Gorosaurus
Production
The story is partly a remake of the animated series (itself a retelling of the original 1933 film) about a tamed Kong who is befriended by a boy and directed to fight for the forces of good. That concept (minus the boy) is combined with a mad scientist story with elements from the then-popular spy film genre. The sinister Dr. Who (not to be confused with the British television series or its main character) is patterned after James Bond villains Dr. No and Ernst Stavro Blofeld. His partner, Madame Piranha, is an Asian spy played by Mie Hama, fresh from the Bond film You Only Live Twice (1967). Submarine commander Carl Nelson is similar to Admiral Nelson, commander of the Seaview sub in Voyage to the Bottom of the Sea, a series that also featured giant monsters and stories about international espionage.
Veteran voice actor Paul Frees dubbed the voice of Dr. Who in the American release.
In an interview with Reason on the making of this film, Paul Frees did almost all the male voices for the dub. Paul apparently asked Reason why he was there, and said as a joke, “Why are you here? I could probably do a better version of you than you could.”
Linda Miller hated her dubbed voice in the American version, but loved the Japanese voice. She was extremely mad at Mr. Rankin, the producer, for not inviting her to dub her own lines when Rhode Reason (Nelson) was able to re-dub his. It turned out to work this way because Reason was a part of the Screen Actors Guild, and Linda Miller was only a model, and still residing in Japan at the time (transportation costs to New York would have been prohibitive).
The shot of Gorosaurus living on Monster Island seen in the 1969 film All Monsters Attack was actually stock footage taken from this film.
The story is partly a remake of the animated series (itself a retelling of the original 1933 film) about a tamed Kong who is befriended by a boy and directed to fight for the forces of good. That concept (minus the boy) is combined with a mad scientist story with elements from the then-popular spy film genre. The sinister Dr. Who (not to be confused with the British television series or its main character) is patterned after James Bond villains Dr. No and Ernst Stavro Blofeld. His partner, Madame Piranha, is an Asian spy played by Mie Hama, fresh from the Bond film You Only Live Twice (1967). Submarine commander Carl Nelson is similar to Admiral Nelson, commander of the Seaview sub in Voyage to the Bottom of the Sea, a series that also featured giant monsters and stories about international espionage.
Veteran voice actor Paul Frees dubbed the voice of Dr. Who in the American release.
In an interview with Reason on the making of this film, Paul Frees did almost all the male voices for the dub. Paul apparently asked Reason why he was there, and said as a joke, “Why are you here? I could probably do a better version of you than you could.”
Linda Miller hated her dubbed voice in the American version, but loved the Japanese voice. She was extremely mad at Mr. Rankin, the producer, for not inviting her to dub her own lines when Rhode Reason (Nelson) was able to re-dub his. It turned out to work this way because Reason was a part of the Screen Actors Guild, and Linda Miller was only a model, and still residing in Japan at the time (transportation costs to New York would have been prohibitive).
The shot of Gorosaurus living on Monster Island seen in the 1969 film All Monsters Attack was actually stock footage taken from this film.
Effects
- Eiji Tsuburaya - Special effects director
- Sadamasa Arikawa - Secondary special effects director
- Teruyoshi Nakano - Assistant special effects director
- Takeo Kita - Art direction
- Fumio Nakadai - Wireworks director
- Yasuyuki Inoue - Special effects sets
Release
Toho reissued the film in 1973 as part of the Champion Matsuri (東宝チャンピオンまつり), a film festival that ran from 1969 through 1978 that featured numerous films packaged together and aimed at children.
Afterwards it was screened as part of a specialty festival in 1983 called The Godzilla Resurrection Festival (Gojira no Fukkatsu). This large festival featured ten Godzilla/kaiju films in all. (Godzilla, King Kong vs Godzilla, Mothra vs Godzilla, Ghidorah, the Three-Headed Monster, Invasion of Astro-Monster, Godzilla vs Mechagodzilla, Rodan, Mothra, Atragon, and King Kong Escapes).
Outside Japan and the U.S, the film received a wide release in most International markets where it went by different titles. The film was released in Germany as King-Kong, Frankensteins Sohn (King Kong: Frankenstein's Son), in Belgium as La Revanche de King Kong (The Revenge of King Kong) - a direct translation of the Japanese title, in Italy as King Kong il gigante della foresta (King Kong, the Giant of the Forest), in Turkey as Canavarlarin Gazabi (Wrath of the Monsters), in Mexico as El Regreso de King Kong (The Return of King Kong), in Finland as King Kong kauhun saarella (King Kong on the Island of Terror), and in Sweden as King Kong på skräckens ö (King Kong on Terror Island).
Toho reissued the film in 1973 as part of the Champion Matsuri (東宝チャンピオンまつり), a film festival that ran from 1969 through 1978 that featured numerous films packaged together and aimed at children.
Afterwards it was screened as part of a specialty festival in 1983 called The Godzilla Resurrection Festival (Gojira no Fukkatsu). This large festival featured ten Godzilla/kaiju films in all. (Godzilla, King Kong vs Godzilla, Mothra vs Godzilla, Ghidorah, the Three-Headed Monster, Invasion of Astro-Monster, Godzilla vs Mechagodzilla, Rodan, Mothra, Atragon, and King Kong Escapes).
Outside Japan and the U.S, the film received a wide release in most International markets where it went by different titles. The film was released in Germany as King-Kong, Frankensteins Sohn (King Kong: Frankenstein's Son), in Belgium as La Revanche de King Kong (The Revenge of King Kong) - a direct translation of the Japanese title, in Italy as King Kong il gigante della foresta (King Kong, the Giant of the Forest), in Turkey as Canavarlarin Gazabi (Wrath of the Monsters), in Mexico as El Regreso de King Kong (The Return of King Kong), in Finland as King Kong kauhun saarella (King Kong on the Island of Terror), and in Sweden as King Kong på skräckens ö (King Kong on Terror Island).
Reception
English version
The film opened in the United States in June 1968 on a double-bill with the Don Knotts comedy The Shakiest Gun in the West. Contemporary American reviews were mixed. New York Times film critic Vincent Canby gave it a particularly insulting review, commenting, "The Japanese...are all thumbs when it comes to making monster movies like 'King Kong Escapes.' The Toho moviemakers are quite good in building miniature sets, but much of the process photography—matching the miniatures with the full-scale shots—is just bad...the plotting is hopelessly primitive..."
The July 15, 1968, issue of Film Bulletin, however, gave it a more positive review, saying, "Grown-ups who like their entertainments on a comic-strip level will find this good fun and the Universal release (made in Japan) has plenty of ballyhoo angles to draw the school-free youngsters in large numbers."
English version
The film opened in the United States in June 1968 on a double-bill with the Don Knotts comedy The Shakiest Gun in the West. Contemporary American reviews were mixed. New York Times film critic Vincent Canby gave it a particularly insulting review, commenting, "The Japanese...are all thumbs when it comes to making monster movies like 'King Kong Escapes.' The Toho moviemakers are quite good in building miniature sets, but much of the process photography—matching the miniatures with the full-scale shots—is just bad...the plotting is hopelessly primitive..."
The July 15, 1968, issue of Film Bulletin, however, gave it a more positive review, saying, "Grown-ups who like their entertainments on a comic-strip level will find this good fun and the Universal release (made in Japan) has plenty of ballyhoo angles to draw the school-free youngsters in large numbers."
Legacy
Toho had wanted to use King Kong again after this film. King Kong was included in an early draft for the 1968 film Destroy All Monsters but was ultimately dropped due to the fact that Toho's license on the character was set to expire. Toho managed to get some use out of the suit though. The suit was reused to play the character "Gorilla" in episode #38 of the Toho giant superhero show Go! Greenman. The three-part episode, titled "Greenman vs. Gorilla", aired from March 21, 1974 through March 23, 1974.
Toho would bring the character Gorosaurus into the Godzilla series in Destroy All Monsters using the same suit from this film. The suit was reused again four years later (at this point in dilapidated condition) to portray the character in episode #6 of the Toho giant superhero show Go! Godman. The six-part episode, titled "Godman vs. Gorosaurus", aired from November 9, 1972 through November 15, 1972.
In the early 1990s when plans for a King Kong vs. Godzilla remake fell through, Toho had planned to bring back Mechani-Kong as an opponent for Godzilla in the project Godzilla vs. Mechani-Kong. However, according to Koichi Kawakita, it was discovered that obtaining permission even to use the likeness of King Kong would be difficult. Kawakita stated:
Toho had wanted to use King Kong again after this film. King Kong was included in an early draft for the 1968 film Destroy All Monsters but was ultimately dropped due to the fact that Toho's license on the character was set to expire. Toho managed to get some use out of the suit though. The suit was reused to play the character "Gorilla" in episode #38 of the Toho giant superhero show Go! Greenman. The three-part episode, titled "Greenman vs. Gorilla", aired from March 21, 1974 through March 23, 1974.
Toho would bring the character Gorosaurus into the Godzilla series in Destroy All Monsters using the same suit from this film. The suit was reused again four years later (at this point in dilapidated condition) to portray the character in episode #6 of the Toho giant superhero show Go! Godman. The six-part episode, titled "Godman vs. Gorosaurus", aired from November 9, 1972 through November 15, 1972.
In the early 1990s when plans for a King Kong vs. Godzilla remake fell through, Toho had planned to bring back Mechani-Kong as an opponent for Godzilla in the project Godzilla vs. Mechani-Kong. However, according to Koichi Kawakita, it was discovered that obtaining permission even to use the likeness of King Kong would be difficult. Kawakita stated:
"Toho wanted to pit Godzilla against King Kong because King Kong vs. Godzilla was very successful. However, the studio thought that obtaining permission to use King Kong would be difficult. So, it instead decided to use MechaniKong. Soon afterward, it was discovered that obtaining permission even to use the likeness of King Kong would be difficult. So, the project was canceled. MechaniKong was going to have injectors. A number of people were going to be injected into Godzilla while the robot was wrestling with him. They then were going to do battle with Godzilla from within while MechaniKong continued to do battle with him from without. There were going to be many different strange worlds inside Godzilla. The concept was very much like the one on which Fantastic Voyage was based."
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Gappa: The Triphibian Monster (大巨獣ガッパ Daikyojū Gappa) is a 1967 kaiju film directed by Haruyasu Noguchi. The film is about a group of Japanese reporters who discover an infant monster called a Gappa on Obelisk Island. The reporters cage the creature and take it to Japan where it becomes a media attraction. This angers the natives of the island and Gappa's full-grown parents, who head toward Japan to find their child. Its plot virtually duplicates that of the 1961 kaiju film Gorgo.
The film was released theatrically in Japan in 1967 but only received release on television in the United States. It received positive reviews from Variety and Phil Hardy.
Certain shots of the Gappa attacking Japan were used in the 1991 Red Dwarf episode "Meltdown".
The film was released theatrically in Japan in 1967 but only received release on television in the United States. It received positive reviews from Variety and Phil Hardy.
Certain shots of the Gappa attacking Japan were used in the 1991 Red Dwarf episode "Meltdown".
Plot
An expedition from Tokyo heads to Obelisk Island, which the greedy Mr. Funazu, president of "Playmate Magazine", wants to turn into a resort. The natives of Obelisk welcome the expedition, but two members, Hiroshi and Itoko, venture into a forbidden area despite the pleas of a native boy named Saki. They enter a cavern blocked by a fallen statue and find a giant egg, out of which hatches a baby monster, a "bird-lizard", referred to as a "Gappa". The natives plead with the skeptical scientists not to take the baby away, lest it anger the baby's parents. Sure enough, they take the baby away, and soon, inside the caverns, its two parents rise from the underground waters beneath the volcano, destroying everything in their path. Saki, the only survivor, is rescued by an American navy fleet and brought back to Japan.
Meanwhile, back in Japan, the baby "bird-lizard" is making world headlines, not to mention being experimented on by scientists. To the shock of the expedition members there is news of two giant flying creatures appearing over Sagami Bay. The Gappa parents ravage cities looking for their offspring, and are impervious to military weapons. Hiroshi, Itoko and Professor Tonooka (a scientist from the expedition) realize that the "Gappas" aren't a legend after all.
An expedition from Tokyo heads to Obelisk Island, which the greedy Mr. Funazu, president of "Playmate Magazine", wants to turn into a resort. The natives of Obelisk welcome the expedition, but two members, Hiroshi and Itoko, venture into a forbidden area despite the pleas of a native boy named Saki. They enter a cavern blocked by a fallen statue and find a giant egg, out of which hatches a baby monster, a "bird-lizard", referred to as a "Gappa". The natives plead with the skeptical scientists not to take the baby away, lest it anger the baby's parents. Sure enough, they take the baby away, and soon, inside the caverns, its two parents rise from the underground waters beneath the volcano, destroying everything in their path. Saki, the only survivor, is rescued by an American navy fleet and brought back to Japan.
Meanwhile, back in Japan, the baby "bird-lizard" is making world headlines, not to mention being experimented on by scientists. To the shock of the expedition members there is news of two giant flying creatures appearing over Sagami Bay. The Gappa parents ravage cities looking for their offspring, and are impervious to military weapons. Hiroshi, Itoko and Professor Tonooka (a scientist from the expedition) realize that the "Gappas" aren't a legend after all.
They, and Saki, try to convince the headstrong Mr. Funazu to let the baby go and return it to its parents.
Production
Gappa the Triphibian Monster was the only kaiju eiga from Nikkatsu. The monster effects in the film were created by Akira Watanabe, a former member of Toho.
Gappa the Triphibian Monster was the only kaiju eiga from Nikkatsu. The monster effects in the film were created by Akira Watanabe, a former member of Toho.
- Directed by Haruyasu Noguchi
- Written by Ryuzo Nakanishi and Gan Yamazaki
- Produced by Hideo Koi
- Music by Seitarô Ômori
- Cinematography by Muneo Ueda
- Edited by Masanori Tsujii
- Assistant Directing by Masaru Konuma
- Special Effects by Akira Watanabe, Yoshiyuki Nakamura, Kenji Kaneda, and Isamu Kakita
Cast
- Tamio Kawaji as Hiroshi Kurosaki
- Yôko Yamamoto as Itoko Koyanagi
- Yuji Okada as Daize Tonooka
- Kôji Wada as Mashida
- Tatsuya Fuji as George Inoue
- Keisuke Inoue as President Funazu
- Zenji Yamada as Captain of the Kamome-maru
- Bumon Koto as Chieftain
- Kôtarô Sugie as Reporter #1 (as Hiroshi Sugie)
- Saburô Hiromatsu as Hosoda
- Binnosuke Nagao as Commander Riku
- Masaru Kamiyama as The Professor
- Kokan Katsura as Saburo Hayashi
- Shirô Oshimi as Oyama
- Yoko Oyagi as Aihara
- Sanpei Mine as Islander #1
- Takashi Koshiba as Reporter #2
- Kensuke Tamai as Islander #2
- Minoru Sato as Reporter #3
- Kiyoshi Matsuoka as Islander #3 (as Seiji Matsuoka)
- Hiroshi Itoh as Reporter #4
- Mike Danine as Petty Officer
- Ruich Fidancer as Captain of the Sea Angels
- Paul Scheman as Professor
Release
Gappa the Triphibian Monster was released in Japan on April 22, 1967 as Daikyojū Gappa. The film was never released theatrically in the United States. American International Television had the film shown on television where it premiered in 1968. The film has also been released under the title Monster From a Prehistoric Planet.
Stuart Galbraith IV, author of Japanese Science Fiction, Fantasy and Horror Films described the American version of the film as poorly dubbed and that home video versions prior to 1994 are poor dupes taken from a 16mm television print. The film has been released on DVD by various companies including Alpha Video, Mill Creek Entertainment, Tokyo Shock and Image Entertainment.
Gappa the Triphibian Monster was released in Japan on April 22, 1967 as Daikyojū Gappa. The film was never released theatrically in the United States. American International Television had the film shown on television where it premiered in 1968. The film has also been released under the title Monster From a Prehistoric Planet.
Stuart Galbraith IV, author of Japanese Science Fiction, Fantasy and Horror Films described the American version of the film as poorly dubbed and that home video versions prior to 1994 are poor dupes taken from a 16mm television print. The film has been released on DVD by various companies including Alpha Video, Mill Creek Entertainment, Tokyo Shock and Image Entertainment.
Reception
In contemporary reviews, Variety stated that the creature Gappa makes an "auspicious debut and reveals himself as "best monster" so far". Variety concluded that "these are the only Japanese monsters one might like to see again" and that "Most effects are well done, a few superb" noting the destruction of Atami as one of the highlights.
In contemporary reviews, Variety stated that the creature Gappa makes an "auspicious debut and reveals himself as "best monster" so far". Variety concluded that "these are the only Japanese monsters one might like to see again" and that "Most effects are well done, a few superb" noting the destruction of Atami as one of the highlights.
In retrospective reviews, Phil Hardy discussed the film in his book Science Fiction (1984). The review complemented the film, noting that "the effects are excellent and the script is worthy of a witty children's comedy." Stuart Galbraith IV described the film as an unauthorized remake of the 1961 British film Gorgo. Galbraith described the human characters as "colorless reporters and scientists" and that "none of the actors is especially appealing." Galbraith commented on Akira Watnabe's effects opining that they were "okay but lack the perfectionist drive of Eiji Tsuburaya's work."
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The X from Outer Space (宇宙大怪獣ギララ?, Uchū Daikaijū Girara, Lit. Giant Space Monster Guilala) is a 1967 tokusatsu kaiju film produced by Shochiku Company Ltd. It was released to Japanese theaters on March 25, 1967, and to American television syndication via American International Television in 1968.
Plot
The spaceship AAB Gamma is dispatched from Japan to land on Mars and investigate reports of UFOs in the area. When the Gamma nears the red planet, it finds a mysterious UFO that begins to coat the Gamma with unusual spores. One of these spores is taken back to Earth, but begins to develop.
The spore grows into a giant lizard/chicken-like alien monster called Guilala that begins a rampage across Tokyo. It spits fireballs, feeds on nuclear fuel, turns into a giant energy ball when it wants to fly, and destroys airplanes and tanks along its rampage.
The monster is finally defeated by jets dropping bombs, coating Guilala in a fictional substance known as "Guilalalium" that causes it to shrink back down to spore size. They promptly launch the spore back into space, where it will supposedly circle the sun in an endless orbit.
The spaceship AAB Gamma is dispatched from Japan to land on Mars and investigate reports of UFOs in the area. When the Gamma nears the red planet, it finds a mysterious UFO that begins to coat the Gamma with unusual spores. One of these spores is taken back to Earth, but begins to develop.
The spore grows into a giant lizard/chicken-like alien monster called Guilala that begins a rampage across Tokyo. It spits fireballs, feeds on nuclear fuel, turns into a giant energy ball when it wants to fly, and destroys airplanes and tanks along its rampage.
The monster is finally defeated by jets dropping bombs, coating Guilala in a fictional substance known as "Guilalalium" that causes it to shrink back down to spore size. They promptly launch the spore back into space, where it will supposedly circle the sun in an endless orbit.
Production
- Directed by Kazui Nihonmatsu
- Written by Moriyoshi Ishida, Eibi Motomochi, and Kazui Nihonmatsu
- Produced by Wataru Nakajima
- Assistant Producing by Akihiko Shimada
- Music by Taku Izumi
- Cinematography by Shizuo Hirase and Chitora Ôkoshi
- Edited by Yoshi Sugihara
- Special Effects by Hiroshi Ikeda
Cast
- Eiji Okada as Dr. Kato
- Shun'ya Wazaki as Captain Sano
- Toshinari Kazusaki as Captain Sano
- Itoko Harada as Michiko
- Peggy Neal as Lisa
- Franz Gruber as Dr. Berman
- Mike Daneen as Dr. Stein
- Shin'ichi Yanagisawa as Miyamoto
- Keisuke Sonoi as Dr. Shioda
- Torahiko Hamada as Mr. Kimura
Release
The X From Outer Space was released in Japan on 25 March 1967. The X From Outer Space was never released theatrically in the United States, and was released directly to television by American International Television in 1968.
The Criterion Collection released The X from Outer Space on DVD in a compilation titled When Horror Came to Shochiku through their Eclipse label. The DVD offers both a dubbed and subtitled version of the film. The box set was released on November 20, 2012.
The X From Outer Space was released in Japan on 25 March 1967. The X From Outer Space was never released theatrically in the United States, and was released directly to television by American International Television in 1968.
The Criterion Collection released The X from Outer Space on DVD in a compilation titled When Horror Came to Shochiku through their Eclipse label. The DVD offers both a dubbed and subtitled version of the film. The box set was released on November 20, 2012.
Reception
Film historian Chuck Stephens described the film as having "a well-deserved reputation as one of the silliest—and, as a consequence, most beloved—rubber-suit monster movies ever made." Sight & Sound described the film as a "harebrained kaiju epic" that was "Cheesy, rich in comic non sequiturs and scored with an unpredictable mishmash of 1960s pop and bossa nova, X fits comfortably into one's stoned best-bad-movie rental evening."
Film historian Chuck Stephens described the film as having "a well-deserved reputation as one of the silliest—and, as a consequence, most beloved—rubber-suit monster movies ever made." Sight & Sound described the film as a "harebrained kaiju epic" that was "Cheesy, rich in comic non sequiturs and scored with an unpredictable mishmash of 1960s pop and bossa nova, X fits comfortably into one's stoned best-bad-movie rental evening."
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Gamera vs. Gyaos (大怪獣空中戦 ガメラ対ギャオス Daikaijū kūchūsen: Gamera tai Gyaosu) is a 1967 Japanese kaiju film directed by Noriaki Yuasa. It is the third entry in the Gamera film series.
Plot
A series of volcanoes erupt in Japan. The eruption at Mt. Futago (in Shizuoka Prefecture) attracts Gamera, whose arrival is witnessed by a young boy named Eiichi. Gamera then climbs up and into the volcano. A research team is dispatched to the volcano to find Gamera and study the effects of the eruption. Meanwhile, Chuo Expressway Corporation is building a roadway nearby, but local villagers refuse to leave.
The research team's helicopter is destroyed by a sonic beam emitted from a cave in the mountains. Reporters are informed that no bodies were found, the culprit is not Gamera or the volcanic eruption, and an announcement will be made soon. One of the reporters, Okabe, leaves for the site, and he and the roadcrew foreman, Shiro Tsutsumi, arrive at a protest area simultaneously. Okabe sneaks through the barrier, and Tsutsumi and his crew are turned away, as are the villager protesters, by the arrival of a young woman.
The villagers return to inform the village headman of the happenings. The protests are a ploy to get more money for the land. The young woman is revealed to be Eiichi's older sister.
A series of volcanoes erupt in Japan. The eruption at Mt. Futago (in Shizuoka Prefecture) attracts Gamera, whose arrival is witnessed by a young boy named Eiichi. Gamera then climbs up and into the volcano. A research team is dispatched to the volcano to find Gamera and study the effects of the eruption. Meanwhile, Chuo Expressway Corporation is building a roadway nearby, but local villagers refuse to leave.
The research team's helicopter is destroyed by a sonic beam emitted from a cave in the mountains. Reporters are informed that no bodies were found, the culprit is not Gamera or the volcanic eruption, and an announcement will be made soon. One of the reporters, Okabe, leaves for the site, and he and the roadcrew foreman, Shiro Tsutsumi, arrive at a protest area simultaneously. Okabe sneaks through the barrier, and Tsutsumi and his crew are turned away, as are the villager protesters, by the arrival of a young woman.
The villagers return to inform the village headman of the happenings. The protests are a ploy to get more money for the land. The young woman is revealed to be Eiichi's older sister.
The crew returns to find the work camp destroyed and a strange green glow coming from the mountain nearby. The work crew goes to investigate. Eiichi finds Okabe in the woods near Mt. Futago recording the same light the workmen saw. Okabe convinces Eiichi that it might be Gamera and the two make their way to a cave. A cave-in starts and Okabe runs away, leaving Eiichi in the cave. Upon exiting the cave, Okabe is eaten by a giant monster, which is later identified as Gyaos.
The workmen enter the cave from a different opening and Eiichi makes his own way out of the cave, where he discovers Gyaos and is trapped by a falling rock. Gyaos grabs Eiichi and Gamera appears. Shiro and his crew arrive just in time to see a battle between Gamera and Gyaos, during the course of which Gyaos drops Eiichi, who is rescued by Gamera. Gyaos injures Gamera with its supersonic beam, but is forced to retreat after several blasts from Gamera's fire breath. Gamera rescues Eiichi and brings him safely to a nearby amusement park. Shiro uses the Ferris wheel to retrieve Eiichi from Gamera's back and Gamera flies away.
The workmen enter the cave from a different opening and Eiichi makes his own way out of the cave, where he discovers Gyaos and is trapped by a falling rock. Gyaos grabs Eiichi and Gamera appears. Shiro and his crew arrive just in time to see a battle between Gamera and Gyaos, during the course of which Gyaos drops Eiichi, who is rescued by Gamera. Gyaos injures Gamera with its supersonic beam, but is forced to retreat after several blasts from Gamera's fire breath. Gamera rescues Eiichi and brings him safely to a nearby amusement park. Shiro uses the Ferris wheel to retrieve Eiichi from Gamera's back and Gamera flies away.
Eiichi is interviewed about his experiences by Dr. Aoki and the Countermeasures Group, who have set up headquarters in the Hotel Hi-Land. It is Eiichi who calls the new monster "Gyaos" because of the sound it makes. Dr. Aoki explains Gyaos' abilities and that it was awakened by the volcanic eruptions. A squadron of aircraft attack Mt. Futago and Gyaos destroys them. Eiichi calls to Gamera, who is tending his wounds at the bottom of the sea. Gyaos attacks at night and all of the cattle in the village run away. During a meeting the next day, the villagers become divided on whether to sell their land or not because of Gyaos. Tsutsumi's entire crew, save two, also quits because of Gyaos. A rustling in the bushes scares the remaining men, who think it is Gyaos. Instead, Eiichi emerges and tells Tsutsumi that Gyaos only comes out at night. Tsutsumi reports this to Dr. Aoki and the defenders use light to make it too bright at night, without success. Gyaos annihilates the Japanese Self-Defense Force with a blast of wind and flies south to Nagoya.
Gyaos wreaks havoc in the city, and the people gather at the Chunichi Dragons stadium, where the lights have all been turned on. Gamera shows up and they battle in the skies over Nagoya. Gamera gains the upper hand because Gyaos' beams cannot penetrate Gamera's shell. Gyaos then extinguishes Gamera's flame jets with a yellow vapor. When Gamera hits the water, he bites Gyaos' foot and tries to hold him there until sunrise. Gyaos then severs his own toe and flies away. The toe is found washed up on the beach by some workers and is eventually brought to Dr. Aoki, where it is remarked that it has shrunk considerably since its discovery.
Gyaos wreaks havoc in the city, and the people gather at the Chunichi Dragons stadium, where the lights have all been turned on. Gamera shows up and they battle in the skies over Nagoya. Gamera gains the upper hand because Gyaos' beams cannot penetrate Gamera's shell. Gyaos then extinguishes Gamera's flame jets with a yellow vapor. When Gamera hits the water, he bites Gyaos' foot and tries to hold him there until sunrise. Gyaos then severs his own toe and flies away. The toe is found washed up on the beach by some workers and is eventually brought to Dr. Aoki, where it is remarked that it has shrunk considerably since its discovery.
Further experiments reveal that ultraviolet light causes the severed toe to shrink. Therefore, if Gyaos is out in the sun too long, it will die. Meanwhile, Gyaos has retreated to its cave and regrown its toe. Eiichi, along with his sister, bursts into the planning meeting and inadvertently gives Dr. Aoki the idea he needs: they will lure Gyaos out at night, and immobilize him by making him dizzy using the rotating platform on top of the hotel.
The Defense Force constructs another platform on top of the existing one, with a giant bowl of artificial blood on it. With the help of Tsutsumi and his crew, they also build a viewing shelter. A delegation of villagers then appear and tell Tsutsumi they will no longer oppose the expressway. The headman appears and there seems to be some disagreement between the two sides. Gyaos is lured out, but the plan ultimately fails when the substation powering the motors explodes. Gyaos then destroys the hotel, extinguishes the substation fire with his vapor and flies away.
The Defense Force constructs another platform on top of the existing one, with a giant bowl of artificial blood on it. With the help of Tsutsumi and his crew, they also build a viewing shelter. A delegation of villagers then appear and tell Tsutsumi they will no longer oppose the expressway. The headman appears and there seems to be some disagreement between the two sides. Gyaos is lured out, but the plan ultimately fails when the substation powering the motors explodes. Gyaos then destroys the hotel, extinguishes the substation fire with his vapor and flies away.
Because of Gyaos, the expressway is being rerouted, and the villagers, who were told by the headman to hold out, can now no longer sell their land. The villagers blame him and Eiichi comes out of the house, throws a tantrum, and berates the villagers for their greed. His sister also tells the villagers that the headman was acting in their best interests and the villagers leave. Back inside the house, Eiichi tells his sister that Gamera would finish Gyaos and that starting a forest fire on Mt. Futago will get Gamera to come. The headman goes to Tsutsumi and explains the plan. Tsutsumi tells the headman there will be a lot of money lost because of the destroyed trees, but the headman believes that Gyaos was sent as punishment for their greed.
Tsutsumi and his crew use their construction equipment to prepare the area for the fire and an airstrike starts it. Gyaos appears and puts out the fire. The second time the fire is started, it attracts Gamera. A fierce battle ensues, which ends when Gamera immobilizes Gyaos and flies him to Mt. Fuji, where he then drags Gyaos into the crater and flies away.
Tsutsumi and his crew use their construction equipment to prepare the area for the fire and an airstrike starts it. Gyaos appears and puts out the fire. The second time the fire is started, it attracts Gamera. A fierce battle ensues, which ends when Gamera immobilizes Gyaos and flies him to Mt. Fuji, where he then drags Gyaos into the crater and flies away.
Cast
- Kojiro Hongo as Shiro Tsutsumi
- Kichijiro Ueda as Tatsuemon Kanamura
- Reiko Kasahara as Sumiko Kanamura
- Naoyuki Abe as Eiichi Kanamura
- Taro Marui as Mite-no-Tetsu
- Yukitaro Hotaru as Hachikō
- Yoshiro Kitahara as Dr. Aoki
- Akira Natsuki as Self-Defense Force Commander
- Kenji Oyama as Police Division Director
- Fujio Murakami as Dr. Murakami
- Koichi Ito as Road Corporation Director
- Teppei Endo as Road Local Affairs Director
- Shin Minatsu as Mitsushige Okabe
- Teruo Aragaki as Gamera
Release
Gamera vs. Gyaos was released theatrically in Japan on March 15, 1967. The film was never released theatrically in the United States, and was released directly to television by American International Television in 1967 as Return of the Giant Monsters. It was released to home video and reissued to television as Gamera vs. Gaos in 1987.
Legacy
The film appeared twice on Mystery Science Theater 3000. Its first appearance was in 1988, when MST3K was still a local program airing on KTMA. Its second appearance was in 1991, after it became a nationally-aired program.
Gamera vs. Gyaos was released theatrically in Japan on March 15, 1967. The film was never released theatrically in the United States, and was released directly to television by American International Television in 1967 as Return of the Giant Monsters. It was released to home video and reissued to television as Gamera vs. Gaos in 1987.
Legacy
The film appeared twice on Mystery Science Theater 3000. Its first appearance was in 1988, when MST3K was still a local program airing on KTMA. Its second appearance was in 1991, after it became a nationally-aired program.
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Wrath of Daimajin (大魔神 逆襲 Daimashin Gyakushû, lit. Daimajin's Counterattack) is a 1966 tokusatsu kaiju film produced by Daiei Film Co. Ltd. It is the third and last film in the Daimajin trilogy.
Plot
In the third and final film, the same statue from the first two movies is on top of a mountain rather than on the side. The fathers of some of the local children have been captured by an evil warlord and forced to work in their labor camps. When the four sons decide to go out and save their fathers, they have to cross Daimajin Mountain, where the stone god lays sleeping, a notoriously dangerous area full of treacherous terrain, evil samurai, and the angry Daimajin. The four boys are smart enough to pay their respects to the statue when they pass it so that they do not incur the monster's wrath.
Eventually, the warlord's men anger the statue, who once again comes to life and destroys all those who have not been paying respect to him. The children and their fathers are spared while the work camp is destroyed.
This film is different, politically, from the first two in that Daimajin is awakened by the pleas of a poor, rural boy rather than by someone of rank, and fights to rescue and avenge common people. None of the heroes in this film are of noble rank, unlike the first two, in which the main protagonists were members of deposed noble families.
In the third and final film, the same statue from the first two movies is on top of a mountain rather than on the side. The fathers of some of the local children have been captured by an evil warlord and forced to work in their labor camps. When the four sons decide to go out and save their fathers, they have to cross Daimajin Mountain, where the stone god lays sleeping, a notoriously dangerous area full of treacherous terrain, evil samurai, and the angry Daimajin. The four boys are smart enough to pay their respects to the statue when they pass it so that they do not incur the monster's wrath.
Eventually, the warlord's men anger the statue, who once again comes to life and destroys all those who have not been paying respect to him. The children and their fathers are spared while the work camp is destroyed.
This film is different, politically, from the first two in that Daimajin is awakened by the pleas of a poor, rural boy rather than by someone of rank, and fights to rescue and avenge common people. None of the heroes in this film are of noble rank, unlike the first two, in which the main protagonists were members of deposed noble families.
This proves that Daimajin only takes side with commoners and is made clear when he kills castle retainers who, though unaffiliated with the villains, are indifferent to the commoners' peril.
Also noteworthy is that this final film in the trilogy very much parallels the Gamera series (also by Daiei) in which the titular monster forms a bond with young children.
Also noteworthy is that this final film in the trilogy very much parallels the Gamera series (also by Daiei) in which the titular monster forms a bond with young children.
Cast
- Kôjirô Hongô as Lord Juro
- Shiho Fujimura as Lady Sayuri
- Taro Marui as Dodohei
- Takashi Kanda as Lord Danjô Mikoshiba
- Kôji Fujiyama as Ikkaku Arai
- Yûji Hamada as Farmer 2
- Chikara Hashimoto as Shunpei Ikenaga and Daimajin
- Sei Hiraizumi as Hayato Tabe
- Jutarô Hojo as Genba Onikojima
- Yoshitaka Ito as Farmer 3
- Kiyokazu Kagatsume as Ryûta
- Hyôsuke Kanbe as Mohachi
- Keiko Koyanagi as Shige
- Hideo Kuroki as Tasuke
- Tsuyotake Matsuda as Farmer 1
- Kayo Mikimoto as Toyo
- Koichi Mizuhara as Kamon Doi
- Kimiko Tachibana as Kume
- Gen Takasugi as Saburôta Atô
- Yûsaku Terajima as Kanetsuki-wasuke
- Asao Uchida as Heibei Nakoshi
- Koichi Uenoyama as Katsushige Nakoshi
Production
Original release date: 10 December 1966. Directed by Kazuo Mori.
Produced by Masaichi Nagata
Music by Akira Ifukube
Special Effects by Yoshiyuki Kuroda
Also known as Return of Daimajin (A.D. Vision (again, this was a mistake; they placed the second film's title on the third film)), Majin's Counterattack (literal English title), The Revenge of Majin (international English title), and Majin Strikes Again (informal English title that probably would have been used if American International Television had released it in the U.S.(which was never done)).
Original release date: 10 December 1966. Directed by Kazuo Mori.
Produced by Masaichi Nagata
Music by Akira Ifukube
Special Effects by Yoshiyuki Kuroda
Also known as Return of Daimajin (A.D. Vision (again, this was a mistake; they placed the second film's title on the third film)), Majin's Counterattack (literal English title), The Revenge of Majin (international English title), and Majin Strikes Again (informal English title that probably would have been used if American International Television had released it in the U.S.(which was never done)).
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Ebirah, Horror of the Deep, (released in Japan as Godzilla, Ebirah, Mothra: Big Duel in the South Seas (ゴジラ・エビラ・モスラ 南海の大決闘 Gojira, Ebira, Mosura Nankai no Daikettō)) is a 1966 Japanese science fiction kaiju film produced by Toho.
Directed by Jun Fukuda with special effects by Sadamasa Arikawa (supervised by Eiji Tsuburaya), the film starred Akira Takarada, Akihiko Hirata, and Eisei Amamoto. The 7th film in the Godzilla series, this was the first of two island themed adventure films starring Godzilla.
The film was released straight to television in the United States in 1967 by the Walter Reade organization as Godzilla versus The Sea Monster.
Directed by Jun Fukuda with special effects by Sadamasa Arikawa (supervised by Eiji Tsuburaya), the film starred Akira Takarada, Akihiko Hirata, and Eisei Amamoto. The 7th film in the Godzilla series, this was the first of two island themed adventure films starring Godzilla.
The film was released straight to television in the United States in 1967 by the Walter Reade organization as Godzilla versus The Sea Monster.
Plot
After Yata (Toru Ibuki) is lost at sea, his brother Ryota (Toru Watanabe) steals a yacht with his two friends and a bank robber, the crew runs afoul of the giant lobster Ebirah, and washes up on the shore of an island, where a terrorist organization manufactures heavy water for their purposes, as well as a chemical that keeps Ebirah at bay. The organization, known as the Red Bamboo, has enslaved natives from Infant Island to help them, but the natives hope to awaken Mothra to rescue them.
In their efforts to avoid capture, Ryota and his friends, aided by a beautiful native girl, stumble across Godzilla sleeping within a cliffside cavern. The group devises a plan to defeat the Red Bamboo and escape from the island. In the process, they wake Godzilla using a lightning rod. Godzilla fights Ebirah, but the giant crustacean escapes. Godzilla is then attacked by a giant condor and a squadron of Red Bamboo fighter jets, but destroys them.
The humans retrieve the missing Yata, free the enslaved natives and Godzilla begins to destroy the base. Godzilla smashes a tower that has a self-destruct button that makes the island unstable. Godzilla fights Ebirah and defeats it, ripping off both Ebirah's claws and causing it to retreat into the sea. The natives summon Mothra to save everyone, however, Godzilla challenges Mothra when she gets to the island. Mothra manages to push Godzilla away and carry the people off. Godzilla escapes the island just before it explodes.
After Yata (Toru Ibuki) is lost at sea, his brother Ryota (Toru Watanabe) steals a yacht with his two friends and a bank robber, the crew runs afoul of the giant lobster Ebirah, and washes up on the shore of an island, where a terrorist organization manufactures heavy water for their purposes, as well as a chemical that keeps Ebirah at bay. The organization, known as the Red Bamboo, has enslaved natives from Infant Island to help them, but the natives hope to awaken Mothra to rescue them.
In their efforts to avoid capture, Ryota and his friends, aided by a beautiful native girl, stumble across Godzilla sleeping within a cliffside cavern. The group devises a plan to defeat the Red Bamboo and escape from the island. In the process, they wake Godzilla using a lightning rod. Godzilla fights Ebirah, but the giant crustacean escapes. Godzilla is then attacked by a giant condor and a squadron of Red Bamboo fighter jets, but destroys them.
The humans retrieve the missing Yata, free the enslaved natives and Godzilla begins to destroy the base. Godzilla smashes a tower that has a self-destruct button that makes the island unstable. Godzilla fights Ebirah and defeats it, ripping off both Ebirah's claws and causing it to retreat into the sea. The natives summon Mothra to save everyone, however, Godzilla challenges Mothra when she gets to the island. Mothra manages to push Godzilla away and carry the people off. Godzilla escapes the island just before it explodes.
Cast
- Akira Takarada as Yoshimura
- Toru Watanabe as Ryota Kane
- Toru Ibuki as Yata Kane
- Choutarou Tougin as Ichino
- Hideo Sunazuka as Nita
- Kumi Mizuno as Dayo
- Pair Bambi as Shobijin
- Jun Tazaki as Red Bamboo Commander
- Akihiko Hirata as Captain Ryuui (Yamoto in English version)
- Eisei Amamoto as Carrier Captain
- Haruo Nakajima as Godzilla
- Yū Sekida as Ebirah
Production
The film was originally written for King Kong (the project was tentatively titled Operation Robinson Crusoe:King Kong vs Ebirah), but Toho switched Kong with another popular character at the time, Godzilla. This explains why Godzilla displays uncharacteristic behavior in the film, such as drawing strength from electricity, his curiosity to Kumi Mizuno's character, the usage of boulders to destroy the Red Bamboo Base, and his hostilities with Mothra (despite them now being allies). Toho would later use Kong for King Kong Escapes.
The US television version and early video versions have a different opening to the film. The opening scenes of Ryota at the Maritime Safety Agency searching for news of his brother have been replaced with a scene supposedly showing Ebirah destroying Yata's boat. This sequence was created by editing a later scene in the movie. The current DVD version of the film restores the Japanese cut.
In 1991, Godzilla vs. the Sea Monster was distributed under the Film Ventures International name. The company replaced the opening with a generic credit sequence, using footage from Son of Godzilla. This version was aired on Mystery Science Theater 3000.
The film was originally written for King Kong (the project was tentatively titled Operation Robinson Crusoe:King Kong vs Ebirah), but Toho switched Kong with another popular character at the time, Godzilla. This explains why Godzilla displays uncharacteristic behavior in the film, such as drawing strength from electricity, his curiosity to Kumi Mizuno's character, the usage of boulders to destroy the Red Bamboo Base, and his hostilities with Mothra (despite them now being allies). Toho would later use Kong for King Kong Escapes.
The US television version and early video versions have a different opening to the film. The opening scenes of Ryota at the Maritime Safety Agency searching for news of his brother have been replaced with a scene supposedly showing Ebirah destroying Yata's boat. This sequence was created by editing a later scene in the movie. The current DVD version of the film restores the Japanese cut.
In 1991, Godzilla vs. the Sea Monster was distributed under the Film Ventures International name. The company replaced the opening with a generic credit sequence, using footage from Son of Godzilla. This version was aired on Mystery Science Theater 3000.
English Version
In 1967, the film was released directly to television in North America by the Walter Reade Organization. It was the first Godzilla film to not receive North American theatrical distribution. As with Walter Reade Organizations' next Godzilla release, Son of Godzilla, this movie was dubbed by Titra Studios.
There were several alterations made for this release:
Captain Ryuui's name was changed to Yamoto. Ebirah and the Red Bamboo are never named.
Deleted: The opening credits sequence. This version features only the title card, Godzilla versus The Sea Monster.
Altered: 30 seconds of Ebirah's attack on the Yahlen were shifted to the beginning of the film, standing in for Yata's unseen shipwreck.
Deleted: A scene where Ryota goes to the Maritime Safety office and sees a poster on the wall for a dance contest.
Deleted: Yoshimura thinking up a plan with Nita and Ichino to turn the Yahlen around through cooperation with Ryota.
Altered: The tracked in surf music from Akira Kurosawa's High and Low was removed during Godzilla's battle with the Red Bamboo airforce.
Deleted: Several unneeded, pace halting scenes of the natives of Infant Island praying to Mothra during the third act were removed.
In 1967, the film was released directly to television in North America by the Walter Reade Organization. It was the first Godzilla film to not receive North American theatrical distribution. As with Walter Reade Organizations' next Godzilla release, Son of Godzilla, this movie was dubbed by Titra Studios.
There were several alterations made for this release:
Captain Ryuui's name was changed to Yamoto. Ebirah and the Red Bamboo are never named.
Deleted: The opening credits sequence. This version features only the title card, Godzilla versus The Sea Monster.
Altered: 30 seconds of Ebirah's attack on the Yahlen were shifted to the beginning of the film, standing in for Yata's unseen shipwreck.
Deleted: A scene where Ryota goes to the Maritime Safety office and sees a poster on the wall for a dance contest.
Deleted: Yoshimura thinking up a plan with Nita and Ichino to turn the Yahlen around through cooperation with Ryota.
Altered: The tracked in surf music from Akira Kurosawa's High and Low was removed during Godzilla's battle with the Red Bamboo airforce.
Deleted: Several unneeded, pace halting scenes of the natives of Infant Island praying to Mothra during the third act were removed.
The English version runs 83 minutes, four minutes shorter than the Japanese version.
In 2005, Sony released the film on DVD. This was the first time the original Japanese version had been officially released on home video in the United States. The original American version, however, was replaced by Toho's international version, which is uncut. The dubbing in this version is often cited as inferior to the original Titra Studios dub.
In 2005, Sony released the film on DVD. This was the first time the original Japanese version had been officially released on home video in the United States. The original American version, however, was replaced by Toho's international version, which is uncut. The dubbing in this version is often cited as inferior to the original Titra Studios dub.
Titles
Godzilla, Ebirah, Mothra: Great Battle in the South Seas - Translated Japanese title.
Ebirah, Horror of the Deep - Toho's official English title, and UK home video title.
Godzilla versus The Sea Monster - Original U.S. dub title. The only English Godzilla title where "versus" is spelled out.
Godzilla vs. The Sea Monster - U.S. DVD title. This is actually the Ebirah, Horror of the Deep dub with a new title card.
Box Office
In Japan, the film was released on December 17, 1966 and sold approximately 3,450,000 tickets. It was re-released on July 22, 1972 and sold approximately 760,000 tickets.
Godzilla, Ebirah, Mothra: Great Battle in the South Seas - Translated Japanese title.
Ebirah, Horror of the Deep - Toho's official English title, and UK home video title.
Godzilla versus The Sea Monster - Original U.S. dub title. The only English Godzilla title where "versus" is spelled out.
Godzilla vs. The Sea Monster - U.S. DVD title. This is actually the Ebirah, Horror of the Deep dub with a new title card.
Box Office
In Japan, the film was released on December 17, 1966 and sold approximately 3,450,000 tickets. It was re-released on July 22, 1972 and sold approximately 760,000 tickets.
Home Media Releases
Kraken Releasing - Blu-Ray
Released: May 6, 2014
Picture: AVC-1080P (2.35:1)
Sound: Japanese and English (DTS-HD Mono)
Subtitles: English
Extra: Original Japanese Theatrical Trailer
Note: 86 Minutes
MPAA Rating: PG for sci-fi monster violence and brief mild language
Sony Pictures - DVD
Released: February 8, 2005
Aspect Ratio: Anamorphic Widescreen (2.35:1)
Sound: Japanese (2.0), English (2.0)
Supplements: Trailers for Godzilla: Tokyo SOS, MirrorMask, Anacondas: The Hunt for the Blood Orchid, and Steamboy
Region 1
Note: Contain's Toho's International Version
MPAA Rating: PG for sci-fi monster violence
Kraken Releasing - Blu-Ray
Released: May 6, 2014
Picture: AVC-1080P (2.35:1)
Sound: Japanese and English (DTS-HD Mono)
Subtitles: English
Extra: Original Japanese Theatrical Trailer
Note: 86 Minutes
MPAA Rating: PG for sci-fi monster violence and brief mild language
Sony Pictures - DVD
Released: February 8, 2005
Aspect Ratio: Anamorphic Widescreen (2.35:1)
Sound: Japanese (2.0), English (2.0)
Supplements: Trailers for Godzilla: Tokyo SOS, MirrorMask, Anacondas: The Hunt for the Blood Orchid, and Steamboy
Region 1
Note: Contain's Toho's International Version
MPAA Rating: PG for sci-fi monster violence
Details (Original film)
- Directed by Jun Fukuda
- Produced by Tomoyuki Tanaka
- Screenplay by Shinichi Sekizawa
- Music by Masaru Sato
- Cinematography Kazuo Yamada
- Edited by Ryohei Fujii
- Production company Toho Studios
- Distributed by Toho
- Release date December 17, 1966 (Japan)
- Running time 87 minutes
- Country Japan
- Language Japanese
- Box office ¥330 million
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Return of Daimajin (大魔神 怒る Daimashin Ikaru, lit. Angry Daimajin) is a 1966 tokusatsu kaiju film produced by Daiei Film Co. Ltd. It is the second film in the Daimajin trilogy.
Plot
In The Return of Daimajin, the second film in the trilogy, Daimajin has taken up residence on an island in the middle of a lake. The lake is surrounded by two peaceful villages, Chigusa and Nagoshi.
Near these two villages, but not bordering the lake, is another village. Ruled by an evil lord, the citizens flee to Chigusa as often as they can and make their way there, where the lords are only too happy to take in the refugees. One day the evil lord decides to take over the two villages, and he sees a window of opportunity in a festival that is held every year.
The heroes end up on the run as the villains chase them. People keep ending up back on the island with the statue. Eventually, the evil lord has his men shatter the statue with a large amount of gunpowder. Daimajin's shattered remains end up at the bottom of the lake. True to the samurai formula is the amount of melodrama in Return of Daimajin. Occasionally something paranormal happens, but such occurrences are met rather indifferently. In the final fifteen minutes of the film, Daimajin finally comes to life and, like his predecessor, inflicts serious damage upon the evil lord and the surrounding landscape.
In The Return of Daimajin, the second film in the trilogy, Daimajin has taken up residence on an island in the middle of a lake. The lake is surrounded by two peaceful villages, Chigusa and Nagoshi.
Near these two villages, but not bordering the lake, is another village. Ruled by an evil lord, the citizens flee to Chigusa as often as they can and make their way there, where the lords are only too happy to take in the refugees. One day the evil lord decides to take over the two villages, and he sees a window of opportunity in a festival that is held every year.
The heroes end up on the run as the villains chase them. People keep ending up back on the island with the statue. Eventually, the evil lord has his men shatter the statue with a large amount of gunpowder. Daimajin's shattered remains end up at the bottom of the lake. True to the samurai formula is the amount of melodrama in Return of Daimajin. Occasionally something paranormal happens, but such occurrences are met rather indifferently. In the final fifteen minutes of the film, Daimajin finally comes to life and, like his predecessor, inflicts serious damage upon the evil lord and the surrounding landscape.
Cast
- Hideki Ninomiya as Tsuruchiki
- Shinji Hori as Daisaku
- Masahide Iizuka as Kinta
- Muneyuki Nagatomo as Sugitatsu
- Junichiro Yamashita as Syohachi
- Tôru Abe as Hidanokami Arakawa
- Takashi Nakamura as Sanpei
- Hiroshi Nawa as Daizen Matsunaga
- Tanie Kitabayashi as Old Woman Kane
- Riki Hashimoto as Daimajin
- Yûzô Hayakawa as Yoshibei
- Yukio Horikita as Yada
- Manabu Morita as Toma Kuroki
Production
Original release date: 13 August 1966. Directed by Kenji Misumi.
Written by Tetsuro Yoshida
Music by Akira Ifukube
Assistant Directing by Hitoshi Obuchi
Also known as Wrath of Daimajin (A.D. Vision (this was a mistake on their part; they placed the third film's title on the second film)), Majin Grows Angry (literal English title), The Return of the Giant Majin (as released in the U.S. by American International Television), and The Return of Majin (international English title).
Original release date: 13 August 1966. Directed by Kenji Misumi.
Written by Tetsuro Yoshida
Music by Akira Ifukube
Assistant Directing by Hitoshi Obuchi
Also known as Wrath of Daimajin (A.D. Vision (this was a mistake on their part; they placed the third film's title on the second film)), Majin Grows Angry (literal English title), The Return of the Giant Majin (as released in the U.S. by American International Television), and The Return of Majin (international English title).
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The War of the Gargantuas (フランケンシュタインの怪獣 サンダ対ガイラ Furankenshutain no Kaijū: Sanda tai Gaira, lit. Frankenstein's Monsters: Sanda vs. Gaira) is a 1966 Japanese-American kaiju film co-produced by Toho and UPA. The film is directed by Ishirō Honda, with special effects by Eiji Tsuburaya and stars Russ Tamblyn, Kumi Mizuno, Kenji Sahara, Jun Tazaki, with Yû Sekida as Sanda and Haruo Nakajima as Gaira.
The film is a sequel to the 1965 film Frankenstein Conquers the World and tells the story of two giant, hairy humanoid monsters that were spawned from the discarded cells of Frankenstein's monster from the previous film. A green one raised in the sea named Gaira (ガイラ, from kai, "sea") is violent and savage, while a brown one who resides in the Japanese Alps, named Sanda (サンダ, from san, "mountain") is friendly and docile. The film follows the investigation and military engagements of these creatures until their climactic confrontation in Tokyo.
The film was released in Japan on July 31, 1966 and released theatrically in the United States in 1970 by Maron Films where it played nationwide on a double bill with Monster Zero.
The film is a sequel to the 1965 film Frankenstein Conquers the World and tells the story of two giant, hairy humanoid monsters that were spawned from the discarded cells of Frankenstein's monster from the previous film. A green one raised in the sea named Gaira (ガイラ, from kai, "sea") is violent and savage, while a brown one who resides in the Japanese Alps, named Sanda (サンダ, from san, "mountain") is friendly and docile. The film follows the investigation and military engagements of these creatures until their climactic confrontation in Tokyo.
The film was released in Japan on July 31, 1966 and released theatrically in the United States in 1970 by Maron Films where it played nationwide on a double bill with Monster Zero.
Plot
As the film opens, a small boat is seen chugging through stormy seas. A giant octopus appears from the ocean and seems bent on killing the sole crew member on deck. Suddenly, the octopus releases the man and retracts its tentacles from the boat. Relieved, the sailor peers out the porthole, only to see Gaira, a large green man-like creature, fighting the octopus. After easily defeating it, Gaira turns his attention to the boat and sinks it.
When the sailor is recovered from the ocean, he tells his tale of the large gargantua (Frankenstein in the Japanese version) to his doctors, who believe he is in shock and spouting nonsense. The press picks up on the story and interviews Dr. Paul Stewart (Russ Tamblyn) and his female assistant, Akemi Togawa (Kumi Mizuno), who once had a baby gargantua in their possession for study five years prior. Dr. Stewart and Akemi try to dispel the idea that the attack on the boat was caused by the gargantua they knew and studied because it was very gentle while in their care. Stewart postulates that the gargantua he studied wouldn't live in the ocean as it was found in the mountains and probably returned there when it escaped from his laboratory five years ago.
As the film opens, a small boat is seen chugging through stormy seas. A giant octopus appears from the ocean and seems bent on killing the sole crew member on deck. Suddenly, the octopus releases the man and retracts its tentacles from the boat. Relieved, the sailor peers out the porthole, only to see Gaira, a large green man-like creature, fighting the octopus. After easily defeating it, Gaira turns his attention to the boat and sinks it.
When the sailor is recovered from the ocean, he tells his tale of the large gargantua (Frankenstein in the Japanese version) to his doctors, who believe he is in shock and spouting nonsense. The press picks up on the story and interviews Dr. Paul Stewart (Russ Tamblyn) and his female assistant, Akemi Togawa (Kumi Mizuno), who once had a baby gargantua in their possession for study five years prior. Dr. Stewart and Akemi try to dispel the idea that the attack on the boat was caused by the gargantua they knew and studied because it was very gentle while in their care. Stewart postulates that the gargantua he studied wouldn't live in the ocean as it was found in the mountains and probably returned there when it escaped from his laboratory five years ago.
Another boat is attacked and the people of a fishing village see the gargantua off the coast at the same time that a mountain guide reports seeing the gargantua in the Japanese Alps. So, Dr. Stewart and Akemi go to visit the mountains and send their assistant, Dr. Majida (Kenji Sahara), to look at the evidence in the fishing village. Dr. Majida finds tissue stuck to the side of the fishing boat while Dr. Stewart and Akemi find giant footprints in the snow.
In the meantime, Gaira comes ashore and attacks an airport. As he munches on a woman he's pulled from inside a building, the sun appears from behind the clouds. Apparently, the gargantua doesn't like bright light and runs back to the sea. After Gaira attacks Tokyo at night, the residents are urged to turn on all of their lights and open their shades to drive him out of the city. He begins to retreat to the mountains and is met by the Japanese Self Defense Force, who use giant spotlights and bonfires to corral Gaira into a valley. Although conventional tanks, artillery, and machine guns have little effect on him, a newly constructed weapon — Maser Cannons — badly injures Gaira. Bloodied and bruised, Gaira falls into the river and appears defeated. Suddenly, a larger, brown gargantua comes to his aid. Sanda, as he is known, pulls Gaira from the river and away from the military.
In the meantime, Gaira comes ashore and attacks an airport. As he munches on a woman he's pulled from inside a building, the sun appears from behind the clouds. Apparently, the gargantua doesn't like bright light and runs back to the sea. After Gaira attacks Tokyo at night, the residents are urged to turn on all of their lights and open their shades to drive him out of the city. He begins to retreat to the mountains and is met by the Japanese Self Defense Force, who use giant spotlights and bonfires to corral Gaira into a valley. Although conventional tanks, artillery, and machine guns have little effect on him, a newly constructed weapon — Maser Cannons — badly injures Gaira. Bloodied and bruised, Gaira falls into the river and appears defeated. Suddenly, a larger, brown gargantua comes to his aid. Sanda, as he is known, pulls Gaira from the river and away from the military.
It turns out that Sanda is the gentle gargantua that Dr. Stewart and Akemi have studied years ago. This is confirmed when the scientists encounter Sanda in the mountains and he rescues Akemi from falling to her death, risking his own life and breaking his leg in the process. However, he has become leery of humans after seeing Gaira's horrific injuries and quickly vanishes once again. Later, he catches Gaira feasting on some boaters and attempts to kill him to stop the carnage. Unfortunately, he is hesitant about harming his brother and this, along with his broken leg, allows Gaira to overpower him before escaping to the sea. Dr. Stewart attempts to convince the military of Sanda's innocence and that blowing them up would simply scatter their cells all over the place, leading to the possibility of thousands of gargantuas, as the monsters can regenerate from even a tiny piece of tissue. The press and military remain skeptical.
Gaira reappears in Tokyo, no longer afraid of the city lights, and corners Dr. Stewart and Akemi. Sanda arrives to save them once again and attempts to placate his brother, but Gaira is beyond reason and the confrontation escalates to a violent brawl, causing great destruction in the process. The battle eventually leads out to sea, where the military begins an aerial bombardment. Unfortunately, the bombs disturb a giant underwater volcano, and the two monsters are engulfed in smoke and fire. By the time the volcanic cloud dissipates, both monsters have disappeared without a trace.
Gaira reappears in Tokyo, no longer afraid of the city lights, and corners Dr. Stewart and Akemi. Sanda arrives to save them once again and attempts to placate his brother, but Gaira is beyond reason and the confrontation escalates to a violent brawl, causing great destruction in the process. The battle eventually leads out to sea, where the military begins an aerial bombardment. Unfortunately, the bombs disturb a giant underwater volcano, and the two monsters are engulfed in smoke and fire. By the time the volcanic cloud dissipates, both monsters have disappeared without a trace.
Cast
- Russ Tamblyn as Dr. Paul Stewart
- Kumi Mizuno as Akemi
- Kenji Sahara as Dr. Yuzo Majida
- Nobuo Nakamura as Dr. Kita
- Jun Tazaki as the Army Commander
- Hisaya Ito as Police Chief Izumida
- Kipp Hamilton as a Club Singer
- Yû Sekida as Sanda
- Haruo Nakajima as Gaira
Production
Towards the end of 1965, Toho informed director Ishiro Honda that his director's contract would not be renewed. Seiji Tani, Honda's new chief assistant, spoke about actor Russ Tamblyn and Honda not agreeing on set, with Tamblyn often doing the exact opposite of Honda instructed, Tani stated: "Honda-san had to hold back and bear so much during that one. [Russ Tamblyn] was such an asshole" Tamblyn felt his lines in the film were so bad that he improvised them all.
The film was originally announced as The Frankenstein Brothers, then The Two Frankensteins, Frankenstein vs. Frankenstein, Frankenstein's Decisive Battle, and Frankenstein's Fight during script writing processes. The film was originally intended as a sequel to Frankenstein Conquers the World, with Honda biographers Ryfle and Godziszewski noting that the continuity between the two films was "somewhat fuzzy". The film was created quickly, with writer Kimura's final draft on the screenplay being dated 23 April 1966. Honda shot the films dramatic footage between May 9 to June 4 with Tsuburaya's special effects crew finishing in mid July. The American version had Honda shoot additional scenes and UPA had Toho release the negatives and outtakes and other footage such as sound and music elements.
Towards the end of 1965, Toho informed director Ishiro Honda that his director's contract would not be renewed. Seiji Tani, Honda's new chief assistant, spoke about actor Russ Tamblyn and Honda not agreeing on set, with Tamblyn often doing the exact opposite of Honda instructed, Tani stated: "Honda-san had to hold back and bear so much during that one. [Russ Tamblyn] was such an asshole" Tamblyn felt his lines in the film were so bad that he improvised them all.
The film was originally announced as The Frankenstein Brothers, then The Two Frankensteins, Frankenstein vs. Frankenstein, Frankenstein's Decisive Battle, and Frankenstein's Fight during script writing processes. The film was originally intended as a sequel to Frankenstein Conquers the World, with Honda biographers Ryfle and Godziszewski noting that the continuity between the two films was "somewhat fuzzy". The film was created quickly, with writer Kimura's final draft on the screenplay being dated 23 April 1966. Honda shot the films dramatic footage between May 9 to June 4 with Tsuburaya's special effects crew finishing in mid July. The American version had Honda shoot additional scenes and UPA had Toho release the negatives and outtakes and other footage such as sound and music elements.
Release
The War of the Gargantuas was released theatrically in Japan on 31 July 1966 where it was distributed by Toho. Tamblyn's voice is dubbed for the Japanese version. Toho commissioned an English dub from Frontier Enterprises, a Tokyo-based company, for international territories. Referred to as the "international dub", this version is a direct translation of the Japanese version, keeping references to Frankenstein and even having Russ Tamblyn's English dialogue dubbed over by another actor. Toho's international dub remained unreleased until late 2017 when the film and other Godzilla titles appeared on Starz's streaming service after Janus Films and The Criterion Collection obtained the rights to the films.
Co-producer Henry G. Saperstein commissioned an English dub (separate from Toho's international dub) from Glen Glenn Sound, a Los Angeles-based company, for the film's United States release. This version omits all references to Frankenstein Conquers the World, with the creatures being referred to as "Gargantuas" instead of "Frankensteins". This version also includes exclusive footage not included in the Japanese version, which includes introducing Dr. Stewart earlier and visiting the boat survivor in the hospital, making the US version run at 92 minutes.
The War of the Gargantuas was released theatrically in Japan on 31 July 1966 where it was distributed by Toho. Tamblyn's voice is dubbed for the Japanese version. Toho commissioned an English dub from Frontier Enterprises, a Tokyo-based company, for international territories. Referred to as the "international dub", this version is a direct translation of the Japanese version, keeping references to Frankenstein and even having Russ Tamblyn's English dialogue dubbed over by another actor. Toho's international dub remained unreleased until late 2017 when the film and other Godzilla titles appeared on Starz's streaming service after Janus Films and The Criterion Collection obtained the rights to the films.
Co-producer Henry G. Saperstein commissioned an English dub (separate from Toho's international dub) from Glen Glenn Sound, a Los Angeles-based company, for the film's United States release. This version omits all references to Frankenstein Conquers the World, with the creatures being referred to as "Gargantuas" instead of "Frankensteins". This version also includes exclusive footage not included in the Japanese version, which includes introducing Dr. Stewart earlier and visiting the boat survivor in the hospital, making the US version run at 92 minutes.
The Glen Glenn English dub received a theatrical release in the United States as War of the Gargantuas on July 29, 1970 where it was double billed with Monster Zero, which was also dubbed by Glen Glenn Sound. The film was distributed by Maron Films. The film is significantly altered on its United States release. In the United Kingdom, the film was titled Duel of the Gargantuas. War of the Gargantuas and Monster Zero were intended to be released earlier, however, distributors didn't think either film had potential until 1970 when Saperstein made a deal with Maron Films.
Home media
In 2008, Classic Media released a 2-disc DVD of the film as a double feature with Rodan. Both films included their original Japanese version and US English versions, with Rodan presented in its native Fullscreen scope and War of the Gargantuas in its original widescreen ratio. This release also features the documentary Bringing Godzilla Down to Size, detailing the history of the genre and tokusatsu techniques of the genre.
In 2010, Toho released the film on Blu-ray which includes special features such as an audio commentary by Kumi Mizuno, outtakes, trailers, and behind the scenes photo galleries.
Home media
In 2008, Classic Media released a 2-disc DVD of the film as a double feature with Rodan. Both films included their original Japanese version and US English versions, with Rodan presented in its native Fullscreen scope and War of the Gargantuas in its original widescreen ratio. This release also features the documentary Bringing Godzilla Down to Size, detailing the history of the genre and tokusatsu techniques of the genre.
In 2010, Toho released the film on Blu-ray which includes special features such as an audio commentary by Kumi Mizuno, outtakes, trailers, and behind the scenes photo galleries.
