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Daimajin (大魔神) is a 1966 Japanese film of the Daimajin series directed by Kimiyoshi Yasuda. Its musical score is composed by Akira Ifukube. The film had a brief stateside theatrical release in 1968. Reportedly, it was shown both in Japanese with English subtitles and dubbed into English. The English dubbed version was later released directly to TV by American International Television under the title Majin the Monster of Terror.
Plot
The movie opens with a household of peasants cowering during a series of earth tremors that are interpreted as the escape attempts of Daimajin, a spirit trapped within the mountain. The village gathers at their shrine. This is observed by the local feudal boss, Lord Hanabasa, a good and just man. It is also observed by his treacherous chamberlain, Samanosuke (Yutaro Gomi). Samanosuke has been waiting for just such a diversion to stage a coup d'état.
As the villagers pray, Samanosuke and his henchmen slaughter Hanabasa and his wife, but their son and daughter escape, aided by the heroic samurai Kogenta (Jun Fujimaki). Back at the shrine, Samanosuke's men break up the meeting, forbidding all such gatherings in the future. The priestess issues a dire warning, but the men ignore her.
Discouraged, the priestess, Shinobu, goes home, only to find Kogenta and the two children. She takes them up the side of the mountain, into forbidden territory, where the stone idol which is Daimajin stands, half-buried into the side of the mountain.
The movie opens with a household of peasants cowering during a series of earth tremors that are interpreted as the escape attempts of Daimajin, a spirit trapped within the mountain. The village gathers at their shrine. This is observed by the local feudal boss, Lord Hanabasa, a good and just man. It is also observed by his treacherous chamberlain, Samanosuke (Yutaro Gomi). Samanosuke has been waiting for just such a diversion to stage a coup d'état.
As the villagers pray, Samanosuke and his henchmen slaughter Hanabasa and his wife, but their son and daughter escape, aided by the heroic samurai Kogenta (Jun Fujimaki). Back at the shrine, Samanosuke's men break up the meeting, forbidding all such gatherings in the future. The priestess issues a dire warning, but the men ignore her.
Discouraged, the priestess, Shinobu, goes home, only to find Kogenta and the two children. She takes them up the side of the mountain, into forbidden territory, where the stone idol which is Daimajin stands, half-buried into the side of the mountain.
Near this idol is an ancient temple - safe as only Shinobu knows of its existence.
The children grow to adulthood. The son, Tadafumi (Yoshihiko Aoyama) reaches his 18th birthday. The years have been miserable on the villagers. Samanosuke is a brutal leader (in one scene, he gouges out an old woman's eye with a red-hot iron hook) who is using every man in the starving village as slave labor. The place is ripe for revolution, and surviving Hanabasa retainers are starting to return.
Kogenta journeys to the village to try to gather the old retainers, but gets himself captured. A boy gets word to Tadafumi and his sister, Kozasa (Miwa Takada) that their friend is a prisoner. Tadafumi tries to rescue him, only to discover it's a trap. With both awaiting execution, Shinobu tries to talk to the tyrant, who is drinking too much and becomes incensed at all this talk of the god of the mountain; he murders the priestess and orders the idol demolished.
The children grow to adulthood. The son, Tadafumi (Yoshihiko Aoyama) reaches his 18th birthday. The years have been miserable on the villagers. Samanosuke is a brutal leader (in one scene, he gouges out an old woman's eye with a red-hot iron hook) who is using every man in the starving village as slave labor. The place is ripe for revolution, and surviving Hanabasa retainers are starting to return.
Kogenta journeys to the village to try to gather the old retainers, but gets himself captured. A boy gets word to Tadafumi and his sister, Kozasa (Miwa Takada) that their friend is a prisoner. Tadafumi tries to rescue him, only to discover it's a trap. With both awaiting execution, Shinobu tries to talk to the tyrant, who is drinking too much and becomes incensed at all this talk of the god of the mountain; he murders the priestess and orders the idol demolished.
The crew that travels up the mountain to smash Daimajin accidentally discovers Kozasa, and force her to take them to the idol. The soldiers bring out an enormous chisel and proceed to hammer it into Majin's head; they stop when they see blood beginning to drip from the statue. Horrified, the men attempt to flee, but the earth cracks open and swallows them.
Kozasa begs Daimajin to save her brother and punish the wicked Samanosuke. At the fortress, Tadafumi and Kogenta are tied to large crosses, awaiting their fates. Kozasa offers her life to Daimajin and attempts to throw herself over the nearby waterfall, but the rock and earth covering the lower half of the idol fall away, and it walks out into the clearing. Kozasa prostrates herself before it, as the stone mask disappears, revealing the true face of the Daimajin, a vengeful spirit resembling that of a grotesque shogun.
Daimajin goes to Samonosuke's stronghold, which he destroys. After impaling Samanosuke with the chisel from his forehead, Daimajin now turns its wrath upon everyone in sight. Only Kozasa, once more offering her life and letting her teardrops fall on his stone feet, stops its rampage. The spirit leaves the statue, flying away. It collapses into a heap of rubble.
Kozasa begs Daimajin to save her brother and punish the wicked Samanosuke. At the fortress, Tadafumi and Kogenta are tied to large crosses, awaiting their fates. Kozasa offers her life to Daimajin and attempts to throw herself over the nearby waterfall, but the rock and earth covering the lower half of the idol fall away, and it walks out into the clearing. Kozasa prostrates herself before it, as the stone mask disappears, revealing the true face of the Daimajin, a vengeful spirit resembling that of a grotesque shogun.
Daimajin goes to Samonosuke's stronghold, which he destroys. After impaling Samanosuke with the chisel from his forehead, Daimajin now turns its wrath upon everyone in sight. Only Kozasa, once more offering her life and letting her teardrops fall on his stone feet, stops its rampage. The spirit leaves the statue, flying away. It collapses into a heap of rubble.
Cast
- Miwa Takada as Kozasa Hanabusa
- Yoshihiko Aoyama as Tadafumi Hanabusa
- Jun Fujimaki as Kogenta
- Ryûtarô Gomi as Samanosuke
- Ryûzô Shimada as Tadakiyo Hanabusa
- Tatsuo Endô as Gunjurô
- Shôsaku Sugiyama
- Chikara Hashimoto
- Saburô Date as Ippei Cyjûma
- Otome Tsukimiya as Shinobu - The Shrine Maiden
- Keiko Kayama as Haruno
- Eigorô Onoe as Gosaku
- Gen Kimura as Mosuke
- Hideki Ninomiya as Tadafumi as a boy
- Shizuhiro Izoguchi as Take-bô
- Yûtarô Ban as Mondo
- Hideo Kuroki as Magojûrô
- Akira Shiga
- Jun Ôsugi
- Jun Katsumura
- Kazuo Moriuchi
- Akira Amemiya
- Shinjiro Akatsuki
- Kanji Uehara
- Masako Morishita as Young Kozasa
- Hatsumi Yoshikawa
- Riki Hashimoto as Daimajin
Production
Directed by Kimiyoshi Yasuda
Written by Tetsurô Yoshida
Produced by Masaichi Nagata and Mitsuru Tanabe
Music by Akira Ifukube
Cinematography by Fujio Morita
Edited by Hiroshi Yamada
Assistant Directing by Eiji Nishizawa
Special Effects by Yoshiyuki Kuroda
The cinematographer on Daimajin is sometimes credited to Yoshiyuki Kuroda and sometimes to Fujio Morita.
Release
Daimajin was released theatrically in Japan on April 17, 1966.
The film was released simultaneously in the United States with English subtitles by Daiei International Films and in an English-language dub by Bernard Lewis.
Directed by Kimiyoshi Yasuda
Written by Tetsurô Yoshida
Produced by Masaichi Nagata and Mitsuru Tanabe
Music by Akira Ifukube
Cinematography by Fujio Morita
Edited by Hiroshi Yamada
Assistant Directing by Eiji Nishizawa
Special Effects by Yoshiyuki Kuroda
The cinematographer on Daimajin is sometimes credited to Yoshiyuki Kuroda and sometimes to Fujio Morita.
Release
Daimajin was released theatrically in Japan on April 17, 1966.
The film was released simultaneously in the United States with English subtitles by Daiei International Films and in an English-language dub by Bernard Lewis.
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Gamera vs. Barugon (大怪獣決闘 ガメラ対バルゴン Daikaijū kettō: Gamera tai Barugon) is a 1966 Japanese kaiju film directed by Shigeo Tanaka. It is the second entry in the Gamera film series and was released directly to television in the United States by American International Television.
Plot
Set six months after the events of Gamera: The Giant Monster, a meteorite collides with the Z Plan rocket transporting the creature to Mars. Now free, Gamera returns to Earth and destroys Kurobe Dam in Japan. At the same time three mercenaries are sent by Kano, a World War II veteran, to an island in the South Pacific to retrieve a huge opal he once found and hid in a cave. Despite warnings from the local villagers, the trio find and locate the opal, but one dies from a fatal scorpion sting. The second man, Keisuke, Kano's younger brother, is betrayed by his fellow expeditioner Onodera and apparently killed in a cave-in.
En route back to Japan, Onodera accidentally leaves the opal exposed to an infrared light. The heat incubates the opal - actually an egg - and a lizard eventually hatches. Growing to enormous size very quickly, the lizard destroys the ship and Kobe Harbor. Keisuke, having survived the cave-in, awakens in the care of the villagers. He then returns to Japan with a village girl called Karen, who refers to the lizard as Barugon. Barugon wreaks havoc in Osaka with its freeze-gas emitting tongue and stops the launching of the retaliative missiles with a rainbow-like ray emitted from seven spines on the middle of its back.
Set six months after the events of Gamera: The Giant Monster, a meteorite collides with the Z Plan rocket transporting the creature to Mars. Now free, Gamera returns to Earth and destroys Kurobe Dam in Japan. At the same time three mercenaries are sent by Kano, a World War II veteran, to an island in the South Pacific to retrieve a huge opal he once found and hid in a cave. Despite warnings from the local villagers, the trio find and locate the opal, but one dies from a fatal scorpion sting. The second man, Keisuke, Kano's younger brother, is betrayed by his fellow expeditioner Onodera and apparently killed in a cave-in.
En route back to Japan, Onodera accidentally leaves the opal exposed to an infrared light. The heat incubates the opal - actually an egg - and a lizard eventually hatches. Growing to enormous size very quickly, the lizard destroys the ship and Kobe Harbor. Keisuke, having survived the cave-in, awakens in the care of the villagers. He then returns to Japan with a village girl called Karen, who refers to the lizard as Barugon. Barugon wreaks havoc in Osaka with its freeze-gas emitting tongue and stops the launching of the retaliative missiles with a rainbow-like ray emitted from seven spines on the middle of its back.
Barugon encounters Gamera and the two battle, with Gamera eventually being frozen solid.
In the meantime, while debating with Kano on how to recover the opal, which he still believes to be aboard the sunken ship, Onodera inadvertently blurts out that he killed his two companions and then murders both Kano and Kano's wife to cover up his crime. After finding Onodera, Keisuke and Karen subdue him and leave him tied up in his home. Keisuke and Karen travel to the Japanese defense ministry and suggest a plan using a huge diamond to lure Barugon into a lake to drown. The plan fails because the diamond's radiation proves to be not enough. Another attempt by irradiating the diamond with additional infrared radiation almost succeeds, until Onodera, having been released and informed of the diamond by his wife, steals the gem. Both he and the diamond, however, are immediately devoured by Barugon.
In the meantime, while debating with Kano on how to recover the opal, which he still believes to be aboard the sunken ship, Onodera inadvertently blurts out that he killed his two companions and then murders both Kano and Kano's wife to cover up his crime. After finding Onodera, Keisuke and Karen subdue him and leave him tied up in his home. Keisuke and Karen travel to the Japanese defense ministry and suggest a plan using a huge diamond to lure Barugon into a lake to drown. The plan fails because the diamond's radiation proves to be not enough. Another attempt by irradiating the diamond with additional infrared radiation almost succeeds, until Onodera, having been released and informed of the diamond by his wife, steals the gem. Both he and the diamond, however, are immediately devoured by Barugon.
Keisuke discovers that mirrors are not affected by Barugon's rainbow ray, so the military devises a plan to reflect its own rainbow emanation back at it with a giant mirror. Barugon is wounded by its own ray, but despite prompting it cannot be goaded into repeating its mistake. Gamera thaws out and attacks Barugon once again, and after a destructive battle it drowns Barugon in Lake Biwa, then flies away. Remorseful over the disaster his greed has caused, with his brother now dead, and having found love with Karen, Keisuke decides to make a fresh start on the island where it all began.
Cast
- Kōjirō Hongō as Keisuke Hirata
- Kyōko Enami as Karen
- Yūzō Hayakawa as Kawajiri
- Takuya Fujioka as Dr. Satō
- Kōji Fujiyama as Onodera
- Akira Natsuki as Ichirō Hirata
- Yoshirō Kitahara as Professor Amano
- Ichirō Sugai as Dr. Matsushita
- Bontarō Miake as Self-Defense Force General
- Jutarō Hōjō as Self-Defense Force Commander
- Kazuko Wakamatsu as Sadae Hirata
- Yuka Konno as Onodera's lover
- Eiichi Takamura as Governor of Osaka
- Kenichi Tani as Lee
- Kōichi Itō as Metropolitan Police Superintendent-General
- Hikaru Hoshi as Awaji Maru captain
- Osamu Abe as Awaji Maru crewman
- Yoshihiro Hamaguchi as Awaji Maru crewman
- Teruo Aragaki as Gamera
Production
The film features footage from the first Gamera film. Due to the commercial success of Gamera: The Giant Monster, the follow-up, Gamera vs. Barugon, had a expanded budget that Yuasa stated was 80 million yen.
Release
Gamera vs. Barugon was released in Japan on 17 April 1966. The film was never released theatrically in the United States. It was first shown in the United states by American International Television as War of the Monsters with an English-language dub supervised by Salvatore Billitteri. The film was reissued to television and home video by King Features Entertainment in 1987 as Gamera vs. Barugon.
The film features footage from the first Gamera film. Due to the commercial success of Gamera: The Giant Monster, the follow-up, Gamera vs. Barugon, had a expanded budget that Yuasa stated was 80 million yen.
Release
Gamera vs. Barugon was released in Japan on 17 April 1966. The film was never released theatrically in the United States. It was first shown in the United states by American International Television as War of the Monsters with an English-language dub supervised by Salvatore Billitteri. The film was reissued to television and home video by King Features Entertainment in 1987 as Gamera vs. Barugon.
Trivia
Japanese monster movies were often given bizarre translations in Germany. Most notably, references to the character Dr. Frankenstein were inserted into many of the movies released by Toho Studios, primarily their series of Godzilla films. As well, Godzilla characters like MechaGodzilla or Jet Jaguar were infamously renamed to King Kong. The German version of this movie carries one of the most bizarre such changes: Gamera is renamed to Barugon, and the actual Barugon is renamed to Godzilla. The movie was even given the alternate titles "Godzilla, der Drache aus dem Dschungel" ("Godzilla, the Dragon from the Jungle") and "Godzilla, Monster des Grauens" ("Godzilla, the Monster of Horror"). Confusing matters, on one of the movie's VHS covers, Gamera is shown fighting against the American Godzilla from Godzilla (1998) instead of Barugon.
The original idea for the film involved ice-based aliens invading Earth and oppressing humanity. Another idea the studio considered involved an ice giant from Scandinavian folklore. Eventually, the ice concept was carried over into Barugon's freezing ability.
The film was initially meant to be more adult-oriented, with the native island dancers appearing topless. While the movie was relatively serious and had some more adult moments such as intense fights, in the end the movie was released with child audiences in mind.
Since the Barugon suit wouldn't sink, it had to be cut into bits for the final scene when Gamera drags him into the water.
Japanese monster movies were often given bizarre translations in Germany. Most notably, references to the character Dr. Frankenstein were inserted into many of the movies released by Toho Studios, primarily their series of Godzilla films. As well, Godzilla characters like MechaGodzilla or Jet Jaguar were infamously renamed to King Kong. The German version of this movie carries one of the most bizarre such changes: Gamera is renamed to Barugon, and the actual Barugon is renamed to Godzilla. The movie was even given the alternate titles "Godzilla, der Drache aus dem Dschungel" ("Godzilla, the Dragon from the Jungle") and "Godzilla, Monster des Grauens" ("Godzilla, the Monster of Horror"). Confusing matters, on one of the movie's VHS covers, Gamera is shown fighting against the American Godzilla from Godzilla (1998) instead of Barugon.
The original idea for the film involved ice-based aliens invading Earth and oppressing humanity. Another idea the studio considered involved an ice giant from Scandinavian folklore. Eventually, the ice concept was carried over into Barugon's freezing ability.
The film was initially meant to be more adult-oriented, with the native island dancers appearing topless. While the movie was relatively serious and had some more adult moments such as intense fights, in the end the movie was released with child audiences in mind.
Since the Barugon suit wouldn't sink, it had to be cut into bits for the final scene when Gamera drags him into the water.
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The Magic Serpent (怪竜大決戦 Kai tatsu daikessen, Decisive Battle of the Giant Magic Dragon) is a 1966 film directed by Tetsyta Yamauchi.
Plot
The Oumi Kingdom, ruled peacefully by Lord Ogata (Shinichiro Hayashi), was raided by his corrupt general Daijo Yuki (Bin Amatsu), who is assisted by an evil ninja named Orochimaru (Ryūtarō Ōtomo), who slays the lord and his wife, who in turn trust their young son Ikazuchi-Maru to their soldiers, who escape the kingdom in a small boat. Orochimaru goes after them, transforming into a giant serpent. He sinks the boat and almost succeeds in killing Ikazuchi-Maru, until a giant eagle flies along, injures Orochimaru, and saves the young boy.
Years later, Ikazuchi-Maru (Matsukata Hiroki), now a young man, has mastered the art of ninjutsu and toad magic, thanks to an old hermit named Dojin Hiki (Nobuo Kaneko). When a band of ninja sent by Daijo Yuki try to attack Ikazuchi-Maru, the young ninja puts his skills to the test. Along the way, he meets a beautiful young girl named Tsunade (Tomoko Ogawa), whom he becomes friends with. Meanwhile, Hiki is confronted by Orochimaru, who turns out to be an old apprentice of his! Hiki also turned out to be the giant eagle that saved the young Ikazuchi-Maru and gave his former pupil a scar on his head (when he was in serpent form).
The Oumi Kingdom, ruled peacefully by Lord Ogata (Shinichiro Hayashi), was raided by his corrupt general Daijo Yuki (Bin Amatsu), who is assisted by an evil ninja named Orochimaru (Ryūtarō Ōtomo), who slays the lord and his wife, who in turn trust their young son Ikazuchi-Maru to their soldiers, who escape the kingdom in a small boat. Orochimaru goes after them, transforming into a giant serpent. He sinks the boat and almost succeeds in killing Ikazuchi-Maru, until a giant eagle flies along, injures Orochimaru, and saves the young boy.
Years later, Ikazuchi-Maru (Matsukata Hiroki), now a young man, has mastered the art of ninjutsu and toad magic, thanks to an old hermit named Dojin Hiki (Nobuo Kaneko). When a band of ninja sent by Daijo Yuki try to attack Ikazuchi-Maru, the young ninja puts his skills to the test. Along the way, he meets a beautiful young girl named Tsunade (Tomoko Ogawa), whom he becomes friends with. Meanwhile, Hiki is confronted by Orochimaru, who turns out to be an old apprentice of his! Hiki also turned out to be the giant eagle that saved the young Ikazuchi-Maru and gave his former pupil a scar on his head (when he was in serpent form).
Orochimaru then attacks the old master with ninja magic and poisons him. Ikazuchi-Maru and Tsunade return almost too late, as the dying Hiki tells him all he needs to know about Orochimaru, telling his pupil to avenge his death. And just before he dies, he reacts to Tsunade in shock, as though he realized something about her. Before setting out on his mission to avenge his master, Ikazuchi-Maru says farewell to Tsunade, who is taken care of by an old "spider" woman (Sen Hara), who tells her to follow the young man. She gives the young woman a spider hairpin, with which she can summon a giant spider, but she can do so only once, lest the giant spider will turn on her if used more than once.
The course of Ikazuchi-Maru's journey has him befriending a girl named Saki (Yumi Suzumura) and her little brother Shirota (Takao Iwamura), whose village was oppressed by Daijo Yuki's men. Yuki himself tries to execute Saki and Shirota for treason, only to be attacked by Ikazuchi-Maru, who proclaims himself to be the invincible ninja "Jiraiya"! Demanding revenge against Yuki for the murder of his parents and the overthrow of his kingdom, Jiraiya is then confronted by Orochimaru, whom he duels with spectacular ninja magic. We also learn of a shocking secret about Tsunade; She is the daughter of Orochimaru! Her father urges her to kill Jiraiya with poison (after a hired assassin failed to kill him also). After these failed attempts on his life, Jiraiya sets out to rescue Saki and Shirota from Yuki (who was in the midst of celebrating with his kingdom). He transforms into a giant toad, rampaging Yuki's stronghold. Orochimaru confronts Jiraiya in his powerful giant serpent form, and a spectacular showdown between two giant magical forces ensues.
Cast
- Hiroki Matsukata as Ikazuchi-Maru/Jiraiya
- Tomoko Ogawa as Sunate
- Ryûtarô Ôtomo as Orochi-Maru
- Bin Amatsu as Daijô Yûki
- Nobuo Kaneko as Dôjin Hiki
- Sen Hara as Spider woman
- Kensaku Hara as Zenbei
- Masataka Iwao as Kido
- Seizô Fukumoto as Ninja
- Akira Shioji
Release
The Magic Serpent was released in Japan in 1966. The film was never released theatrically in the United States, but released directly to television by American International Television in 1968 with an 86 minute running time.
The Magic Serpent was released in Japan in 1966. The film was never released theatrically in the United States, but released directly to television by American International Television in 1968 with an 86 minute running time.
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Invasion of Astro-Monster, known in Japan as Kaijū Daisensō (怪獣大戦争, lit. "Great Monster War"), is a Japanese Science Fiction kaiju film that is 6th in the Godzilla franchise. The film was co-produced between the Japanese company Toho, and Henry G. Saperstein's American company UPA, marking the only time a Godzilla film was co-produced with an American studio. Directed by Ishirō Honda, and featuring special effects by Eiji Tsuburaya, the film cast included the American actor Nick Adams, and Japanese actors Akira Takarada, Kumi Mizuno and Akira Kubo. This film is the first in the franchise to feature alien invaders, combining the series with outer space themes, such as civilizations on other planets and interplanetary space travel.
The film was released theatrically in the United States in the summer of 1970 by Maron Films as Monster Zero, where it played nationwide on a double bill with War of the Gargantuas.
The film was released theatrically in the United States in the summer of 1970 by Maron Films as Monster Zero, where it played nationwide on a double bill with War of the Gargantuas.
Plot
In the late 1960s, a two-man spacecraft with a Japanese and an American crew (Fuji and Glenn), approaches Jupiter's orbit to explore the newly discovered Planet X; a planet that maintains a position directly behind Jupiter, leaving its surface in twilight, with just enough light to make it possible to navigate its surface.
After landing and disembarking, one of the astronauts and the ship vanishes, leaving the other to wonder where they have gone. Suddenly, a flat voice comes over the communications link and instructs the lone astronaut down into subterranean corridors to the office of the Controller of Planet X, where he finds his shipmate.
The spacecraft is safe, the controller assures them and indicates that their location is about to be attacked. The astronauts recognize the attacking monster is King Ghidorah, the three-headed space dragon. The astronauts lose contact with the Controller, but afterwards they are assured that Ghidorah, known to the Xians as Monster Zero, is gone.
The Controller asks for Earth's help: they want to capture Godzilla and Rodan, known to the Xians as Monster Zero-One and Monster Zero-Two. In return, Planet X will gift humanity with a wonder drug that can cure all diseases. The astronauts agree to return home with the proposal. As they lift off, they say on the radio to the Controller, "We're glad we found friends on Planet X."
Meanwhile, Fuji's sister's boyfriend, Tetsuo, has invented a personal alarm he thinks women could use if they're attacked. It creates an extremely loud noise that can be heard for a long distance. Tetsuo wonders, though, why no one is interested in buying it. Eventually, a Miss Namikawa makes an offer to buy the alarm as an educational device, although she continually hesitates to complete the deal. In truth, her boss wants the device and the plans destroyed.
In the late 1960s, a two-man spacecraft with a Japanese and an American crew (Fuji and Glenn), approaches Jupiter's orbit to explore the newly discovered Planet X; a planet that maintains a position directly behind Jupiter, leaving its surface in twilight, with just enough light to make it possible to navigate its surface.
After landing and disembarking, one of the astronauts and the ship vanishes, leaving the other to wonder where they have gone. Suddenly, a flat voice comes over the communications link and instructs the lone astronaut down into subterranean corridors to the office of the Controller of Planet X, where he finds his shipmate.
The spacecraft is safe, the controller assures them and indicates that their location is about to be attacked. The astronauts recognize the attacking monster is King Ghidorah, the three-headed space dragon. The astronauts lose contact with the Controller, but afterwards they are assured that Ghidorah, known to the Xians as Monster Zero, is gone.
The Controller asks for Earth's help: they want to capture Godzilla and Rodan, known to the Xians as Monster Zero-One and Monster Zero-Two. In return, Planet X will gift humanity with a wonder drug that can cure all diseases. The astronauts agree to return home with the proposal. As they lift off, they say on the radio to the Controller, "We're glad we found friends on Planet X."
Meanwhile, Fuji's sister's boyfriend, Tetsuo, has invented a personal alarm he thinks women could use if they're attacked. It creates an extremely loud noise that can be heard for a long distance. Tetsuo wonders, though, why no one is interested in buying it. Eventually, a Miss Namikawa makes an offer to buy the alarm as an educational device, although she continually hesitates to complete the deal. In truth, her boss wants the device and the plans destroyed.
Fuji and Glenn tell their superiors about the offer from Planet X. Scientists begin searching for Godzilla and Rodan. The Controller of Planet X suddenly makes an appearance on Earth, and both Glenn (who is dating Miss Namikawa) and Fuji both become suspicious of Planet X. The Controller apologizes for his unannounced presence and offers to help locate the two monsters. Two Planet X spacecraft rapidly deploy to capture the two monsters.
Glenn, Fuji and Dr. Sakurai are invited to accompany the Controller back to Planet X, a trip that takes only a few hours; the Controller says that soon they'll be able to travel at the speed of light. When they reach Planet X, there is an immediate attack by Ghidorah, and the two monsters from Earth are released to battle him. Ghidorah is driven off and the Controller is extremely happy. He presents the astronauts with a box he says contains the formula for the miracle drug. He also gives the three men duplicate of their spaceship so they can fly home.
Glenn, Fuji and Dr. Sakurai are invited to accompany the Controller back to Planet X, a trip that takes only a few hours; the Controller says that soon they'll be able to travel at the speed of light. When they reach Planet X, there is an immediate attack by Ghidorah, and the two monsters from Earth are released to battle him. Ghidorah is driven off and the Controller is extremely happy. He presents the astronauts with a box he says contains the formula for the miracle drug. He also gives the three men duplicate of their spaceship so they can fly home.
Back home the box is taken to a special meeting and in it is found a reel-to-reel tape. It is loaded to play, but when the speakers remain silent for a long period, some wonder if the systems are compatible. Finally, after a beep a voice states, "I am the controller of Planet X. To the people of the Earth. I command that you obey the following orders..." It is an ultimatum to surrender to Planet X or be destroyed by all three monsters.
The Xians soon arrive and destroy the gift spacecraft. They also threaten to release King Ghidorah, Godzilla and Rodan. Overly confident, the Xians show the world how they control the monsters through magnetic waves. The Earth scientists know they can exploit this information and work rapidly to find a way to disrupt the waves. Meanwhile, Earth's armies fight the three monsters with conventional weapons as they destroy much of Japan.
The Xians soon arrive and destroy the gift spacecraft. They also threaten to release King Ghidorah, Godzilla and Rodan. Overly confident, the Xians show the world how they control the monsters through magnetic waves. The Earth scientists know they can exploit this information and work rapidly to find a way to disrupt the waves. Meanwhile, Earth's armies fight the three monsters with conventional weapons as they destroy much of Japan.
Tetsuo, is unhappy his device is not being used, and he is unable to get Miss Namikawa to tell him what's happening. He decides to follow her, but is captured by Planet X soldiers. Glenn eventually discovers Miss Namikawa is from Planet X and all their women are virtually identical. The Xians fear what he knows, he is arrested and put in the same cell as Tetsuo. However, this proves to be their undoing as he and Tetsuo begin to cooperate. Before she is disintegrated by a soldier, Namikawa gives Glenn a letter in which she tells him of the weakness of the people of Planet X: the sound from Tetsuo's alarm. Tetsuo, who still has the prototype, sets it off. It paralyzes the Planet X soldiers, enabling Glenn and Tetsuo to escape.
They reach the space center scientists and explain about the alarm. Arrangements are made to broadcast it on all radio and television stations, but only when the magnetic disruption devices are deployed.
They reach the space center scientists and explain about the alarm. Arrangements are made to broadcast it on all radio and television stations, but only when the magnetic disruption devices are deployed.
The three monsters are no longer under Planet X control and their spacecraft explode since the crew are under the debilitating alarm noise and their crews try to escape. The invaders withdraw from the Earth. Meanwhile, Godzilla and Rodan attacks Ghidorah, forcing all three to fall into the sea. Ghidorah emerges and retreats to outer space, but Godzilla and Rodan never resurface--the humans wonder whether King Ghidorah defeated them.
Glenn and Fuji are to be sent to Planet X again as ambassadors to seek peaceful relations.
Glenn and Fuji are to be sent to Planet X again as ambassadors to seek peaceful relations.
Cast
Production
During the scenes where Godzilla & Rodan are attacking, stock footage from the original Rodan is used, specifically from the scene where Rodan blows over a train and the scene where two soldiers are blown away.
- Nick Adams as Glenn
- Akira Takarada as Fuji
- Kumi Mizuno as Namikawa
- Jun Tazaki as Dr. Sakurai
- Akira Kubo as Tetsuo Torii
- Keiko Sawai as Haruno Fuji
- Yoshio Tsuchiya as Controller of Planet X
Production
During the scenes where Godzilla & Rodan are attacking, stock footage from the original Rodan is used, specifically from the scene where Rodan blows over a train and the scene where two soldiers are blown away.
English Version
The film was released in North America by UPA in 1970 under the title Monster Zero. It played on a double bill with War of the Gargantuas.
There were several alterations made:
The opening theme was changed, and some of Akira Ifukube's score was re-arranged. Several sound effects were also added.
Deleted: Several shots of Godzilla's foot stepping on houses and huts. Some short shots of flying saucers. Rodan blowing away tanks from the top of a hill. Several scenes with the Xians speaking in the language of Planet X.
The scene where Godzilla does his dance has added stomping noises in the English version.
The English version runs 93 minutes, three minutes shorter than the Japanese version. In his book Japan's Favorite Mon-Star: An Unauthorized History of 'The Big G', Steve Ryfle says "The Americanization...is respectful to the original Japanese version."
Also, in the original Japanese version of the film, the drug the Xians promised was a cure for all forms of cancer. However, in the English version of the film, the cure was for all forms of disease (perhaps due to a translation mistake).
During production, Nick Adams spoke his lines in English, while the Japanese actors spoke their lines in Japanese, in order to retain his voice for the English-language version. For the Japanese language release, Adams' was dubbed by the noted voice actor, Goro Naya. The English-language version was prepared by UPA at Glen Glenn Sound in Hollywood, and Marvin Miller provided the English voice for Akira Takarada as Astronaut Fuji. The remaining voice talent is unknown.
The film was released in North America by UPA in 1970 under the title Monster Zero. It played on a double bill with War of the Gargantuas.
There were several alterations made:
The opening theme was changed, and some of Akira Ifukube's score was re-arranged. Several sound effects were also added.
Deleted: Several shots of Godzilla's foot stepping on houses and huts. Some short shots of flying saucers. Rodan blowing away tanks from the top of a hill. Several scenes with the Xians speaking in the language of Planet X.
The scene where Godzilla does his dance has added stomping noises in the English version.
The English version runs 93 minutes, three minutes shorter than the Japanese version. In his book Japan's Favorite Mon-Star: An Unauthorized History of 'The Big G', Steve Ryfle says "The Americanization...is respectful to the original Japanese version."
Also, in the original Japanese version of the film, the drug the Xians promised was a cure for all forms of cancer. However, in the English version of the film, the cure was for all forms of disease (perhaps due to a translation mistake).
During production, Nick Adams spoke his lines in English, while the Japanese actors spoke their lines in Japanese, in order to retain his voice for the English-language version. For the Japanese language release, Adams' was dubbed by the noted voice actor, Goro Naya. The English-language version was prepared by UPA at Glen Glenn Sound in Hollywood, and Marvin Miller provided the English voice for Akira Takarada as Astronaut Fuji. The remaining voice talent is unknown.
This dubbed dialogue was also used by Toho for its official international version, Invasion of the Astro-Monsters, which was released in the United Kingdom. Unlike later Toho international versions, Invasion of the Astro-Monsters is slightly edited from the Japanese version and the dubbing was not commissioned by Toho or produced in Tokyo or Hong Kong.
Titles
The Great Monster War - Translated Japanese title.
Invasion of Astro-Monster - Toho's official English title and current home video title.
Monster Zero - Original US title.
The Great Monster War - King Ghidorah vs. Godzilla - Japanese 1971 Champion Festival reissue title.
Invasion of the Astro Monsters - UK home video title.
Godzilla vs. Monster Zero - Previous home video and TV title.
Box Office
In Japan, the film sold approximately 3,780,000 tickets.
DVD Release
Classic Media
Release date: June 5, 2007
Special features: Audio Commentary by Stuart Galbrath IV, Tomoyuki Tanaka biography, and original trailer.
Note: Contains both original Japanese and English versions of the film.
Note: Part of the Toho Collection
Titles
The Great Monster War - Translated Japanese title.
Invasion of Astro-Monster - Toho's official English title and current home video title.
Monster Zero - Original US title.
The Great Monster War - King Ghidorah vs. Godzilla - Japanese 1971 Champion Festival reissue title.
Invasion of the Astro Monsters - UK home video title.
Godzilla vs. Monster Zero - Previous home video and TV title.
Box Office
In Japan, the film sold approximately 3,780,000 tickets.
DVD Release
Classic Media
Release date: June 5, 2007
Special features: Audio Commentary by Stuart Galbrath IV, Tomoyuki Tanaka biography, and original trailer.
Note: Contains both original Japanese and English versions of the film.
Note: Part of the Toho Collection
Details (Original film)
- Directed by Ishirō Honda
- Produced by Tomoyuki Tanaka
- Screenplay by Shinichi Sekizawa
- Music by Akira Ifukube
- Cinematography Hajime Koizumi
- Edited by Ryohei Fujii
- Production company Toho Studios, UPA
- Distributed by Toho (Japan) Maron Films (United States)
- Release date December 19, 1965 (Japan) July 29, 1970 (United States)
- Running time 94 minutes
- Country Japan, United States
- Language Japanese *(During filming, Nick Adams delivered all of his lines in English, however, he was dubbed over by Gorō Naya for the film's Japanese release. Adams' original English dialogue was restored for the film's American release)
- Budget ¥132 million
- Box office ¥210 million
- Published on
Gamera the Giant Monster (大怪獣ガメラ Daikaijū Gamera, lit. Giant Monster Gamera) is a 1965 Japanese kaiju film directed by Noriaki Yuasa and starring Eiji Funakoshi, Harumi Kiritachi, and Junichiro Yamashita. It is the first entry in the Gamera film series, and was the only film in the original series released theatrically in the United States.
Plot
In an icy North American region, an unknown aircraft is shot down by an American fighter jet. The aircraft crashes and its cargo, a low-level atomic bomb, explodes. The resulting cataclysm awakens a giant, prehistoric monster called Gamera, who has the appearance of a giant turtle with teeth and large tusks. Japanese scientists on an expedition (including Dr. Hidaka, Kyoko, and Aoyagi) nearby are given a "devil stone" by an Eskimo chieftain, who explains that the creature is called Gamera.
Gamera destroys the American jet with his fire breath and escapes into the sea. The monster heads to Japan and surfaces from Sagami Bay, where Toshio, a boy releasing his own pet turtle, sees him. Gamera destroys the city of Fujisawa and a lighthouse. However, he also rescues Toshio from falling from that same lighthouse and then retreats back into the sea. Scientists and government officials hold a conference to discuss killing the monster.
Gamera destroys a research ship, kills the crew and then heads to Tokyo. He is attacked with freeze bombs and blown up, falling onto his back as a result.
In an icy North American region, an unknown aircraft is shot down by an American fighter jet. The aircraft crashes and its cargo, a low-level atomic bomb, explodes. The resulting cataclysm awakens a giant, prehistoric monster called Gamera, who has the appearance of a giant turtle with teeth and large tusks. Japanese scientists on an expedition (including Dr. Hidaka, Kyoko, and Aoyagi) nearby are given a "devil stone" by an Eskimo chieftain, who explains that the creature is called Gamera.
Gamera destroys the American jet with his fire breath and escapes into the sea. The monster heads to Japan and surfaces from Sagami Bay, where Toshio, a boy releasing his own pet turtle, sees him. Gamera destroys the city of Fujisawa and a lighthouse. However, he also rescues Toshio from falling from that same lighthouse and then retreats back into the sea. Scientists and government officials hold a conference to discuss killing the monster.
Gamera destroys a research ship, kills the crew and then heads to Tokyo. He is attacked with freeze bombs and blown up, falling onto his back as a result.
The scientists indicate that a turtle cannot right itself once on its back and that Gamera will therefore die of starvation. Gamera then pulls his head, limbs and tail into his shell, emits flames out of his arm and leg cavities and flies away by rising up into and spinning around through the air like a flying saucer.
Toshio and his family decide to stay with an uncle in Tokyo because they have nowhere else to go. Toshio explains to the professor that Gamera is lonely and like regular turtles, he is not evil. Dr. Hidaka, meanwhile, has observed that Gamera consumes fossil fuels, and may seek out atomic bombs for the energy they provide. He also emits radio signals. This leads the Japan Atomic Energy Commission to figure out what to do with its stockpiles. Meanwhile, disasters and accidents start to occur: Koto Ward is struck by flash floods and ships collide in Tokyo Bay. Dr. Hidaka claims that Gamera has caused these accidents because he is hiding in the bay.
An international scientific conference is called, and they decide to use "Z Plan" based at Oshima Island, involving a consortium of American, Soviet and Japanese scientists, to eradicate Gamera. Before any action can be taken, however, Gamera lands at Haneda Airport, destroying the control tower, and proceeds to wreak havoc in Tokyo (including destroying the Tokyo Tower). Toshio and his family evacuate again, but Toshio disappears.
Toshio and his family decide to stay with an uncle in Tokyo because they have nowhere else to go. Toshio explains to the professor that Gamera is lonely and like regular turtles, he is not evil. Dr. Hidaka, meanwhile, has observed that Gamera consumes fossil fuels, and may seek out atomic bombs for the energy they provide. He also emits radio signals. This leads the Japan Atomic Energy Commission to figure out what to do with its stockpiles. Meanwhile, disasters and accidents start to occur: Koto Ward is struck by flash floods and ships collide in Tokyo Bay. Dr. Hidaka claims that Gamera has caused these accidents because he is hiding in the bay.
An international scientific conference is called, and they decide to use "Z Plan" based at Oshima Island, involving a consortium of American, Soviet and Japanese scientists, to eradicate Gamera. Before any action can be taken, however, Gamera lands at Haneda Airport, destroying the control tower, and proceeds to wreak havoc in Tokyo (including destroying the Tokyo Tower). Toshio and his family evacuate again, but Toshio disappears.
Z Plan is still not ready and the scientists plan to keep Gamera at bay in the meantime by confining him to an oil refinery. Dr. Hidaka has surmised that Gamera is gaining energy by consuming fires at the refinery and they will therefore keep shipping petroleum there by train car to keep Gamera occupied for 24 hours. Toshio has found his way to the refinery and sneaks on board the train to Gamera, chased by the refinery headman, and they are both thrown from the train when it explodes. They are unharmed and Toshio is sent on his way.
In the meantime, Z Plan is completed and Toshio sneaks on board the ship delivering supplies to Oshima. Gamera is lured to Oshima by lighting an oil slick path from Tokyo to the island, but an oncoming typhoon blows the fire out. Aoyagi starts a bonfire and Gamera makes his way to a volcano erupting on the island. The next day, Z Plan is put into action: Gamera is lured to a rocket and blasted off to Mars. The worldwide announcement of success extols the triumph of science over ideology, Aoyagi and Kyoko go off together and Toshio decides he is not sad, because he is going to be a scientist so he can go visit Gamera one day.
In the meantime, Z Plan is completed and Toshio sneaks on board the ship delivering supplies to Oshima. Gamera is lured to Oshima by lighting an oil slick path from Tokyo to the island, but an oncoming typhoon blows the fire out. Aoyagi starts a bonfire and Gamera makes his way to a volcano erupting on the island. The next day, Z Plan is put into action: Gamera is lured to a rocket and blasted off to Mars. The worldwide announcement of success extols the triumph of science over ideology, Aoyagi and Kyoko go off together and Toshio decides he is not sad, because he is going to be a scientist so he can go visit Gamera one day.
Cast
- Eiji Funakoshi as Dr Hidaka
- Harumi Kiritachi as Kyoko
- Junichiro Yamashita as Aoyagi
- Yoshiro Uchida as Toshio
- Michiko Sugata as Nobuyo
- Yoshiro Kitahara as Sakurai
- Jun Hamamura as Dr. Murase
- George Hirose as the Japanese ambassador
- Albert Dekker as the Secretary of Defense
- Brian Donlevy as Gen. Terry Arnold
- Diane Findlay as Sgt. Susan Embers
- John Baragrey as Captain Lovell
- Dick O'Neill as Gen. O'Neill
Production
Director Noriaki Yuasa initially began production on a film titled Dai gunju Nezura (lit. The Great Rat Swarm) which would involve real rats crawling over miniatures of cities. The rats received for the film had fleas which halted production on Dai gunju Nezura. The success of Toho's Godzilla films led to the rival company Daiei to create a monster series of its own. As the miniatures for the film were already built, Masaichi Nagata had the idea to develop a giant monster to attack the city and had the idea for a giant flying turtle. Yuasa and screenwriter Nisan Takahashi developed the idea into the 1965 film Gamera the Giant Monster. Special effects technician Ryosaku Takayama designed the turtle suit used in the film.
The films created by Daiei were aimed at younger children than the Godzilla films of the period and had lower budgets. Gamera the Giant Monster was the only film in the series shot in black-and-white. Yuasa stated that the first Gamera film had a budget of about ¥40 million and that the film went "over budget a little bit". Due to the commercial success of the first Gamera the second film had an expanded budget that Yuasa stated was 80 million yen.
Director Noriaki Yuasa initially began production on a film titled Dai gunju Nezura (lit. The Great Rat Swarm) which would involve real rats crawling over miniatures of cities. The rats received for the film had fleas which halted production on Dai gunju Nezura. The success of Toho's Godzilla films led to the rival company Daiei to create a monster series of its own. As the miniatures for the film were already built, Masaichi Nagata had the idea to develop a giant monster to attack the city and had the idea for a giant flying turtle. Yuasa and screenwriter Nisan Takahashi developed the idea into the 1965 film Gamera the Giant Monster. Special effects technician Ryosaku Takayama designed the turtle suit used in the film.
The films created by Daiei were aimed at younger children than the Godzilla films of the period and had lower budgets. Gamera the Giant Monster was the only film in the series shot in black-and-white. Yuasa stated that the first Gamera film had a budget of about ¥40 million and that the film went "over budget a little bit". Due to the commercial success of the first Gamera the second film had an expanded budget that Yuasa stated was 80 million yen.
Release
Gamera the Giant Monster was released in Japan on November 27, 1965. The film was a bigger hit than the studio expected, which led to a higher budget for the second film Gamera vs. Barugon.
An edited version of the film was released theatrically in the United States on December 15, 1966 as Gammera the Invincible. This version contained new scenes featuring American actor Brian Donlevy that were not in the original Japanese version. These included the scenes with the Alaskan army base, the Pentagon, and the UN headquarters. This version of the film was also shown frequently on American television in the 1970s.
Home media
The film was released on home video as Gamera in 1987 by Sandy Frank Film Syndication. This release contained the Japanese version of the film without the added footage from the 1966 U.S. theatrical release, and was entirely re-dubbed in English with a different musical soundtrack. However, the 1966 theatrical version featuring Brian Donlevy has also been made available on home video as well.
Vintage Home Entertainment released Gamera: The Ultimate Collection on May 17, 2005 which included a compilation of the entire film series. The film was last released by Willette Acquisition Corp. on Feb 17, 2015.
Gamera the Giant Monster was released in Japan on November 27, 1965. The film was a bigger hit than the studio expected, which led to a higher budget for the second film Gamera vs. Barugon.
An edited version of the film was released theatrically in the United States on December 15, 1966 as Gammera the Invincible. This version contained new scenes featuring American actor Brian Donlevy that were not in the original Japanese version. These included the scenes with the Alaskan army base, the Pentagon, and the UN headquarters. This version of the film was also shown frequently on American television in the 1970s.
Home media
The film was released on home video as Gamera in 1987 by Sandy Frank Film Syndication. This release contained the Japanese version of the film without the added footage from the 1966 U.S. theatrical release, and was entirely re-dubbed in English with a different musical soundtrack. However, the 1966 theatrical version featuring Brian Donlevy has also been made available on home video as well.
Vintage Home Entertainment released Gamera: The Ultimate Collection on May 17, 2005 which included a compilation of the entire film series. The film was last released by Willette Acquisition Corp. on Feb 17, 2015.
Reception
From contemporary reviews, Variety stated that Plan Z in the film was an "appropriate idea for Gamera, a film which can also be rated as Grade Z".
From retrospective reviews, AllMovie gave the film a positive review complimenting the films direction, special effects, and cinematography stating, "All in all, Gammera the Invincible is a solidly-crafted, engaging monster mash - just make sure you see the original Japanese version". It currently has a 20% "Rotten" score on Rotten Tomatoes.
From contemporary reviews, Variety stated that Plan Z in the film was an "appropriate idea for Gamera, a film which can also be rated as Grade Z".
From retrospective reviews, AllMovie gave the film a positive review complimenting the films direction, special effects, and cinematography stating, "All in all, Gammera the Invincible is a solidly-crafted, engaging monster mash - just make sure you see the original Japanese version". It currently has a 20% "Rotten" score on Rotten Tomatoes.
- Published on
Frankenstein Conquers the World (フランケンシュタイン対地底怪獣バラゴン Furankenshutain Tai Chitei Kaijū Baragon, also known as Frankenstein vs. Baragon) is a Japanese-American 1965 science fiction kaiju film co-produced by Toho and Henry G. Saperstein Enterprises. The film is directed by Ishirō Honda with special effects by Eiji Tsuburaya and stars Nick Adams, Kumi Mizuno, Tadao Takashima, with Koji Furuhata as Frankenstein and Haruo Nakajima as Baragon.
The following year, Toho/UPA produced a sequel to the film titled The War of the Gargantuas. The film was released theatrically in the United States in the summer of 1966 by American International Pictures.
The following year, Toho/UPA produced a sequel to the film titled The War of the Gargantuas. The film was released theatrically in the United States in the summer of 1966 by American International Pictures.
Plot
The prologue is set in Nazi Germany during the final days of World War II. A Kriegsmarine Officer, flanked by three Commandos, barges into the laboratory of a Dr. Riesendorf with orders to seize the immortal heart of the Frankenstein Monster, on which Riesendorf is busy experimenting. The heart is summarily transported by U-Boat to be passed off to their Japanese allies via the Atlantic. In the Indian Ocean, off the Maldives, the U-Boat meets up with a Japanese Imperial Navy submarine to make the exchange. They are sighted by an Allied Forces scout plane and bombed, but not before the Kriegsmarine pass the heart (contained in a locked chest) to the Japanese, who take it back to Hiroshima for further experimentation. But just as the experiments are about to begin, Hiroshima is bombed with a nuclear weapon by the Allied Forces, and the heart and the experiments vanish in the atomic fireball.
Fifteen years later, in 1960, a feral boy runs rampant in the streets of Hiroshima, catching and devouring small animals such as dogs and rabbits. This comes to the attention of American scientist Dr. James Bowen and his assistants Sueko Togami and Ken'ichiro Kawaji.
The prologue is set in Nazi Germany during the final days of World War II. A Kriegsmarine Officer, flanked by three Commandos, barges into the laboratory of a Dr. Riesendorf with orders to seize the immortal heart of the Frankenstein Monster, on which Riesendorf is busy experimenting. The heart is summarily transported by U-Boat to be passed off to their Japanese allies via the Atlantic. In the Indian Ocean, off the Maldives, the U-Boat meets up with a Japanese Imperial Navy submarine to make the exchange. They are sighted by an Allied Forces scout plane and bombed, but not before the Kriegsmarine pass the heart (contained in a locked chest) to the Japanese, who take it back to Hiroshima for further experimentation. But just as the experiments are about to begin, Hiroshima is bombed with a nuclear weapon by the Allied Forces, and the heart and the experiments vanish in the atomic fireball.
Fifteen years later, in 1960, a feral boy runs rampant in the streets of Hiroshima, catching and devouring small animals such as dogs and rabbits. This comes to the attention of American scientist Dr. James Bowen and his assistants Sueko Togami and Ken'ichiro Kawaji.
A year later (1961), they investigate and find the boy hiding in a cave on a beach, where a mob of outraged villagers has almost caught him. While the strange boy catches media attention and is taken care of by the scientists, another astounding event evades the public's eye. Once the boy is taken to the hospital, it is discovered that he is Caucasian and his body is building a strong resistance to radiation rather than getting sick from it.
The Former Imperial Navy Officer Kawai, who brought the heart of Frankenstein's Monster to Japan in WWII, is now working in an oil factory in Akita Prefecture, when a sudden earthquake shakes the very foundations of the refinery and an offshore drilling tower collapses. As the ground splits open, Kawai, for a moment, glimpses a monstrous, inhuman visage peering through the fissure, and an unearthly glow, before it is obscured by collapsing wreckage.
The Former Imperial Navy Officer Kawai, who brought the heart of Frankenstein's Monster to Japan in WWII, is now working in an oil factory in Akita Prefecture, when a sudden earthquake shakes the very foundations of the refinery and an offshore drilling tower collapses. As the ground splits open, Kawai, for a moment, glimpses a monstrous, inhuman visage peering through the fissure, and an unearthly glow, before it is obscured by collapsing wreckage.
Meanwhile, Dr. Bowen and the scientists find that the strange boy is growing in size due to intake of protein. Afraid of his strength, the scientists lock and chain the boy in a jail cell and Sueko, who really cares for him, feeds him some protein food to sustain him. Meanwhile, Dr. Bowen is visited by Kawai, who tells him that the boy could have grown from the heart of the Frankenstein Monster, as the boy was seen in Hiroshima more than once before. At Bowen's advice, Dr. Kawaji confers with the aging Dr. Riesendorf in Frankfurt. Riesendorf tells Kawaji of the story of the Frankenstein Monster and its noted virtual immortality, due to the intake of protein. Riesendorf recommends cutting off the monster's arm or leg, speculating that a new one will grow back. When relating this to his fellow scientists upon his return to Japan, Sueko strongly objects to this method, fearing that nothing may grow back. Even when Bowen suggests that they wait a little longer to think it over, Kawaji tenaciously attempts to sever one of the now-gigantic monster's limbs. He is interrupted by a TV crew, whom Kawaji allows to film the monster, though they enrage it with the shining bright studio lights aimed at its face and the monster kills two crewmen. The monster, hereafter known as "Frankenstein", breaks loose and goes on the run from the Japanese police. There is a tender encounter between the monster and Sueko on the balcony of her apartment before he has to run away.
While Frankenstein is on the run, he travels to many places, from Okayama (where he eats more animals) to Mount Ibuki, where his primitive childlike activities (throwing trees at birds and trying to trap a wild boar) end in disaster.
While Frankenstein is on the run, he travels to many places, from Okayama (where he eats more animals) to Mount Ibuki, where his primitive childlike activities (throwing trees at birds and trying to trap a wild boar) end in disaster.
Unbeknownst to Bowen and the scientists, Baragon, the monster Kawai saw earlier, goes on a rampage. Tunneling under the earth, he pops out and ravages villages, eating people and animals and leaving destruction in his wake. People believe this is Frankenstein's doing, and the misunderstood monster narrowly escapes being hunted down by the military. Before Bowen and his assistants have no choice but to dismiss Frankenstein, Kawai returns to tell them that Frankenstein may not be responsible for the disasters: it could be the monster (Baragon) he saw in Akita. He tries to convince the authorities, but to no avail. Kawaji still wishes the scientists luck in finding Frankenstein.
Bowen, Sueko, and Kawaji then form a search party and venture into the forest in which they believe Frankenstein is hiding. But Kawaji, to the shock of Bowen and Sueko, then proceeds to attempt to kill him, believing that Frankenstein could be dangerous by his very nature, and not even Sueko could possibly tame him. He intends to blind him with chemical grenades and capture him to recover his heart and brain. Kawaji presses on to find Frankenstein, and instead finds Baragon. Kawaji and Bowen try in vain to stop the monster with the grenades, and when it is about to eat Sueko, Frankenstein comes to the rescue. The cataclysmic battle between the two giant monsters then begins. After the fight, the area where the fight took place starts to tremble, and then both monsters are sucked into the earth.
Bowen, Sueko, and Kawaji then form a search party and venture into the forest in which they believe Frankenstein is hiding. But Kawaji, to the shock of Bowen and Sueko, then proceeds to attempt to kill him, believing that Frankenstein could be dangerous by his very nature, and not even Sueko could possibly tame him. He intends to blind him with chemical grenades and capture him to recover his heart and brain. Kawaji presses on to find Frankenstein, and instead finds Baragon. Kawaji and Bowen try in vain to stop the monster with the grenades, and when it is about to eat Sueko, Frankenstein comes to the rescue. The cataclysmic battle between the two giant monsters then begins. After the fight, the area where the fight took place starts to tremble, and then both monsters are sucked into the earth.
Cast
- Nick Adams as Dr. James Bowen (Japanese voice actor: Goro Naya)
- Tadao Takashima as Dr. Kawaji
- Kumi Mizuno as Dr. Sueko Togami
- Yoshio Tsuchiya as Captain Kawai
- Yoshifumi Tajima as Murata
- Takashi Shimura as Hiroshima surgeon
- Susumu Fujita as Osaka Police Chief
- Peter Mann as Dr. Riesendorf (Japanese voice actor: Kazuo Kumakura)
- Keiko Sawai as Tazuko Tooi
- Koji Furuhata as Frankenstein
- Sumio Nakao as Younger Frankenstein
- Haruo Nakajima as Baragon
Production
Toho had always been interested in the Frankenstein character as, in 1961, producer Tomoyuki Tanaka commissioned a film project called Frankenstein vs. the Human Vapor (フランケンシュタイン対ガス人間 - Furankenshutain tai Gasu Ningen). Acting as a sequel to the 1960 film The Human Vapor, the Mizuno character from that film finds the Frankenstein Monster's body, and revives him, so that he can help him use the Frankenstein formula to revive his beloved girlfriend Fujichiyo (who had died at the end of said film). As a rough draft of the story was being written by Kaoru Mabuchi (a.k.a. Takeshi Kimura), it was ultimately cancelled before the draft was finished.
In 1962, Toho purchased a script from an independent producer from America named John Beck called King Kong vs Prometheus. Beck had stolen the story treatment (which was originally called King Kong meets Frankenstein) from Willis O'Brien and had George Worthing Yates flesh it out into a screenplay. Toho wanted to have King Kong fight their own monster Godzilla instead of the Frankenstein giant in the original story and, after working out a deal with Beck as well as RKO, the copyright holder of King Kong at the time, produced King Kong vs Godzilla.
Influenced by the concept of the giant Frankenstein monster from the King Kong meets Frankenstein/King Kong vs. Prometheus story, Toho planned on making Frankenstein vs. Godzilla (フランケンシュタイン対ゴジラ - Furankenshutain tai Gojira) as a follow up to King Kong vs. Godzilla. Written in 1963 by Takeshi Kimura (using the pen name Kaoru Mabuchi),[10] the story dealt with the heart of the original Frankenstein monster becoming irradiated and growing into a Frankenstein-monster giant. Afraid the giant would start eating people, Godzilla would be freed from an icy prison by the JSDF and goaded into a fight with the monster in hopes of killing him. Even though King Kong vs. Godzilla had already been made with Godzilla escaping from an iceberg that he was trapped in at the end of Godzilla Raids Again, script writer Mabuchi thought with Godzilla disappearing into the ocean at the end of that film, that the idea of Godzilla becoming frozen in the North Sea into another icy prison could still work. The story would end with natural disasters defeating the monsters as Godzilla disappears into a raging river flow, and the Frankenstein giant disappears into magma caused by an erupting volcano
Toho had always been interested in the Frankenstein character as, in 1961, producer Tomoyuki Tanaka commissioned a film project called Frankenstein vs. the Human Vapor (フランケンシュタイン対ガス人間 - Furankenshutain tai Gasu Ningen). Acting as a sequel to the 1960 film The Human Vapor, the Mizuno character from that film finds the Frankenstein Monster's body, and revives him, so that he can help him use the Frankenstein formula to revive his beloved girlfriend Fujichiyo (who had died at the end of said film). As a rough draft of the story was being written by Kaoru Mabuchi (a.k.a. Takeshi Kimura), it was ultimately cancelled before the draft was finished.
In 1962, Toho purchased a script from an independent producer from America named John Beck called King Kong vs Prometheus. Beck had stolen the story treatment (which was originally called King Kong meets Frankenstein) from Willis O'Brien and had George Worthing Yates flesh it out into a screenplay. Toho wanted to have King Kong fight their own monster Godzilla instead of the Frankenstein giant in the original story and, after working out a deal with Beck as well as RKO, the copyright holder of King Kong at the time, produced King Kong vs Godzilla.
Influenced by the concept of the giant Frankenstein monster from the King Kong meets Frankenstein/King Kong vs. Prometheus story, Toho planned on making Frankenstein vs. Godzilla (フランケンシュタイン対ゴジラ - Furankenshutain tai Gojira) as a follow up to King Kong vs. Godzilla. Written in 1963 by Takeshi Kimura (using the pen name Kaoru Mabuchi),[10] the story dealt with the heart of the original Frankenstein monster becoming irradiated and growing into a Frankenstein-monster giant. Afraid the giant would start eating people, Godzilla would be freed from an icy prison by the JSDF and goaded into a fight with the monster in hopes of killing him. Even though King Kong vs. Godzilla had already been made with Godzilla escaping from an iceberg that he was trapped in at the end of Godzilla Raids Again, script writer Mabuchi thought with Godzilla disappearing into the ocean at the end of that film, that the idea of Godzilla becoming frozen in the North Sea into another icy prison could still work. The story would end with natural disasters defeating the monsters as Godzilla disappears into a raging river flow, and the Frankenstein giant disappears into magma caused by an erupting volcano
Toho was not fond of the logistics of the story, so the idea was dropped. When the Godzilla series would resume a year later in 1964, Mothra was brought in as Godzilla's next opponent for the film Mothra vs. Godzilla instead.
In 1965, they would finally co-produce the story with financial backing from Henry G. Saperstein's film company Henry G. Saperstein Enterprises into this film. A new dinosaurian opponent named Baragon was created to replace Godzilla as Frankenstein's opponent, and the script was slightly altered. Most of the concepts from the original story treatment were retained in this version such as the irradiated heart of the monster, the monster's relentless pursuit of food, and a natural disaster defeating the monster during the climax. In addition, most of the characters from the original story such as research scientist Dr. Bowen (played by Nick Adams), would be retained. In the US version, Jerry Sohl would get credit for a synopsis and executive producer Reuben Bercovitch would get credit for the story.
Koji Furuhata earned the role of Frankenstein's monster through an open audition. Furuhata wore green contact lenses to emulate a Caucasian look, a flat-head prosthetic and brow resembling Jack Pierce's Frankenstein design, and large shirts and loincloths. Honda had originally wanted to explore more of the science-gone-wrong theme but was forced to change the story in the middle to reach climactic monster battle.
In 1965, they would finally co-produce the story with financial backing from Henry G. Saperstein's film company Henry G. Saperstein Enterprises into this film. A new dinosaurian opponent named Baragon was created to replace Godzilla as Frankenstein's opponent, and the script was slightly altered. Most of the concepts from the original story treatment were retained in this version such as the irradiated heart of the monster, the monster's relentless pursuit of food, and a natural disaster defeating the monster during the climax. In addition, most of the characters from the original story such as research scientist Dr. Bowen (played by Nick Adams), would be retained. In the US version, Jerry Sohl would get credit for a synopsis and executive producer Reuben Bercovitch would get credit for the story.
Koji Furuhata earned the role of Frankenstein's monster through an open audition. Furuhata wore green contact lenses to emulate a Caucasian look, a flat-head prosthetic and brow resembling Jack Pierce's Frankenstein design, and large shirts and loincloths. Honda had originally wanted to explore more of the science-gone-wrong theme but was forced to change the story in the middle to reach climactic monster battle.
Alternate ending
Henry G. Saperstein had requested an alternative ending for the international release in which Frankenstein battled a giant octopus. This resulted in the cast and crew being reassembled after principal photography and post-production had wrapped, as well as building a new set and creating the octopus. Despite filming the new ending, Saperstein ended up cutting it regardless because he believed the octopus "wasn't that good".
When the film was in production, trade magazines listed this film's title as Frankenstein vs. The Giant Devilfish. Honda had stated the reason why the octopus ending was initially requested was because the American co-producers were "astonished" by the octopus scene in King Kong vs. Godzilla and wanted a similar scene. Honda also confirmed that various endings were shot, stating: "In fact Mr.Tsuburaya had shot five or six final scenes for this film. The infamous giant octopus is only one of these endings." Honda also expressed that the alternate ending was never intended to be released on the Japanese version, sating: "there was never any official plan to utilize the sequence; but an alternative print with that ending was accidentally aired on television surprising many Japanese fans because it was not the ending they had remembered from the original theatrical release."
When Benedict Pictures would co-produce the film's sequel The War of the Gargantuas with Toho the following year, an octopus sequence would be shot again (a marine-based battle between the Oodako and Gaira) that would remain intact in both versions of the film.
Henry G. Saperstein had requested an alternative ending for the international release in which Frankenstein battled a giant octopus. This resulted in the cast and crew being reassembled after principal photography and post-production had wrapped, as well as building a new set and creating the octopus. Despite filming the new ending, Saperstein ended up cutting it regardless because he believed the octopus "wasn't that good".
When the film was in production, trade magazines listed this film's title as Frankenstein vs. The Giant Devilfish. Honda had stated the reason why the octopus ending was initially requested was because the American co-producers were "astonished" by the octopus scene in King Kong vs. Godzilla and wanted a similar scene. Honda also confirmed that various endings were shot, stating: "In fact Mr.Tsuburaya had shot five or six final scenes for this film. The infamous giant octopus is only one of these endings." Honda also expressed that the alternate ending was never intended to be released on the Japanese version, sating: "there was never any official plan to utilize the sequence; but an alternative print with that ending was accidentally aired on television surprising many Japanese fans because it was not the ending they had remembered from the original theatrical release."
When Benedict Pictures would co-produce the film's sequel The War of the Gargantuas with Toho the following year, an octopus sequence would be shot again (a marine-based battle between the Oodako and Gaira) that would remain intact in both versions of the film.
Sequel
The following year, Toho released a sequel titled The War of the Gargantuas, also co-produced with UPA. In the film, pieces of Frankenstein's cells mutate into two giant humanoid monsters: Sanda (the Brown Gargantua) and Gaira (the Green Gargantua). The former is a benevolent and peace-loving creature, the latter is murderous and savage. Apart from a reference to a severed hand, UPA obscured all references to Frankenstein in the American version and the names of the monsters were changed to Brown Gargantua and Green Gargantua. Gaira and Sanda would later appear in two of Toho's Tokusatsu series, Ike! Godman and Ike! Greenman, before remaining absent for over 40 years, with Gaira making his latest appearance in a 2008 Ike! Greenman special.
The following year, Toho released a sequel titled The War of the Gargantuas, also co-produced with UPA. In the film, pieces of Frankenstein's cells mutate into two giant humanoid monsters: Sanda (the Brown Gargantua) and Gaira (the Green Gargantua). The former is a benevolent and peace-loving creature, the latter is murderous and savage. Apart from a reference to a severed hand, UPA obscured all references to Frankenstein in the American version and the names of the monsters were changed to Brown Gargantua and Green Gargantua. Gaira and Sanda would later appear in two of Toho's Tokusatsu series, Ike! Godman and Ike! Greenman, before remaining absent for over 40 years, with Gaira making his latest appearance in a 2008 Ike! Greenman special.
Release
The film was released in Japan on August 8, 1965, 2 days after the 20th anniversary of the Hiroshima bombing. The film grossed ¥93 million during its Japanese theatrical run. The film was released a year later in the United States as Frankenstein Conquers the World via American International Pictures, with Adams' original English dialogue restored. This version was dubbed in English by Titra Studios.
Home media
In June 2007, Media Blasters released Frankenstein Conquers the World on a 2-disc DVD, the first time the film was released on DVD in North America. This version includes the original Japanese theatrical version, the original US English version from American International Pictures (running at 84 minutes), and the International version with the alternate octopus ending (running at 93 minutes). All three versions in widescreen. The international version (titled Frankenstein vs. The Giant Devilfish) features an audio commentary by Sadamasa Arikawa, the film special effects photographer. Disc two features two Japanese trailers, deleted scenes, and a photo gallery, which was provided by Ed Godziszewski (editor of Japanese Giants and author of The Illustrated Encyclopedia of Godzilla.)
In November 2017, Toho released the film on Blu-ray in Japan. This release also includes an HD remaster of the International version, Frankenstein vs. The Giant Devilfish.
The film was released in Japan on August 8, 1965, 2 days after the 20th anniversary of the Hiroshima bombing. The film grossed ¥93 million during its Japanese theatrical run. The film was released a year later in the United States as Frankenstein Conquers the World via American International Pictures, with Adams' original English dialogue restored. This version was dubbed in English by Titra Studios.
Home media
In June 2007, Media Blasters released Frankenstein Conquers the World on a 2-disc DVD, the first time the film was released on DVD in North America. This version includes the original Japanese theatrical version, the original US English version from American International Pictures (running at 84 minutes), and the International version with the alternate octopus ending (running at 93 minutes). All three versions in widescreen. The international version (titled Frankenstein vs. The Giant Devilfish) features an audio commentary by Sadamasa Arikawa, the film special effects photographer. Disc two features two Japanese trailers, deleted scenes, and a photo gallery, which was provided by Ed Godziszewski (editor of Japanese Giants and author of The Illustrated Encyclopedia of Godzilla.)
In November 2017, Toho released the film on Blu-ray in Japan. This release also includes an HD remaster of the International version, Frankenstein vs. The Giant Devilfish.
- Published on
Ghidorah, the Three-Headed Monster, released in Japan as San Daikaijū: Chikyū Saidai no Kessen (三大怪獣 地球最大の決戦, lit. "Three Giant Monsters: The Greatest Battle on Earth"), is a 1964 Japanese science fiction kaiju film produced by Toho. Directed by Ishirō Honda, and featuring special effects by Eiji Tsuburaya, the film starred Yosuke Natsuki, Hiroshi Koizumi, and Akiko Wakabayashi. It is the fifth film in the Godzilla series and was the second Godzilla film produced that year (production began following Mothra vs Godzilla). This film marked the change of Godzilla from villain to hero in the series and featured the first appearance of King Ghidorah.
The film was released theatrically in the United States in the Fall of 1965 by Continental Distributing as Ghidorah, the Three-Headed Monster.
The film was released theatrically in the United States in the Fall of 1965 by Continental Distributing as Ghidorah, the Three-Headed Monster.
Plot
Police Detective Shindo (Yosuke Natsuki) is assigned to guard Princess Selina Salno of Selgina (Akiko Wakabayashi) during the Princess' visit to Japan, due to a suspected assassination plot. Although Shindo is smitten with Selina's photograph, her plane never makes it to Japan, as it is destroyed by a bomb en route. At exactly the same time a meteorite shower draws the attention of Professor Murai (Hiroshi Koizumi), who along with his team of scientists strikes out into the wilderness to examine the largest of the meteors, which has magnetic properties.
To Shindo's surprise, the supposedly deceased Selina turns up in Japan, without her royal garb (including the golden bracelet that proves she is heir to the throne of Selgina), claiming to be from the planet Mars (in the English dub), and preaching to skeptical crowds of forthcoming disaster. To their surprise however, her prophecies begin coming true. First she predicts Rodan, thought dead in the eruption of Mt. Aso, will emerge from Aso's crater. Subsequently, none other than Godzilla will arise from the sea and destroy a ship. Both of these events transpire.
In the meantime, Selina's uncle (Shin Otomo), who was behind the assassination attempt, learns of her survival and sends his best assassin Malness (Hisaya Ito) to Japan to dispatch the Princess and steal the golden bracelet. Malness and his henchmen are stopped by Shindo, who was warned of their attempt by the Shobijin (Emi and Yumi Ito), who were in Japan appearing on a television show. The Shobijin had been scheduled to return to Infant Island aboard the ship sunk by Godzilla, but opted not to go after overhearing Selina's prophecy. A further attempt by the assassins is thwarted when both Godzilla and Rodan attack the city and engage in battle, forcing everyone to flee.
Police Detective Shindo (Yosuke Natsuki) is assigned to guard Princess Selina Salno of Selgina (Akiko Wakabayashi) during the Princess' visit to Japan, due to a suspected assassination plot. Although Shindo is smitten with Selina's photograph, her plane never makes it to Japan, as it is destroyed by a bomb en route. At exactly the same time a meteorite shower draws the attention of Professor Murai (Hiroshi Koizumi), who along with his team of scientists strikes out into the wilderness to examine the largest of the meteors, which has magnetic properties.
To Shindo's surprise, the supposedly deceased Selina turns up in Japan, without her royal garb (including the golden bracelet that proves she is heir to the throne of Selgina), claiming to be from the planet Mars (in the English dub), and preaching to skeptical crowds of forthcoming disaster. To their surprise however, her prophecies begin coming true. First she predicts Rodan, thought dead in the eruption of Mt. Aso, will emerge from Aso's crater. Subsequently, none other than Godzilla will arise from the sea and destroy a ship. Both of these events transpire.
In the meantime, Selina's uncle (Shin Otomo), who was behind the assassination attempt, learns of her survival and sends his best assassin Malness (Hisaya Ito) to Japan to dispatch the Princess and steal the golden bracelet. Malness and his henchmen are stopped by Shindo, who was warned of their attempt by the Shobijin (Emi and Yumi Ito), who were in Japan appearing on a television show. The Shobijin had been scheduled to return to Infant Island aboard the ship sunk by Godzilla, but opted not to go after overhearing Selina's prophecy. A further attempt by the assassins is thwarted when both Godzilla and Rodan attack the city and engage in battle, forcing everyone to flee.
Convinced that Selina is insane, Shindo takes the Princess to see a renowned psychiatrist, Dr. Tsukamoto (Takashi Shimura), in the hopes of curing her. However, Tsukamoto can find nothing wrong with her, mentally or physically. He concludes she must therefore truly be possessed by a Martian as she claims. As if emboldened by the doctor's diagnosis, Selina reveals her final prophecy—that Mars' once thriving civilization was destroyed by an evil, golden three-headed dragon named King Ghidorah, and furthermore that Ghidorah himself has already arrived on Earth. No sooner has she revealed this than Professor Murai and his colleagues at the meteor crash site receive a nasty surprise—the "meteor" is actually an egg, which hatches into the fearsome King Ghidorah. Ghidorah begins razing the countryside.
To combat the combined threats of the three monsters, the Japanese government enlists the aid of the Shobijin to summon Mothra (the surviving larvae from the previous film). Upon arriving on the Japanese mainland, Mothra attempts to persuade the quarreling Godzilla and Rodan to team up against the evil alien (which is translated to the humans by the Shobijin) but both refuse, with Godzilla stating they have no reason to save mankind as both he and Rodan "have always had trouble with men and men hate them", to which Rodan agrees. Despite Mothra stating that Earth belongs to them as well and that it is their duty to defend it, Godzilla and Rodan still refuse (with Godzilla apparently swearing at Mothra) and the pair refuse to forgive each other, wanting to continue their fight. Unable to convince them and despite being vastly outmatched, Mothra calls the pair of them "bullheaded" and resolves to fight Ghidorah by herself. Mothra engages Ghidorah and is continually blasted by his gravity beams. Fortunately for Mothra, Godzilla and Rodan, impressed by her courage and selflessness, arrive to help, and a titanic battle against Ghidorah begins. Meanwhile, Shindo and Dr. Tsukamoto are forced to protect Princess Selina as Malness and his men converge on Tsukamoto's clinic; they manage to fend off the killers and escape into the mountains as the dueling monsters draw closer.
To combat the combined threats of the three monsters, the Japanese government enlists the aid of the Shobijin to summon Mothra (the surviving larvae from the previous film). Upon arriving on the Japanese mainland, Mothra attempts to persuade the quarreling Godzilla and Rodan to team up against the evil alien (which is translated to the humans by the Shobijin) but both refuse, with Godzilla stating they have no reason to save mankind as both he and Rodan "have always had trouble with men and men hate them", to which Rodan agrees. Despite Mothra stating that Earth belongs to them as well and that it is their duty to defend it, Godzilla and Rodan still refuse (with Godzilla apparently swearing at Mothra) and the pair refuse to forgive each other, wanting to continue their fight. Unable to convince them and despite being vastly outmatched, Mothra calls the pair of them "bullheaded" and resolves to fight Ghidorah by herself. Mothra engages Ghidorah and is continually blasted by his gravity beams. Fortunately for Mothra, Godzilla and Rodan, impressed by her courage and selflessness, arrive to help, and a titanic battle against Ghidorah begins. Meanwhile, Shindo and Dr. Tsukamoto are forced to protect Princess Selina as Malness and his men converge on Tsukamoto's clinic; they manage to fend off the killers and escape into the mountains as the dueling monsters draw closer.
The assassins attempt to follow, but a stray blast from Ghidorah buries their car in an avalanche. Only Malness remains uninjured enough to continue. He attempts to snipe the Princess from an elevated position, but only injures her. In her pain, she regains her memory and is no longer possessed by the Martian. Before Malness can take another shot, another stray blast from Ghidorah buries the assassin under a second avalanche. With the heroes thus saved from the human menace, they gather at a safe distance to watch the battle between earth's monsters and Ghidorah. After now gaining a clear advantage over Ghidorah, the three monsters coordinate their attack; Godzilla grabs hold of Ghidorah's tails while Mothra (riding on Rodan's back) sprays the three-headed dragon with her silk. Finally, Godzilla throws the alien beast off the cliff and the battered dragon flies off, back into outer space.
As Mothra and the Shobijin return to Infant Island while Godzilla and Rodan go their separate ways, Selina, having retained the memories of her time with Shindo, bids farewell to her guardian as she meets her bodyguards at the airport to return home.
As Mothra and the Shobijin return to Infant Island while Godzilla and Rodan go their separate ways, Selina, having retained the memories of her time with Shindo, bids farewell to her guardian as she meets her bodyguards at the airport to return home.
Cast
- Yosuke Natsuki as Detective Shindo
- Yuriko Hoshi as Naoko Shindo
- Hiroshi Koizumi as Professor Miura
- Akiko Wakabayashi as Princess Selina Salno of Selgina
- Takashi Shimura as Dr. Tsukamoto
- Hisaya Ito as Malness, Chief Assassin
- Akihiko Hirata as Chief Detective Okita
- Kenji Sahara as Kanamaki, Naoko's Editor
- Haruo Nakajima as Godzilla
- Masaki Shinohara as Rodan
- Shoichi Hirose as King Ghidorah
Production
An early concept for Ghidorah had rainbow-colored wings and a purple body with three heads spitting fire from their mouths, instead of lightning which was used in the final draft.
English version
The English-dubbed version was presented in American theaters in September 1965 by Walter Reade-Sterling, and distributed by Continental Distributing. Originally titled Ghidrah, the Three-Headed Monster.
Several alterations were made to the American version, including:
Much of Akira Ifukube's score was replaced with library music.
King Ghidorah's name was romanized as "Ghidrah".
In the English version, King Ghidorah destroys Mars (it was Venus in the Japanese version), and the Princess claims that she is from Mars. This was most likely because of the strong association the western world has with the possibility of Mars having been able to support life.
When Godzilla first surfaces, Rodan is also present in the American version. In the Japanese version, only Godzilla appears in this scene.
Continuity error: The sequence of Godzilla climbing on the docks in Yokohama harbor was changed around. First it is on the docks, then appears to be back in the bay, and then back on shore.
The scene in which the Shobijins sing Mothra's Song a second time to summon Mothra is cut.
The shot of the assassins escaping during Godzilla's rampage in Yokohama is deleted.
The scene of Princess Salno telling Dr. Tsukamoto, Shindo, and Naoko about Ghidorah's arrival occurs after it comes from the meteorite in the American version.
The English version runs 85 minutes, seven minutes shorter than the original Japanese version.
In the English version, the meteorite containing Ghidorah crash lands before the princess' plane explodes, not after as was seen in the Japanese version.
An early concept for Ghidorah had rainbow-colored wings and a purple body with three heads spitting fire from their mouths, instead of lightning which was used in the final draft.
English version
The English-dubbed version was presented in American theaters in September 1965 by Walter Reade-Sterling, and distributed by Continental Distributing. Originally titled Ghidrah, the Three-Headed Monster.
Several alterations were made to the American version, including:
Much of Akira Ifukube's score was replaced with library music.
King Ghidorah's name was romanized as "Ghidrah".
In the English version, King Ghidorah destroys Mars (it was Venus in the Japanese version), and the Princess claims that she is from Mars. This was most likely because of the strong association the western world has with the possibility of Mars having been able to support life.
When Godzilla first surfaces, Rodan is also present in the American version. In the Japanese version, only Godzilla appears in this scene.
Continuity error: The sequence of Godzilla climbing on the docks in Yokohama harbor was changed around. First it is on the docks, then appears to be back in the bay, and then back on shore.
The scene in which the Shobijins sing Mothra's Song a second time to summon Mothra is cut.
The shot of the assassins escaping during Godzilla's rampage in Yokohama is deleted.
The scene of Princess Salno telling Dr. Tsukamoto, Shindo, and Naoko about Ghidorah's arrival occurs after it comes from the meteorite in the American version.
The English version runs 85 minutes, seven minutes shorter than the original Japanese version.
In the English version, the meteorite containing Ghidorah crash lands before the princess' plane explodes, not after as was seen in the Japanese version.
Critical Reception
Reviewing the American version, Leonard Maltin gives the film two and a half stars, calling it "one of the better Toho monster rallies”.
Titles
Three Giant Monsters: The Greatest Battle On Earth – Translation of Japanese title
Ghidrah, the Three-Headed Monster – Original U.S. title
Monster of Monsters, Ghidora – Toho's original English title
Ghidorah, the Three-Headed Monster – Toho's current English title. Classic Media used this title for their DVD
DVD releases
Classic Media
Release date: June 5, 2007
Special features: Eiji Tsuburaya biography and audio commentary by David Kalat.
Note: Contains both original Japanese and English versions.
Note: Part of the Toho Collection
Reviewing the American version, Leonard Maltin gives the film two and a half stars, calling it "one of the better Toho monster rallies”.
Titles
Three Giant Monsters: The Greatest Battle On Earth – Translation of Japanese title
Ghidrah, the Three-Headed Monster – Original U.S. title
Monster of Monsters, Ghidora – Toho's original English title
Ghidorah, the Three-Headed Monster – Toho's current English title. Classic Media used this title for their DVD
DVD releases
Classic Media
Release date: June 5, 2007
Special features: Eiji Tsuburaya biography and audio commentary by David Kalat.
Note: Contains both original Japanese and English versions.
Note: Part of the Toho Collection
Details (Original film)
- Directed by Ishirō Honda
- Produced by Tomoyuki Tanaka
- Screenplay by Shinichi Sekizawa
- Music by Akira Ifukube
- Cinematography Hajime Koizumi
- Edited by Ryohei Fujii
- Production company Toho Studios
- Distributed by Toho
- Release date December 20, 1964 (Japan)
- Running time 92 minutes
- Country Japan
- Language Japanese
- Box office ¥375 million
- Published on
Dogora the Space Monster, released in Japan as Uchū Daikaijū Dogora (宇宙大怪獣ドゴラ, lit. "Giant Space Monster Dogora"), is a 1964 Japanese tokusatsu science fiction film produced and released by Toho Studios. Directed by Ishirō Honda and featuring special effects by Eiji Tsuburaya, the film starred Nobuo Nakamura, Akiko Wakabayashi, and Hollywood actor Robert Dunham. The film tells the story of a huge jellyfish-like creature from space that attacks Japan.
The film was released straight to television in the United States, in the winter of 1966 by American International Television as Dagora, the Space Monster.
The film was released straight to television in the United States, in the winter of 1966 by American International Television as Dagora, the Space Monster.
Plot
When several TV satellites launched by the Electric Wave Laboratory go missing above Japan in Earth's orbit, it is found out that they have inadvertently collided with unidentified protoplasmic "space cells" of unknown origin. A similar creature suddenly thwarted the efforts of a local branch of the International Diamond Robbery Ring. The diamonds they sought vanished, and similar unexplained events continued to occur across the globe.
Meanwhile, Inspector Komai's (Yosuke Natsuki) investigation of these strange events led him to the crystallographer Dr. Munakata (Nobuo Nakamura). In the process of tracking down the self-proclaimed diamond broker Mark Jackson (Robert Dunham). He finds him in Dr. Munakata's home but knocks him out and escapes from Komai. He is then picked up by the gangsters for questioning. Komai wakes up and is greeted by Dr. Munakata and his lab assistant Masayo Kirino (Yoko Fujiyama). He tells them about the case he is working on and shows them pictures of the melted safe the gangsters were at that night. Komai then learns that the diamonds the Mark stole were synthetic and worth nothing.
When several TV satellites launched by the Electric Wave Laboratory go missing above Japan in Earth's orbit, it is found out that they have inadvertently collided with unidentified protoplasmic "space cells" of unknown origin. A similar creature suddenly thwarted the efforts of a local branch of the International Diamond Robbery Ring. The diamonds they sought vanished, and similar unexplained events continued to occur across the globe.
Meanwhile, Inspector Komai's (Yosuke Natsuki) investigation of these strange events led him to the crystallographer Dr. Munakata (Nobuo Nakamura). In the process of tracking down the self-proclaimed diamond broker Mark Jackson (Robert Dunham). He finds him in Dr. Munakata's home but knocks him out and escapes from Komai. He is then picked up by the gangsters for questioning. Komai wakes up and is greeted by Dr. Munakata and his lab assistant Masayo Kirino (Yoko Fujiyama). He tells them about the case he is working on and shows them pictures of the melted safe the gangsters were at that night. Komai then learns that the diamonds the Mark stole were synthetic and worth nothing.
The gangsters bring Mark Jackson to their boss and find a bag containing the stolen diamonds. However they too find out that they are fake and keep him as a prisoner but outwits them and escapes. The gangsters are then given word of a shipment of raw diamonds will arrive in Yokohama.
Meanwhile, Inspector Komai escorts Masayo to her home. Along the way they meet Kirino (Hiroshi Koizumi), Masayo's brother who works at the Electric Wave Laboratory. They witness a strange invisible force suck up coal into the sky from a nearby the factory as well as flaming sparks from the clouds. They meet back with Dr Munakata who tells them that the flaming sparks might be from some form of carbon.
Later, the professional thieves took advantage of this ripe opportunity and attempted a heist on an armored car carrying the raw diamonds. But a nearby coal truck passing by is lifted off the ground by some unknown force and disappears into the atmosphere and is dropped back down to the ground. Unfortunately for them, they were fooled and escaped with nothing but candy.
Meanwhile, Inspector Komai escorts Masayo to her home. Along the way they meet Kirino (Hiroshi Koizumi), Masayo's brother who works at the Electric Wave Laboratory. They witness a strange invisible force suck up coal into the sky from a nearby the factory as well as flaming sparks from the clouds. They meet back with Dr Munakata who tells them that the flaming sparks might be from some form of carbon.
Later, the professional thieves took advantage of this ripe opportunity and attempted a heist on an armored car carrying the raw diamonds. But a nearby coal truck passing by is lifted off the ground by some unknown force and disappears into the atmosphere and is dropped back down to the ground. Unfortunately for them, they were fooled and escaped with nothing but candy.
The police came to learn of the mysterious events of the armored car heist. Inspector Komai tells them of the possibility of a creature that caused the coal truck to list up in the air, but no one believes him. He is then called by Masayo a that Mark Jackson is at Dr. Munakata's house. Komai and the police surround the house to catch him. But he reveals himself that he is an investigator dispatched from the World Diamond Insurgence association to find out what has been steeling diamonds worldwide. Just then Masayo's brother comes in and tells them that the identity of the monster was reported from the Space Planning Committee at the U.N. that the monster is a space cell that has been mutated by massive amounts of radiation from the satellites. Suddenly, Dogora appears and eats its way through Dr. Muanakata's safe to eat the diamonds inside.
The creature from outer space is deemed to be the culprit, an alien beast that draws its energy from carbon-based minerals. Dr. Munakata, confident in a remarkable scientific discovery, left for the coal mines near northern Kyushu, where it was proposed that the strange being would make its next appearance.
Mark Jackson also took leave for Kyushu, as the realization was finally made that the candy recovered at the heist was likely his doing. It was probable that he had, in truth, absconded with the true gems. Hamako (Akiko Wakabayashi), one of the gangsters responsible for the failed heist, prepared to double-cross her comrades and retrieve the diamonds for herself.
The creature from outer space is deemed to be the culprit, an alien beast that draws its energy from carbon-based minerals. Dr. Munakata, confident in a remarkable scientific discovery, left for the coal mines near northern Kyushu, where it was proposed that the strange being would make its next appearance.
Mark Jackson also took leave for Kyushu, as the realization was finally made that the candy recovered at the heist was likely his doing. It was probable that he had, in truth, absconded with the true gems. Hamako (Akiko Wakabayashi), one of the gangsters responsible for the failed heist, prepared to double-cross her comrades and retrieve the diamonds for herself.
As Dr. Munakata arrived at Dogora's next likely target, unidentified objects began to show on radar. A swarm of wasps was attacking Dogora in retaliation for the disturbance of their hives in the mines, and as they attacked, solid crystal sections of the monster began to fall to the city below.
Over Dokaiwan Bay, as night fell, evacuation orders were put into effect as the jellyfish-like monster began to descend from the sky. The self-defense force fired, to no avail. The monster continued to absorb carbon-based materials wherever they could be located, and the abomination even destroyed the Wakato Bridge in the process. The military continued to unleash their artillery at the alien creature, and succeeded in momentarily silencing their foe. Unfortunately, the creature was only undergoing mitosis.
It is later found out that when Dogora is stung by the wasps, the venom causes a chemical reaction that crystallizes the space cell. Analysis of the crystallizing effects of the wasp venom on Dogora at the Medical Substance Laboratory proves successful, and mass production was soon ordered all around the world for the creation of a similar toxin.
Over Dokaiwan Bay, as night fell, evacuation orders were put into effect as the jellyfish-like monster began to descend from the sky. The self-defense force fired, to no avail. The monster continued to absorb carbon-based materials wherever they could be located, and the abomination even destroyed the Wakato Bridge in the process. The military continued to unleash their artillery at the alien creature, and succeeded in momentarily silencing their foe. Unfortunately, the creature was only undergoing mitosis.
It is later found out that when Dogora is stung by the wasps, the venom causes a chemical reaction that crystallizes the space cell. Analysis of the crystallizing effects of the wasp venom on Dogora at the Medical Substance Laboratory proves successful, and mass production was soon ordered all around the world for the creation of a similar toxin.
The gangsters, still desperate for a successful heist, tracked Mark Jackson and Inspector Komai and almost immediately jumped to the conclusion that Mark had hidden the real diamonds in a safe-deposit box. Hamako left to retrieve the stash, but instead fled solo with the stolen goods. The thieves left Jackson and Komai tied and doomed to death-by-dynamite, but the two men joined forces and only barely managed to escape.
Meanwhile, Dogora attacked once again, but this time, powerful artificial wasp venom quickly ate away at the creature. The robbers and the police clashed at the beach, and in the heat of a vicious gunfight, the gang was completely wiped out by a falling crystal boulder, once a section of Dogora's extraterrestrial flesh.
The wasp venom finally took full effect, and Dogora was no more. It was soon discovered that the diamonds Hamako had retrieved from the safe-deposit box were, in fact, synthetic. As this truth came to light, Dr. Munakata and his secretary left for the UN to discuss the peaceful potential of the Dogora incident with the world.
Meanwhile, Dogora attacked once again, but this time, powerful artificial wasp venom quickly ate away at the creature. The robbers and the police clashed at the beach, and in the heat of a vicious gunfight, the gang was completely wiped out by a falling crystal boulder, once a section of Dogora's extraterrestrial flesh.
The wasp venom finally took full effect, and Dogora was no more. It was soon discovered that the diamonds Hamako had retrieved from the safe-deposit box were, in fact, synthetic. As this truth came to light, Dr. Munakata and his secretary left for the UN to discuss the peaceful potential of the Dogora incident with the world.
Cast
- Yosuke Natsuki – Inspector Komai
- Robert Dunham – Mark Jackson (as Dan Yuma)
- Nobuo Nakamura – Dr. Munakata
- Hiroshi Koizumi – Kirino
- Yoko Fujiyama – Masayo Kirino
- Akiko Wakabayashi – Gangster Natsui Hamako
- Susumu Fujita – General Iwasa
- Seizaburou Kawazu – Gangster Boss
- Yoshifumi Tajima – Gangster Zenichi Tada
- Hideyo Amamoto – Gangster Joe Maki Safecracker
- Haruya Katou – Short Gangster Sabu
- Jun Tazaki – Chief Inspector
- Jun Funado – Inspector Nitta
- Nadao Kirino – Gangster Gen
- Akira Wakamatsu – Gangster Pine
Production
The film is unusual for Toho's giant monster series in that the creature is non-anthropomorphic and not portrayed by an actor in a costume. For scenes of it in its full form, the Dogora prop was placed in a small vat of water and puppeteered by people holding wires. This gave it the impression of it floating like an airborne jellyfish.
Originally, Dogora was titled (スペース・モンス Supēsu Monsu, lit. Space Mons) and was meant to be released in 1962.
Dogora's roar was reused for the Tsuburaya Production's TV show Ultraman, as the monster Bullton in ep 17, Passport to Infinity.
There were originally plans to feature Robert Dunham in a series of films based on the "Mark Jackson" character he played in this film. However, those plans never came to fruition.
The film is unusual for Toho's giant monster series in that the creature is non-anthropomorphic and not portrayed by an actor in a costume. For scenes of it in its full form, the Dogora prop was placed in a small vat of water and puppeteered by people holding wires. This gave it the impression of it floating like an airborne jellyfish.
Originally, Dogora was titled (スペース・モンス Supēsu Monsu, lit. Space Mons) and was meant to be released in 1962.
Dogora's roar was reused for the Tsuburaya Production's TV show Ultraman, as the monster Bullton in ep 17, Passport to Infinity.
There were originally plans to feature Robert Dunham in a series of films based on the "Mark Jackson" character he played in this film. However, those plans never came to fruition.
English Version
As with its release of Attack of the Mushroom People, American International Television bought the rights to Toho's international dub in 1965 for television syndication. Since the film wouldn't play in US theaters, AIP-TV left Toho's English dub intact and added a new Dagora, the Space Monster title card. Allegedly, the name of the monster was changed to "Dagora" so that audiences wouldn't think the monster was a dog. Beyond the removal of the opening credits, the film was unedited. This version played for many years on late night TV and was released on home video by Video Yesteryear in 1983. The Media Blasters DVD uses the same dubbing featured in the AIP-TV version, but the edits are not retained.
As with its release of Attack of the Mushroom People, American International Television bought the rights to Toho's international dub in 1965 for television syndication. Since the film wouldn't play in US theaters, AIP-TV left Toho's English dub intact and added a new Dagora, the Space Monster title card. Allegedly, the name of the monster was changed to "Dagora" so that audiences wouldn't think the monster was a dog. Beyond the removal of the opening credits, the film was unedited. This version played for many years on late night TV and was released on home video by Video Yesteryear in 1983. The Media Blasters DVD uses the same dubbing featured in the AIP-TV version, but the edits are not retained.
Credits
- Teruyoshi Nakano- Director of Optical Effects
- Sadamasa Arikawa- Special Effects Cinematographer
- Takeo Kita- Special Effects Set Director
- Ken Sano- Assistant to the Director
- Published on
Mothra vs. Godzilla (モスラ対ゴジラ Mosura tai Gojira) is a 1964 Japanese science fiction kaiju film produced by Toho. Directed by Ishirō Honda, and featuring special effects by Eiji Tsuburaya, the film starred Akira Takarada, Kenji Sahara and Hiroshi Koizumi. The fourth film in the Godzilla series, it was the first in which Toho began bringing in monsters from other productions, having Godzilla cross paths with Mothra. This trend would continue later in the same year with Rodan, in the film Ghidorah the Three Headed Monster.
The film was released theatrically in the United States and Canada in the summer of 1964 (four months after its Japanese debut) by American International Pictures as Godzilla vs. the Thing.
The film was released theatrically in the United States and Canada in the summer of 1964 (four months after its Japanese debut) by American International Pictures as Godzilla vs. the Thing.
Plot
News reporter Ichiro Sakai and photographer Junko Nakanishi take pictures of the wreckage caused by a typhoon, uncovering a large reptile scale in the debris. Later that day a giant egg is discovered on the shore. The local villagers salvage it, and scientists come to study the egg.
While Sakai and Junko try to ask Professor Miura, one of the scientists, questions about the egg, an entrepreneur of Happy Enterprises named Kumayama scurries the scientists off and explains that he has bought the egg from the local villagers. Instead of letting scientists study the egg, Kumayama wants to make it into a large tourist attraction. Sakai, Junko, and Professor Miura are disgusted and believe that Kumayama has no right to keep the egg.
While the three are discussing the egg at a hotel, they discover Kumayama checking in. Sakai wonders if somebody else may be working with Kumayama and investigates the matter. Kumayama meets with Jiro Torahata, the head of Happy Enterprises. As the two are discussing the billion-dollar tourist attraction the egg represents, two tiny twin girls known as the Shobijin, interrupt them. The Shobijin explain that they are from Infant Island and that the egg belongs to their god Mothra, who lives there. Torahata and Kumayama ignore the girls' pleas and try to capture them. The Shobijin escape the room and meet with Sakai, Junko, and Professor Miura outside the hotel. The girls beg them to bring the egg back too and the three promise to try as hard as they can to bring the egg back to Infant Island. The girls explain that if the egg is not returned, a larva will hatch and will cause destruction to its surroundings as it searches for food. When confronted by Sakai, Junko, and Miura, Kumayama offers to buy the Shobijin, disgusting Junko, Miura, and Sakai.
The Shobijin leave even though they could not get the egg back and thank Sakai, Junko, and Miura for their kindness. Sakai tries to write editorials but they fail due to lack of public interest. When the scale is found to be radioactive, the three test for radioactivity in an industrial area where it was found. Godzilla suddenly emerges from Kurada Beach, where it had been blown ashore by the hurricane and buried under mud, and begins to attack Nagoya.
News reporter Ichiro Sakai and photographer Junko Nakanishi take pictures of the wreckage caused by a typhoon, uncovering a large reptile scale in the debris. Later that day a giant egg is discovered on the shore. The local villagers salvage it, and scientists come to study the egg.
While Sakai and Junko try to ask Professor Miura, one of the scientists, questions about the egg, an entrepreneur of Happy Enterprises named Kumayama scurries the scientists off and explains that he has bought the egg from the local villagers. Instead of letting scientists study the egg, Kumayama wants to make it into a large tourist attraction. Sakai, Junko, and Professor Miura are disgusted and believe that Kumayama has no right to keep the egg.
While the three are discussing the egg at a hotel, they discover Kumayama checking in. Sakai wonders if somebody else may be working with Kumayama and investigates the matter. Kumayama meets with Jiro Torahata, the head of Happy Enterprises. As the two are discussing the billion-dollar tourist attraction the egg represents, two tiny twin girls known as the Shobijin, interrupt them. The Shobijin explain that they are from Infant Island and that the egg belongs to their god Mothra, who lives there. Torahata and Kumayama ignore the girls' pleas and try to capture them. The Shobijin escape the room and meet with Sakai, Junko, and Professor Miura outside the hotel. The girls beg them to bring the egg back too and the three promise to try as hard as they can to bring the egg back to Infant Island. The girls explain that if the egg is not returned, a larva will hatch and will cause destruction to its surroundings as it searches for food. When confronted by Sakai, Junko, and Miura, Kumayama offers to buy the Shobijin, disgusting Junko, Miura, and Sakai.
The Shobijin leave even though they could not get the egg back and thank Sakai, Junko, and Miura for their kindness. Sakai tries to write editorials but they fail due to lack of public interest. When the scale is found to be radioactive, the three test for radioactivity in an industrial area where it was found. Godzilla suddenly emerges from Kurada Beach, where it had been blown ashore by the hurricane and buried under mud, and begins to attack Nagoya.
The editor of Sakai's newspaper believes that the military cannot do anything against Godzilla and discusses it with Sakai and Junko. Jiro, another reporter who loves to eat eggs, walks in and suggests that Mothra might be able to defeat Godzilla. Sakai and Junko are skeptical that the Shobijin would agree because atomic testing had destroyed most of their island, and they had failed to return the egg to them.
The two go to Infant Island anyway with Professor Miura. They are captured by the local villagers and are brought to the tribe’s chief. The three ask for assistance but, as expected, are refused because of the atomic testing and Japan's failure to return the egg.
The Shobijin are heard singing and everyone walks towards them. Sakai, Junko, and Miura ask the Shobijin for Mothra's assistance but they are also turned down. Junko then pleads to all the villagers that not everyone from Japan should be accused for what happened to their island. Godzilla is killing everyone and refusing their country assistance is wrong. Sakai then adds that "we're all human" and that everyone is connected and must help each other. Mothra's screech is soon heard and the Shobijin ask everyone to follow them. They convince Mothra to help Japan and the people that live in it, but the monstrous insect is old and weak. Even if Mothra defeats Godzilla, she will die.
The next day, Kumayama barges into Torahata's room and demands Torahata give him his money back that Torahata had recently swindled from Kumayama. They fight and eventually, Torahata is defeated by being punched in the mouth, and is bleeding. Kumayama crawls into Torahata's money cabinet and begins to steal the money from it. Torahata wakes up and sees Godzilla approaching the hotel. He then grabs a gun and shoots Kumayama in the head, killing him. Torahata is killed while escaping with his money when Godzilla destroys the hotel.
Godzilla walks towards the egg and tries to destroy it until Mothra shows up. The two fight a tough battle where Mothra seems to have the upper hand. While on the ground, Godzilla fires its atomic breath into Mothra's face and mortally injures her. Mothra dies with her wing resting on top of her egg while Godzilla walks away. The Shobijin then explain to Sakai, Junko, and Miura that the egg can be hatched today and begin to sing.
Meanwhile, the military tries to fight Godzilla by electrocuting it with "artificial lighting" but fail. Godzilla then melts the tanks with its atomic breath. The Shobijin continue singing and Mothra's egg finally hatches with not one, but two Mothra larvae. The larvae follow Godzilla to Iwa Island and use their silk spray on Godzilla in an attempt to trap it, but Godzilla returns to the sea. The Mothra larvae and the Shobijin celebrate and return to Infant Island.
The two go to Infant Island anyway with Professor Miura. They are captured by the local villagers and are brought to the tribe’s chief. The three ask for assistance but, as expected, are refused because of the atomic testing and Japan's failure to return the egg.
The Shobijin are heard singing and everyone walks towards them. Sakai, Junko, and Miura ask the Shobijin for Mothra's assistance but they are also turned down. Junko then pleads to all the villagers that not everyone from Japan should be accused for what happened to their island. Godzilla is killing everyone and refusing their country assistance is wrong. Sakai then adds that "we're all human" and that everyone is connected and must help each other. Mothra's screech is soon heard and the Shobijin ask everyone to follow them. They convince Mothra to help Japan and the people that live in it, but the monstrous insect is old and weak. Even if Mothra defeats Godzilla, she will die.
The next day, Kumayama barges into Torahata's room and demands Torahata give him his money back that Torahata had recently swindled from Kumayama. They fight and eventually, Torahata is defeated by being punched in the mouth, and is bleeding. Kumayama crawls into Torahata's money cabinet and begins to steal the money from it. Torahata wakes up and sees Godzilla approaching the hotel. He then grabs a gun and shoots Kumayama in the head, killing him. Torahata is killed while escaping with his money when Godzilla destroys the hotel.
Godzilla walks towards the egg and tries to destroy it until Mothra shows up. The two fight a tough battle where Mothra seems to have the upper hand. While on the ground, Godzilla fires its atomic breath into Mothra's face and mortally injures her. Mothra dies with her wing resting on top of her egg while Godzilla walks away. The Shobijin then explain to Sakai, Junko, and Miura that the egg can be hatched today and begin to sing.
Meanwhile, the military tries to fight Godzilla by electrocuting it with "artificial lighting" but fail. Godzilla then melts the tanks with its atomic breath. The Shobijin continue singing and Mothra's egg finally hatches with not one, but two Mothra larvae. The larvae follow Godzilla to Iwa Island and use their silk spray on Godzilla in an attempt to trap it, but Godzilla returns to the sea. The Mothra larvae and the Shobijin celebrate and return to Infant Island.
Cast
- Akira Takarada as Ichiro Sakai
- Yuriko Hoshi as Junko Nakanishi
- Hiroshi Koizumi as Professor Miura
- Yu Fujiki as Nakamura
- The Peanuts, Emi and Yumi Ito, as the Shobijin
- Yoshifumi Tajima as Kumayama
- Kenji Sahara as Jiro Torahata
- Jun Tazaki as Murata, Chief Editor
English version
American International Pictures theatrical poster for the 1964 U.S release for Godzilla vs. The Thing. AIP hid Mothra's appearance behind sensational false advertising. Incorporates artwork by Reynold Brown
American International Pictures originally released the film in the United States in September 1964, and it opened in New York City on November 25 of that year, retitled Godzilla vs. the Thing. Mothra's appearance was kept out of promotional material, which hinted that Godzilla's opponent would be a hideous tentacled creature and referred to it only as "The Thing". New York Times film critic Eugene Archer reacted to the film and its title: "Well, there are three things, not counting the movie. One has wings and looks like a big bee. The other two are hatched from the first Thing's egg, after quite a bit of worshipful kootch dancing from a pair of foot-tall native goddesses...".
In video releases of the 1980s, the film was titled simply Godzilla vs. Mothra. However, Mothra is still repeatedly called "The Thing" in the film, confusing many film-goers who thought "The Thing" and "Mothra" were two separate monsters.
This is the first Showa Godzilla film to be nearly completely intact for North American release (a very few small scenes were edited out). The first three Godzilla films were heavily edited, as well as included English actors and new narration.
American International Pictures theatrical poster for the 1964 U.S release for Godzilla vs. The Thing. AIP hid Mothra's appearance behind sensational false advertising. Incorporates artwork by Reynold Brown
American International Pictures originally released the film in the United States in September 1964, and it opened in New York City on November 25 of that year, retitled Godzilla vs. the Thing. Mothra's appearance was kept out of promotional material, which hinted that Godzilla's opponent would be a hideous tentacled creature and referred to it only as "The Thing". New York Times film critic Eugene Archer reacted to the film and its title: "Well, there are three things, not counting the movie. One has wings and looks like a big bee. The other two are hatched from the first Thing's egg, after quite a bit of worshipful kootch dancing from a pair of foot-tall native goddesses...".
In video releases of the 1980s, the film was titled simply Godzilla vs. Mothra. However, Mothra is still repeatedly called "The Thing" in the film, confusing many film-goers who thought "The Thing" and "Mothra" were two separate monsters.
This is the first Showa Godzilla film to be nearly completely intact for North American release (a very few small scenes were edited out). The first three Godzilla films were heavily edited, as well as included English actors and new narration.
Production
There were several differences in the original screenplay from Shinichi Sekizawa, which he submitted in 1963 on December 31, compared to the finished product. The most noticeable is that Godzilla's body was substituted for Mothra's Egg in the final draft. Furthermore, Godzilla was also going to take a bigger role in the film, with Mothra only arriving just in time for the climax. Rolisica, a fictional land that was featured in Mothra (1961), was present in this early screenplay as well. The Rolisican government was also going to be the ones to deploy the Frontier Missiles against Godzilla, as opposed to the US forces as it occurred in the International version of Mothra vs. Godzilla (1964). Lastly, this early draft didn't feature Mothra's Larva at all, and the final confrontation was going to be with the Imago version of Mothra and Godzilla.
The upper lip on the Godzilla suit in this film has a slight wobble. This was originally an accident; in the filming of a scene where Godzilla smashes into the Nagoya Castle, the actor in the suit, Haruo Nakajima, fell and the suit's head slammed into the castle, loosening the teeth. Special effects director Eiji Tsuburaya liked this so much that he wanted to keep the suit like that for a while.
During Godzilla's initial assault on Iwa Island, composer Akira Ifukube originally did not want to use music for the sequence. However, Ishiro Honda disagreed and added music during post-production without the composer's knowledge. When Ifukube first saw the sequence in the finished film at its premiere, he turned to Honda and gave him a dirty look. It is the only recorded disagreement they have ever had in their professional careers.
The claws on Godzilla's hands and feet were made out of FRP for the first time in this film.
Another highlight of the film is the "Frontier Missile" sequence, where Godzilla was being attacked on a beach by American battle cruisers. This scene was included only in the North American version, although part of the scene was featured briefly in the original Japanese trailer.
There were several differences in the original screenplay from Shinichi Sekizawa, which he submitted in 1963 on December 31, compared to the finished product. The most noticeable is that Godzilla's body was substituted for Mothra's Egg in the final draft. Furthermore, Godzilla was also going to take a bigger role in the film, with Mothra only arriving just in time for the climax. Rolisica, a fictional land that was featured in Mothra (1961), was present in this early screenplay as well. The Rolisican government was also going to be the ones to deploy the Frontier Missiles against Godzilla, as opposed to the US forces as it occurred in the International version of Mothra vs. Godzilla (1964). Lastly, this early draft didn't feature Mothra's Larva at all, and the final confrontation was going to be with the Imago version of Mothra and Godzilla.
The upper lip on the Godzilla suit in this film has a slight wobble. This was originally an accident; in the filming of a scene where Godzilla smashes into the Nagoya Castle, the actor in the suit, Haruo Nakajima, fell and the suit's head slammed into the castle, loosening the teeth. Special effects director Eiji Tsuburaya liked this so much that he wanted to keep the suit like that for a while.
During Godzilla's initial assault on Iwa Island, composer Akira Ifukube originally did not want to use music for the sequence. However, Ishiro Honda disagreed and added music during post-production without the composer's knowledge. When Ifukube first saw the sequence in the finished film at its premiere, he turned to Honda and gave him a dirty look. It is the only recorded disagreement they have ever had in their professional careers.
The claws on Godzilla's hands and feet were made out of FRP for the first time in this film.
Another highlight of the film is the "Frontier Missile" sequence, where Godzilla was being attacked on a beach by American battle cruisers. This scene was included only in the North American version, although part of the scene was featured briefly in the original Japanese trailer.
Titles
Mothra vs. Godzilla - Toho's current official English title. Classic Media used this title for their DVD release.
Godzilla vs. The Thing - UK and North American theatrical release title.
Godzilla vs. Mothra - American TV and home video title.
Godzilla Against Mothra - English title used in international promotional material, and on Toho's original posters.
Box office
The film sold approximately 3,510,000 tickets in Japan.
Reception
The film has received favorable reviews by critics, and is widely considered among the best Godzilla films. The film's approval rating on Rotten Tomatoes is currently at 90% based on ten reviews.
Mothra vs. Godzilla - Toho's current official English title. Classic Media used this title for their DVD release.
Godzilla vs. The Thing - UK and North American theatrical release title.
Godzilla vs. Mothra - American TV and home video title.
Godzilla Against Mothra - English title used in international promotional material, and on Toho's original posters.
Box office
The film sold approximately 3,510,000 tickets in Japan.
Reception
The film has received favorable reviews by critics, and is widely considered among the best Godzilla films. The film's approval rating on Rotten Tomatoes is currently at 90% based on ten reviews.
Home media releases
Classic Media
Released: November 7, 2006 (DVD/VHS)
Picture Format: 2.35:1 Anamorphic (Japanese Version) 1.77:1 Cropped-Anamorphic (US version)
Soundtrack(s): Japanese Dolby Digital 2.0 Mono (Japanese Version only) English Dolby Digital 2.0 Mono (US Version only)
Subtitles: English (optional)
Extras: Audio Commentary with authors Ed Godziszewski and Steve Ryfle (US Version only)
Japanese Trailer
Still Gallery Slide Show
Tribute to Akira Ifukube (13 mins)
Notes: Also available in The Godzilla Collection with "Gojira (Godzilla)", "Godzilla Raids Again", "Ghidorah, The Three-Headed Monster", "Invasion of Astro-Monster (Monster Zero), "All Monsters Attack", and "Terror of Mechagodzilla" (all films include Japanese and US Versions).
Re-release: October 18, 2013
Simitar Entertainment
Released: April 7, 1998 (DVD/VHS)
Picture Format: 2.35:1 (Non-Anamorphic) [NTSC]
Soundtrack(s): English Dolby Digital 5.1 and 2.0 Mono
Extras: The Gallery of Godzilla (stills, design sketches, storyboards and poster artwork)
Production Notes
Theatrical Trailer
Bonus Trailers for "Godzilla's Revenge", "Godzilla Vs. Monster Zero", “Godzilla, King Of The Monsters!”, and "Terror Of Mechagodzilla"
Interactive trivia game
DVD-ROM features: 4 screen savers, printable photo, & art galleries, and access to "simitar.com" and "followthru.com" websites
Notes: 1.33:1 pan & scan version also on "Side B". Also available in the 6-disc box set "Godzilla: 5 Rampaging Movies", with "Godzilla Vs. Monster Zero", "Terror Of Mechagodzilla", "Godzilla's Revenge", "Godzilla, King Of The Monsters!”, and "The Art Of Illusion" bonus disc.
Paramount Home Video/Gateway
Released: between 1995/1996 (VHS)
Paramount Home Video
Released: 1982 (VHS)
Classic Media
Released: November 7, 2006 (DVD/VHS)
Picture Format: 2.35:1 Anamorphic (Japanese Version) 1.77:1 Cropped-Anamorphic (US version)
Soundtrack(s): Japanese Dolby Digital 2.0 Mono (Japanese Version only) English Dolby Digital 2.0 Mono (US Version only)
Subtitles: English (optional)
Extras: Audio Commentary with authors Ed Godziszewski and Steve Ryfle (US Version only)
Japanese Trailer
Still Gallery Slide Show
Tribute to Akira Ifukube (13 mins)
Notes: Also available in The Godzilla Collection with "Gojira (Godzilla)", "Godzilla Raids Again", "Ghidorah, The Three-Headed Monster", "Invasion of Astro-Monster (Monster Zero), "All Monsters Attack", and "Terror of Mechagodzilla" (all films include Japanese and US Versions).
Re-release: October 18, 2013
Simitar Entertainment
Released: April 7, 1998 (DVD/VHS)
Picture Format: 2.35:1 (Non-Anamorphic) [NTSC]
Soundtrack(s): English Dolby Digital 5.1 and 2.0 Mono
Extras: The Gallery of Godzilla (stills, design sketches, storyboards and poster artwork)
Production Notes
Theatrical Trailer
Bonus Trailers for "Godzilla's Revenge", "Godzilla Vs. Monster Zero", “Godzilla, King Of The Monsters!”, and "Terror Of Mechagodzilla"
Interactive trivia game
DVD-ROM features: 4 screen savers, printable photo, & art galleries, and access to "simitar.com" and "followthru.com" websites
Notes: 1.33:1 pan & scan version also on "Side B". Also available in the 6-disc box set "Godzilla: 5 Rampaging Movies", with "Godzilla Vs. Monster Zero", "Terror Of Mechagodzilla", "Godzilla's Revenge", "Godzilla, King Of The Monsters!”, and "The Art Of Illusion" bonus disc.
Paramount Home Video/Gateway
Released: between 1995/1996 (VHS)
Paramount Home Video
Released: 1982 (VHS)
Details (Original film)
- Directed by Ishirō Honda
- Produced by Tomoyuki Tanaka
- Screenplay by Shinichi Sekizawa
- Music by Akira Ifukube
- Cinematography Hajime Koizumi
- Edited by Ryohei Fujii
- Production company Toho Studios
- Distributed by Toho
- Release date April 20, 1964 (Japan)
- Running time 88 minutes
- Country Japan
- Language Japanese
- Box office ¥2.66 billion
- Published on
Atragon, originally released in Japan as Kaitei Gunkan (海底軍艦), is a 1963 Japanese science fiction film produced and distributed by Toho. It is based on The Undersea Warship by Shunrō Oshikawa and The Undersea Kingdom by Shigeru Komatsuzaki. The film is directed by Ishirō Honda, with special effects by Eiji Tsuburaya and stars Jun Tazaki, Tadao Takashima, Yōko Fujiyama, Yū Fujiki, and Ken Uehara.
The film was released in Japan on December 22, 1963 and in the United States in 1965 via American International Pictures. A two episode OVA titled Super Atragon, based on the same novels, was produced by Phoenix Entertainment in 1995.
The film was released in Japan on December 22, 1963 and in the United States in 1965 via American International Pictures. A two episode OVA titled Super Atragon, based on the same novels, was produced by Phoenix Entertainment in 1995.
Plot
The legendary empire of the lost continent of Mu reappears to threaten the world with domination. While countries unite to resist, an isolated World War II Captain has created the greatest warship ever seen, and possibly the surface world's only defense.
While on a magazine photo shoot one night, photographers Susumu and Yoshito witness a car drive into the ocean. While speaking with a detective the next day they spot Makoto Jinguji, daughter of deceased Imperial Captain Jinguji, who is also being followed by a suspicious character. Her father's former superior, retired Rear Admiral Kusumi is confronted by a peculiar reporter, who claims contrarily that Captain Jinguji is alive and at work on a new submarine project. The threads meet when a mysterious taxi driver, who almost abducts Makoto and the Admiral, claiming to be an agent of the drowned Mu Empire. Foiled by the ensuing photographers, he flees into the ocean.
During another visit to the detective, a package inscribed "MU" arrives for the Admiral. Contained within is a film depicting the thriving undersea continent (with its own geothermal "sun") and demanding that the surface world capitulate, and prevent Jinguji from completing his submarine Atragon.
The legendary empire of the lost continent of Mu reappears to threaten the world with domination. While countries unite to resist, an isolated World War II Captain has created the greatest warship ever seen, and possibly the surface world's only defense.
While on a magazine photo shoot one night, photographers Susumu and Yoshito witness a car drive into the ocean. While speaking with a detective the next day they spot Makoto Jinguji, daughter of deceased Imperial Captain Jinguji, who is also being followed by a suspicious character. Her father's former superior, retired Rear Admiral Kusumi is confronted by a peculiar reporter, who claims contrarily that Captain Jinguji is alive and at work on a new submarine project. The threads meet when a mysterious taxi driver, who almost abducts Makoto and the Admiral, claiming to be an agent of the drowned Mu Empire. Foiled by the ensuing photographers, he flees into the ocean.
During another visit to the detective, a package inscribed "MU" arrives for the Admiral. Contained within is a film depicting the thriving undersea continent (with its own geothermal "sun") and demanding that the surface world capitulate, and prevent Jinguji from completing his submarine Atragon.
The UN realizes that Atragon may be the world's only defense and requests that Admiral Kosumi appeal to Jinguji. Concurrently, Makoto's stalker is arrested and discovered to be a naval officer under Jinguji. He agrees to lead the party to Jinguji's base but refuses to disclose its location. After several days of travel, the party find themselves on a tropical island inhabited only by Jinguji's forces and enclosing a vast underground dock.
Eventually Captain Jinguji greets the visitors, though he is cold toward his daughter and infuriated by Kusumi's appeal. He built Atragon, he explains, as a means to restore the Japanese Empire after its defeat in World War II, and insists that it be used for no other purpose. Makoto runs off in anger, later to be consoled by Susumu. Atragon's test run is a success, the heavily armored submarine even elevating out of the water and flying about the island. When the Captain approaches Makoto that evening they exchange harsh words; again Susumu reproaches the Captain for his selfish refusal to come to the world's aid. After Makoto and Susumu are kidnapped by the reporter, and the base crippled by a bomb, Jinguji consents to Kusumi's request and prepares Atragon for war against Mu.
The Mu Empire executes a devastating attack on Tokyo and threatens to sacrifice its prisoners to the monstrous deity Manda if Atragon appears. Appear the super-submarine does, pursuing a Mu submarine to the Empire's entrance in the ocean depths. Meanwhile, Susumu and the other prisoners escape their cell and kidnap the Empress of Mu. They are impeded by Manda, but soon rescued by Atragon, which then engages the serpent and freezes it using the "Absolute Zero Cannon". Jinguji offers to hear peace terms, but the proud Empress refuses. The Captain then advances Atragon into the heart of the Empire power room and freezes its geothermal machinery. This results in a cataclysmic explosion visible even to those on deck of the surfaced submarine. Her empire dying, the Mu Empress abandons the Atragon and, Jinguji and company looking on, swims into the conflagration.
The Mu Empire executes a devastating attack on Tokyo and threatens to sacrifice its prisoners to the monstrous deity Manda if Atragon appears. Appear the super-submarine does, pursuing a Mu submarine to the Empire's entrance in the ocean depths. Meanwhile, Susumu and the other prisoners escape their cell and kidnap the Empress of Mu. They are impeded by Manda, but soon rescued by Atragon, which then engages the serpent and freezes it using the "Absolute Zero Cannon". Jinguji offers to hear peace terms, but the proud Empress refuses. The Captain then advances Atragon into the heart of the Empire power room and freezes its geothermal machinery. This results in a cataclysmic explosion visible even to those on deck of the surfaced submarine. Her empire dying, the Mu Empress abandons the Atragon and, Jinguji and company looking on, swims into the conflagration.
Cast
- Jun Tazaki as Captain Hachiro Jinguji
- Tadao Takashima as Susumu Hatanaka
- Yōko Fujiyama as Makoto Jinguji
- Ken Uehara as Rear Admiral Kusumi
- Yū Fujiki as Yoshito Nishibe
- Kenji Sahara as Umino
- Hiroshi Koizumi as Detective Ito
- Akihiko Hirata as Mu Agent #23
- Hideyo Amamoto as High Priest of Mu
- Tetsuko Kobayashi as Empress of Mu
Themes
The predominant themes of Atragon are nationalism, patriotism, and pride. Unchecked affirmation of these principles manifests in the central character of Captain Jinguji, who built the Atragon for the sole purpose of reviving the Empire of Japan; and in the Empress of Mu, whose motive to reestablish her nation's global dominance parallels Jinguji's. Much as the aggressive policies of Japan secured the nation's defeat in World War II, the former Empire of Mu continues its siege on the surface world even after Atragon—their only feared adversary—rises to challenge. Both leaders vehemently reject the notion of peaceful surrender, and even international cooperation, but while Jinguji is ultimately persuaded to suppress his 20-year vendetta, the young Empress sees her defeated nation through to annihilation. Whereas Jinguji revolted in order to prepare a counterattack, the Empress acts differently on her nationalistic resolve by abandoning the Atragon to die with her people.
The predominant themes of Atragon are nationalism, patriotism, and pride. Unchecked affirmation of these principles manifests in the central character of Captain Jinguji, who built the Atragon for the sole purpose of reviving the Empire of Japan; and in the Empress of Mu, whose motive to reestablish her nation's global dominance parallels Jinguji's. Much as the aggressive policies of Japan secured the nation's defeat in World War II, the former Empire of Mu continues its siege on the surface world even after Atragon—their only feared adversary—rises to challenge. Both leaders vehemently reject the notion of peaceful surrender, and even international cooperation, but while Jinguji is ultimately persuaded to suppress his 20-year vendetta, the young Empress sees her defeated nation through to annihilation. Whereas Jinguji revolted in order to prepare a counterattack, the Empress acts differently on her nationalistic resolve by abandoning the Atragon to die with her people.
Production
Atragon is loosely based on The Undersea Warship by Shunrō Oshikawa and The Undersea Kingdom by Shigeru Komatsuzaki. Komatsuzaki also served as an uncredited designer for the film, as he had with The Mysterians and Battle in Outer Space.
Screenwriter Sekizawa wrote a scene where Jinguji learned of his daughter's kidnapping and was prepared to sacrifice her in order to save the world, which triggered an argument between Jinguji and Kosumi. Director Honda choose to cut this because he saw the story as a parable of global problems rather than personal problems. Producer Tanaka also insisted that a monster, Manda, be included in the film.
Honda had no idea who to cast as the Empress of Mu but met Tetsuko Kobayashi by chance, who was working on a TV show in Toho's lot. Honda found her to be "hard working and very energetic". Kobayashi also applied the Empress' makeup herself.
The film's production schedule was shorter than usual, with production beginning September 5, 1963 targeted for a December release of that same year. This resulted in effects director Eiji Tsuburaya scaling back some effects. Honda originally wanted to show towns and residual areas for the Mu Empire but didn't have enough money in the budget.
Atragon is loosely based on The Undersea Warship by Shunrō Oshikawa and The Undersea Kingdom by Shigeru Komatsuzaki. Komatsuzaki also served as an uncredited designer for the film, as he had with The Mysterians and Battle in Outer Space.
Screenwriter Sekizawa wrote a scene where Jinguji learned of his daughter's kidnapping and was prepared to sacrifice her in order to save the world, which triggered an argument between Jinguji and Kosumi. Director Honda choose to cut this because he saw the story as a parable of global problems rather than personal problems. Producer Tanaka also insisted that a monster, Manda, be included in the film.
Honda had no idea who to cast as the Empress of Mu but met Tetsuko Kobayashi by chance, who was working on a TV show in Toho's lot. Honda found her to be "hard working and very energetic". Kobayashi also applied the Empress' makeup herself.
The film's production schedule was shorter than usual, with production beginning September 5, 1963 targeted for a December release of that same year. This resulted in effects director Eiji Tsuburaya scaling back some effects. Honda originally wanted to show towns and residual areas for the Mu Empire but didn't have enough money in the budget.
Release
Atragon was released in Japan on December 22, 1963. It became the 13th highest grossing domestic film of the year, grossing ¥175 million.
Atragon became a popular feature on TV and at film festivals. In fact, it was so popular that it was re-released in 1968 as the support feature for Honda's Destroy All Monsters. It was also the 1964 Japanese entry at the Trieste Science Fiction Film Festival.
American International Pictures afforded the film a successful U.S. theatrical release in 1965 with minimal changes and quality dubbing by Titra Studios. The new name Atragon, derived from Toho's international title Atoragon, is presumably a contraction of "Atomic dragon", a colorful moniker for the titular juggernaut; however, AIP's dubbed dialogue refers to the Goten-go by the name "Atragon." This shortening from four to three syllables was the choice of AIP, since several European markets released the film as Atoragon (Italy) and Ataragon (France). While Atragon became Toho's first tokusatsu eiga (Visual Effects Film) released on home video in 1982, and though the film is exceptionally popular among western tokusatsu fans, Atragon was not released on home video in the United States until Media-Blasters' DVD in 2005 (although the film was in constant television syndication in the U.S. until the early 1980s). Media Blasters had intended to use the original Titra Studios dubbing, but Toho forced the company to use its international version. This alternate dubbed version syncs up perfectly with the Japanese video, but fans generally consider these international dubs to be inferior. Its enduring popularity in Japan is evident in the number of plastic model kits, garage kits, and adult-targeted toys based on the Goten continually on the market.
Atragon was released in Japan on December 22, 1963. It became the 13th highest grossing domestic film of the year, grossing ¥175 million.
Atragon became a popular feature on TV and at film festivals. In fact, it was so popular that it was re-released in 1968 as the support feature for Honda's Destroy All Monsters. It was also the 1964 Japanese entry at the Trieste Science Fiction Film Festival.
American International Pictures afforded the film a successful U.S. theatrical release in 1965 with minimal changes and quality dubbing by Titra Studios. The new name Atragon, derived from Toho's international title Atoragon, is presumably a contraction of "Atomic dragon", a colorful moniker for the titular juggernaut; however, AIP's dubbed dialogue refers to the Goten-go by the name "Atragon." This shortening from four to three syllables was the choice of AIP, since several European markets released the film as Atoragon (Italy) and Ataragon (France). While Atragon became Toho's first tokusatsu eiga (Visual Effects Film) released on home video in 1982, and though the film is exceptionally popular among western tokusatsu fans, Atragon was not released on home video in the United States until Media-Blasters' DVD in 2005 (although the film was in constant television syndication in the U.S. until the early 1980s). Media Blasters had intended to use the original Titra Studios dubbing, but Toho forced the company to use its international version. This alternate dubbed version syncs up perfectly with the Japanese video, but fans generally consider these international dubs to be inferior. Its enduring popularity in Japan is evident in the number of plastic model kits, garage kits, and adult-targeted toys based on the Goten continually on the market.
