- Ghidorah, the Three-Headed Monster (1964): Both UFO cultists and cops agree, heat wave in winter and meteor showers are weird. A cop is assigned to bodyguard a princess from a small island under civil war. Said princess is contacted by an alien voice and told to jump from the plane, and she never even got her drink! Scientists hike into the mountains to investigate a meteor landing.
I must say, Japan’s wilderness looks fantastic. The cinematography on this one, in color!, is head and shoulders above previous films. Even when they go into matte paintings and sets, it looks good. They do interesting cuts, like using a subway car as a wipe. It’s almost hard to believe this is Honda Ishiro still, not doing locked-down cameras and super simple cuts or wipes; earlier he was more a director of people and cool events, not using the camera well. Even the rear projections are now fairly close to seamless.
Naoko the journalist and the Princess are both cute as hell. Naoko’s cop brother is kind of a doofus, and utterly extraneous to the plot. The bodyguard cop has no personality except brooding and shooting (not very well, he never kills anyone with at least 30 shots), and there’s no love between him and the Princess in the first half; all he has is a picture, and she’s not herself. Has Honda learned cinematography, but forgotten about romance as the main driver of Human-scale plots?! What a terrible bargain.
The Mothra twins appear on TV, and summon a vision of the Mothra larva. This is a Japan that just lives with the regular existence of giant monsters and magic on TV, I don’t see how anyone can mock UFO cultists or prophets from Venus in that world.
“Stay out of Mount Aso, Rodan will emerge!” “Shut up prophet! … OH NO IT’S RODAN AAAIEEE!” Incredibly predictable scene, but perfect “fools die of their folly” scene. Rodan’s costume & flying puppet are much improved over the first movie, but it’s a little odd being more of a Pteranodon/Roc hybrid now.
“Don’t get on the ship!” And at least the important characters pay attention, but the poor sailors are going to meet… well, who else would be in the ocean? Big G’s moving eyes look really weird. The suit’s otherwise fine, but definitely reaching the end of this first design.
Fools stand far too close to Ghidorah’s… egg? Meteor? Spaceship? But someone must witness the birth of a death god. The Princess tells the protagonists the Earth is doomed, and sells it for once. We start to get a real kaiju cosmology here, with planets preyed on or defended by monsters.
Finally we have all the world’s monsters assembled, rampaging begins.
The assassins chasing the Princess thru the entire film have been unstoppable, but not very competent, and kind of a waste of time. The plot as it is would happen without them.
Possibly too much of the monster scenes are them arguing with Mothra, rather than fighting, there’s only a few minutes of King Ghidorah vs the three defending kaiju. There is a bit of destruction in Tokyo, but mostly it’s a beloved peasant village or wilderness at the foot of Mt Fuji. Mothra’s very slow and annoying power, Godzilla throwing rocks, Rodan standing around waving its wings, are enough to drive off the dragon. FOR NOW.
★★★½☆ – Needs about 15 minutes less Human time, replaced with monster fighting time.
This is a major influence on my favorite kaiju movie, GMK: Godzilla Mothra King Ghidorah Giant Monster All-Out Attack, but there Godzilla and Ghidorah switch places, and the subplots are wiped away so it’s just reporter, crazy old man as “prophet”, and monsters. And on the latest Hollywood Godzilla King of the Monsters, but there everything is 100x larger than life.