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Monster Mondays: Godzilla vs. SpaceGodzilla (1994)

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By Ben Dower

The United Nations Godzilla Countermeasures Centre has built another giant robot, named Moguera, to defend Japan against Godzilla.  They have also devised a plan to place a psychic controller on Godzilla.  Meanwhile, Miki Saegusa (Megumi Odaka) receives a vision from the Cosmos, via Fairy Mothra, that warn her a space monster is on the way to Earth.

Lieutenant Koji Shinjo (Jun Hashizume) and Lieutenant Kiyoshi Sato (Zenkichi Yoneyama) are dispatched to Baas Island, where Godzilla lives with Little Godzilla, and meet with Major Akira Yuki (Akira Emoto).  Major Yuki has a grudge against Godzilla for killing one of his friends during the events of Godzilla vs. Biollante (1989) and is working on his own plan to use blood coagulant to kill Godzilla.  They are later joined on the island by Dr. Susumu Okubo (Yosuke Saito), Professor Chinatsu Gondo (Towako Yoshikawa), and Miki Saegusa.

SpaceGodzilla is detected heading for Earth and Moguera is dispatched to confront it in the asteroid belt.  Moguera and the monster clash, but Moguera is defeated and has to return to Earth.

The psychic controller is planted on Godzilla and Miki is able to control the monster for a while before the device shorts out.  Lieutenant Shinjo and Lieutenant Sato join Major Yuki in his plan to kill Godzilla, but they are interrupted by the arrival of SpaceGodzilla.  SpaceGodzilla traps Little Godzilla in a crystaline cage and defeats Godzilla before flying away.

Miki is kidnapped from Baas Island.  It turns out Dr. Okubo is part of the Yakuza and he wants to use her to control Godzilla, but she is soon rescued by Major Yuki, Lieutenant Shinjo, and Lieutenant Sato.

SpaceGodzilla lands beside Fukuoka Tower and causes giant crystals to grow out of the ground.  Meanwhile, Godzilla comes ashore in Kagoshima and begins heading to Fukuoka as well.  Major Yuki, Lieutenant Shinjo, and Lieutenant Sato are sent in Moguera to fight SpaceGodzilla.  Godzilla arrives in Fukuoka and joins with Moguera to battle SpaceGodzilla.  Moguera is destroyed in the battle, but with SpaceGodzilla weakened, Godzilla is able to overpower it and kill it.

Miki uses her telekinesis to remove the psychic controller from Godzilla.  Major Yuki has also found a new respect for Godzilla and lets go of his grudge against the monster.  On Baas Island, the crystaline cage that held Little Godzilla has disappeared, and the baby monster is learning to breath atomic fire like his dad.   

Godzilla vs. SpaceGodzilla was released in Japanese theatres on December 10th, 1994.  Kensho Yamashita was given the directorial duties and Hiroshi Kashiwabara wrote the screenplay.  Akira Ifukube did not return to score this movie, so Takayuki Hattori wrote the soundtrack instead.

Godzilla vs. SpaceGodzilla is largely considered one of the weaker entries in the Heisei Godzilla series.  Though Major Yuki’s quest for revenge against Godzilla is one of the stronger subplots of the film, his plan to use a bullet filled with coagulant to do it feels rather ridiculous considering Godzilla just destroyed a multi-billion yen robot in the previous film.  There is also a really awkard romance that blooms between Lieutenant Shinjo and Miki Saegusa, despite the fact the two of them spend a lot of time arguing about Godzilla.

The theory proposed for SpaceGodzilla’s creation by Professor Gondo is that some Godzilla cells were carried into space, either by Mothra or Biollante, sucked into a black hole, pushed out from a white hole, merged with crystal organisms, and then exposed to energy from stars until it mutated into SpaceGodzilla.  It is really silly and feels somewhat adhoc, even for a Godzilla movie.  Still, SpaceGodzilla looks wonderfully imposing and his supernatural powers add a little diversity to the monster battles.  One thing that is really great about SpaceGodzilla are the little details that seem to indicate the Godzilla cells responsible for his creation come from Biollante, like the spikes at the side of his mouth and the golden spores rising into the air when he dies.

While SpaceGodzilla does look cool, Little Godzilla isn’t so fortunate.  Baby Godzilla from Godzilla vs. Mechagodzilla II(1993) has grown a bit, but instead of sticking with the naturalistic looking dinosaur style of the last film, this movie features a really cute stubby tailed monster.  It does not feel like the natural next stage of the creature from the previous movie.  Fortunately the more naturalistic look would return in Godzilla vs. Destoroyah (1995) with Godzilla Junior, but Little Godzilla is a really strong diversion from what was established in the previous film.

Moguera is also a huge come down from Mechagodzilla in the last movie.  While Mechagodzilla’s design was smooth, and he walked with power and purpose, Moguera is angular and stiff.  Instead of inspiring a sense of awe like Mechagodzilla, you find yourself questioning how G-Force would ever expect Moguera to be able to go up against Godzilla.  Moguera also has the ability to separate into two smaller battle vehicles, Star Falcon and Land Moguera. Moguera is actually a returning monster based on a giant robot from the Toho alien invasion film The Mysterians (1957). 

Toho had Godzilla vs. SpaceGodzilla dubbed into English in Hong Kong and the film was released to VHS in North America in 1999 by Columbia TriStar Home Video.  This release was an English dubbed full screen version of the film that cut off the end credits, which featured video of Fairy Mothra flying in space.  The film was released on DVD in 2000 in widescreen with English dubbing as the only audio option.  Unfortunately, the DVD is a double-sided disc with Godzilla vs. Destoroyah (1995), making it difficult to handle and easy to get dirty or damaged. 

In 2014, Godzilla vs SpaceGodzilla was released to Blu-ray in a double-feature set with Godzilla vs. Mechagodzilla II(1993) by Sony Pictures Home Entertainment. Both films get their own disc, and are presented in widescreen with the original Japanese audio and English dub as audio options.  The full end credits are also preserved this time, though translated into English.  The subtitles appear to be largely, though not totally, based off the dub.  The Blu-ray release seem to still be available.

Monster Mondays: Godzilla vs. Mechagodzilla II (1993)

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By Ben Dower

The United Nations Godzilla Countermeasures Centre’s G-Force unit has built two new battle machines using the futuristic technology found in Mecha-King Ghidorah.  One is an aerial combat vehicle called Garuda, and the second is Mechagodzilla.

On Adonoa Island in the Bering Sea, an unfossilized Pteranodon egg is discovered.  As the research team is preparing to take the egg back to Japan, they are attacked by Rodan.  Suddenly Godzilla emerges from the sea and battles Rodan, killing it.  While the monsters are distracted by their fight, the team flees the island with the egg.

Back in Kyoto, scientist Azusa Gojo (Ryoko Sano) is studying the egg.  Mechagodzilla pilot Kazuma Aoki (Masahiro Takashima), who loves Pteranodons, skips out of work to see the egg.  The egg soon hatches, but instead of a Pteranodon, a Baby Godzilla emerges.

Godzilla appears at Yokkaichi and Mechagodzilla is dispatched.  A replacement pilot has to be found last minute for Kazuma, much to the frustration of his co-pilots.  Mechagodzilla battles Godzilla, but is defeated.  Godzilla heads to the Kyoto facility where Baby Godzilla is being kept.  Unable to get to the infant in the basement of the facility, Godzilla heads out to sea.

Psychic Miki Saegusa (Megumi Odaka) has found that some prehistoric ferns on Baby Godzilla’s egg shell contained some sort of psychic song.  She has a group of girls from an ESP centre sing the song for Baby Godzilla, but it seems to only agitate him.  On Adonoa Island, however, the song has revived Rodan.

A plan is made to use Baby Godzilla to lure Godzilla to a remote island where he can be killed by Mechagodzilla.  As part of the plan, Miki will be needed on Mechagodzilla to locate Godzilla’s secondary brain in his spine.  Miki and Azusa object to the plan, but are overruled.

Azusa gets clearance to travel in the container with Baby Godzilla by helicopter, but the helicopter is suddenly attacked by Rodan.  The container is taken to Chiba by the monster, who then tries to break it open to get Baby Godzilla out.  Mechagodzilla and Garuda are sent, and Rodan is seriously injured.  Before Azusa and Baby Godzilla can be freed from the container, however, Godzilla emerges.

Despite feeling uncomfortable with the plan, Miki helps Mechagodzilla kill Godzilla.  Hearing Godzilla’s cries, Baby Godzilla calls out.  Rodan awakens and sacrifices himself, transferring his remaining energy into Godzilla.  Godzilla revives, super-charged, and destroys Mechagodzilla.  He then collects Baby Godzilla and the two monsters head out to sea.

Godzilla vs. Mechagodzilla II is arguably one of the best Godzilla movies of the Heisei series, packed with likable characters, a fun story, great special effects, and a lot of monster action.  It also brings back three classic Toho monsters: Mechagodzilla, Rodan and Minya, here reimagined as the much more grounded Baby Godzilla.

Takao Okawara was given the director’s chair once again, and Wataru Mimura was given the writing duties.  Mimura’s story is fun and engaging, keeping a great balance between the human characters and their monster co-stars, something helped by the inclusion of Baby Godzilla within those more human-oriented scenes.

Akira Ifukube also returns to score his third Heisei Godzilla movie, and he delivers a fatastic soundtrack.  Not only are his classic Godzilla and Rodan themes back, but he also writes brand new themes for Baby Godzilla and Mechagodzilla.  His theme for Mechagodzilla is particularly good, balancing the sense of power and weight of the robot with the wonder such a device should inspire.  Another standout piece is the music for Godzilla’s battle with Rodan on Adonoa island, which alternates beautifully between Godzilla’s theme and Rodan’s theme as the monsters clash.

Mechagodzilla is a truly fantastic update of the character.  Rather than being built by alien invaders this time around, the film takes the more rational route and has Mechagodzilla produced on Earth as an anti-Godzilla weapon.  The idea of using the technology found in Mecha-King Ghidorah is a really good one as it helps explain how this high-tech super-weapon was able to be built in 1994.  Mechagodzilla is less angular than his 1970s counterpart in this film, and moves a lot slower and more robotic, giving a real impression of weight and strength.

Thematically, Godzilla vs. Mechagodzilla II isn’t all that deep.  Though the theme of the film is stated outright by one of the characters rather awkwardly as “life against artificial life”, the movie really seems to be addressing the value of life.  When it is decided that Baby Godzilla will be used as an “asset” to lure Godzilla, Azusa remarks that he is not just an asset, but a living being.  Miki also has reservations about the plan to kill Godzilla, and though she ultimately does what her superiors command, it’s clear she feels great guilt for her role in it.

Toho had Godzilla vs. Mechagodzilla II dubbed into English in Hong Kong and the film was released to VHS in North America in 1999 by Columbia TriStar Home Video.  This release was an English dubbed full screen version of the film that cut off the end credits, which featured video of Godzilla and Baby Godzilla swimming out to sea.  The film was later released on DVD in 2005 in widescreen with both the English dubbed audio track and the Japanese audio, though the English subtitles provided on the disc are based on the dubbing rather than a proper translation of the Japanese dialogue.  There appears to have been another English dub produced for the film as well, though it doesn’t seem to have been released.

In 2014, Godzilla vs. Mechagodzilla II was released to Blu-ray in a double-feature set with Godzilla vs SpaceGodzilla(1994) by Sony Pictures Home Entertainment. Both films get their own disc, and are presented in widescreen with the original Japanese audio and English dub as audio options.  The full end credits are also preserved this time, though translated into English.  Unfortunately the subtitles are largely based off the dub again.  The DVD and Blu-ray releases appear to still be available.

Monster Mondays: Godzilla vs. Mothra (1992)

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By Ben Dower

A meteor slams into the Pacific Ocean, awakening Godzilla and creating a typhoon.  The typhoon hits Infant Island and uncovers a giant object that had been buried there. Takuya Fujita (Tetsuya Bessho) is arrested in Thailand for stealing ancient artifacts from a temple.  A Japanese government official (Shoji Kobayashi), his ex-wife Masako Tezuka (Satomi Kobayashi), and Marutomo company representative Kenji Ando (Takehiro Murata) offer to get Takuya out of jail if he will help explore Infant Island, where the Marutomo company has plans for development.

Takuya, Masako, and Kenji go to Infant Island and find Mothra’s egg and two tiny women, who call themselves the Cosmos (Keiko Imamura, Sayaka Osawa).  They say that not only has Mothra been awoken, but Battra, the Black Mothra, may also be awake again.  Marutomo decides to bring the egg back to Japan and use it as an attraction.  The Battra larva is soon sighted at sea.  It lands in Japan and burrows underground, emerging in Nagoya and causing a lot of destruction, before disappearing back underground.

As the egg is being towed back to Japan, Godzilla emerges from the depths and attacks.  The egg hatches into a Mothra larva.  Godzilla and Mothra fight, but are interrupted by Battra.  In the end, Battra and Godzilla disappear into an undersea volcano and Mothra swims back to Infant Island.

Wanting to save his repuation at the company, Kenji steals the Cosmos and presents them to his boss as a replacement for the egg.  Takuya steals the Cosmos back, but tries to sell them to an American buyer.  Mothra comes to Japan to reclaim the Cosmos, and Takuya realizes his mistake.  Confident that the Cosmos are safe, Mothra cocoons itself on the National Diet Building.

Mount Fuji erupts, releasing Godzilla.  Godzilla heads toward Yokohama and is confronted by the JSDF, but easily smashes his way through them.  Battra also reappears, bursting out of a fissure under the sea and transforming into his adult form.

Mothra hatches from her coccoon and confronts Battra over Yokohama.  Battra manages to pin Mothra down at Minato Mirai 21, but before he can finish her off, Godzilla also arrives.  Mothra and Battra join forces against Godzilla, but as they carry him out to sea, Godzilla delivers a fatal bite to Battra.  Mothra drops Godzilla and the dead Battra in the ocean and puts a magic seal over them.  Mothra then heads into space to stop a meteor that will hit Earth in 1999.

Toho had found a lot of success in bringing back a popular Godzilla foe in Godzilla vs King Ghidorah (1991), and so decided to try again, this time bringing back Mothra.  Though Kazuki Omori was brought back to write the film, Takao Okawara was hired to direct this time.  Koichi Kawakita remained on special effects.

Akira Ifukube once again wrote the soundtrack, weaving updated versions of his classic Godzilla and Mothra themes in with some wonderful new pieces, such as Battra’s theme.  Three classic Mothra songs return: Song of Mothra, originally written by Yūji Koseki for Mothra (1961), as well as Mahara Mosura and Sacred Springs, which Ifukube had originally composed for Mothra vs. Godzilla (1964).

Mothra is the star of the show this time around, with Godzilla and Battra largely in supporting roles.  Both Battra and Godzilla disappear into a volcano shortly after their first skirmish and don’t re-emerge until the plot requires them to set up the final confrontation.  Also, because Battra is sidelined for so long, the monster ends up having to skip its pupal stage, going directly from caterpillar to moth.  Still, Mothra is a strong enough character to hold the audience’s attention, so this doesn’t really hurt the film.

Where Godzilla vs Mothra is weakest is perhaps the plot.  The movie’s storyline feels a little winding at times, and it just doesn’t seem to come together into a cohesive whole as well as it should.  For example, there is a lot of handwringing about what humanity has done to the Earth and how the Earth will get its revenge, but then that’s mostly ignored once Godzilla comes out of Mount Fuji.  It would have worked much better if the film ended in a way that brought that message home. Still, the movie remains engaging and fun throughout, and contains a lot of great practical effects work to bring its three giant stars to life.

Godzilla vs. Mothra is sprinkled with homages to earlier films.  Mothra coming to Tokyo and cocooning on the National Diet Building is a call-back to Mothra (1961), when she came to Tokyo to save the Shobijin and cocooned on Tokyo Tower.  Her battle at sea with the Japanese navy also recalls a similar scene in that film.  Battra’s attack on Nagoya is a clear homage to Godzilla’s attack on the same city in Mothra vs. Godzilla (1964) as well.

Godzilla vs. Mothra has a lot to say about our destruction of the evironment and the consequences that could arise from it.  Unfortunately, much of this messaging is handled in a preachy manner.  Despite this lack of subtlety, the thirty years following Godzilla vs Mothra’s release on December 12, 1992 have shown how right the film was about the impact of our disregard for the environment.

Toho had Godzilla vs. Mothra dubbed into English in Hong Kong and the film was released to VHS and DVD in North America in 1998 by Columbia TriStar Home Video as Godzilla and Mothra: The Battle for Earth.  Both the VHS and DVD offer an English dubbed full screen version of the film that cuts off the end credits, which featured video of the stars after Mothra had flown into space.  To make matters worse, the DVD is a double-sided disc with Godzilla vs. King Ghidorah (1991), making it difficult to handle and easy to get dirty or damaged. 

In 2014, Godzilla vs. Mothra was released to Blu-ray in a double-feature set with Godzilla vs King Ghidorah (1991) by Sony Pictures Home Entertainment, again under the title Godzilla and Mothra: The Battle for Earth.  Fortunately, both films get separate discs this time around, and are presented in widescreen with the original Japanese audio and English dub as audio options, though the end credit video is still truncated.   All North American releases of Godzilla vs Mothra are currently out of print.

Monster Mondays: Godzilla vs. King Ghidora (1991)

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By Ben Dower

In 1992, writer Kenichiro Teresawa (Kōsuke Toyohara) is working on a book called The Birth of Godzilla, which details his theory that a dinosaur on Lagos Island that saved a Japanese unit during WWII was irradiated by H-bomb tests and turned into Godzilla.

A time machine from the 23rd century appears in Japan and onboard are Wilson (Chuck Wilson), Glenchiko (Richard Berger), and Emi Kanno (Anna Nakagawa), as well as several androids, including one called M-11 (Robert Scottfield).  The Futurians warn that Godzilla will soon destroy Japan and offer to go back in time to prevent the monster’s creation.

Emi and M-11 go back to 1944, taking with them Teresawa, Miki Saegusa (Megumi Odaka), and Professor Masaaki (Katsuhiko Sasaki), and witness the dinosaur battle U.S. forces on Lagos Island, saving the Japanese unit on the island.  The unit, led by Yasuaki Shindo (Yoshio Tsuchiya), pays their respects to the injured dinosaur and leaves the island.  M-11 teleports the dinosaur away from the island and Emi secretly release three small creatures called Dorats there.  Upon their return to the present, Wilson and Glenchiko inform them that Godzilla is gone, but a new monster has appeared: King Ghidorah.

King Ghidorah attacks Fukuoka, devastating the city and nearly killing Yasuaki Shindo, who is now a very successful businessman.  It turns out Wilson and Glenchiko are controlling King Ghidorah, which was once the three Dorats, and want to use him to prevent Japan from ascending to economic world dominance.  Emi, not realizing the full extant of Wilson and Glenchiko’s plan, reprograms M-11 in a mission to stop them.

Teresawa does some investigating and finds out a nuclear submarine sunk in the area they had teleported the dinosaur too, creating Godzilla anyways.  Godzilla emerges in Hokkaido and the Futurians send King Ghidorah to attack him.  Emi, M-11, and Teresawa destroy the computer being used to control King Ghidorah, giving Godzilla the upperhand.  They then teleport the time machine to Godzilla, who destroys it, killing Wilson and Glenchiko.  Godzilla blasts King Ghidorah with his atomic breath, sending the dragon plummeting into the ocean, and then attacks Sapporo.  

Emi goes back to the 23rd century and turns the remains of King Ghidorah into a giant cyborg called Mecha-King Ghidorah.  She brings Mecha-King Ghidorah back to 1992 and confronts Godzilla in Shinjuku, Tokyo, eventually carrying the monster out to sea.  She ditches Godzilla and Mecha-King Ghidorah in the ocean and heads back to 23rd century.

Godzilla vs. King Ghidorah is a fascinating if somewhat muddled movie.  While The Return of Godzilla (1984) and Godzilla vs. Biollante (1989) had been rather serious scifi films, Godzilla vs. King Ghidorah injects much of the classic 1960s-style fun back into the series, and brings back arguably Godzilla’s most popular foe in the process.  The movie also maintains Godzilla’s core anti-nuclear themes while addressing Japan’s incredible post-war economic rise.

Composer Akira Ifukube returns to score his first Heisei Godzilla series film.  Ifukube had scored around half of the Showa Godzilla series films, including Godzilla (1954), as well as a lot of Toho’s other monster films.  His familiar musical cues for the monsters really add to the classic feel of this movie.

For his return to the big screen for the first time since the 1970s, King Ghidorah was given a makeover and all-new origin.  The new look is a rather simple but nice update of the Showa design, with horns replacing the hair behind each of the heads and spikes added to the two ends of the tail.  The new origin, in which King Ghidorah is the result of three small genetically engineered creatures mutating and fusing after exposure to an H-bomb test, is much more complicated than in the Showa series, and quite frankly just doesn’t work as well.

Godzilla also gets a revised origin, albeit a little less so than King Ghidorah.  In 1954, the big concern was nuclear weapons, but by the 1990s, nuclear energy was being used for all sorts of things and there had been a handful of nuclear accidents.  In Godzilla vs. King Ghidorah, Godzilla being recreated after his removal from history through an accident involving a nuclear submarine is not just a warning against nuclear weapons, but also a warning against our increasing use of nuclear energy in our everyday lives.

Godzilla vs. King Ghidorah looks at Japan’s economic growth in the years since the war, particularly through the character of Yasuaki Shindo.  When the war ended in 1945, Japan was completely devastated.  By the mid-1980s, just four decades later, Japan was an economic powerhouse, with the Nikkei hitting its peak in late 1989.  By the time Godzilla vs. King Ghidorah hit theatres on December 14, 1991, the Japanese bubble economy had begun to burst.  Yasuaki Shindo is a World War II soldier turned businessman who helped rebuild Japan to prosperity in the decades after the war, only to live long enough to see Godzilla, the same creature who had saved him in 1944, begin to destroy everything he had worked for.

Godzilla vs. King Ghidorah sparked controversy in the United States upon its release in Japan due to its portrayal of Westerners trying to sabatoge Japan’s success and Godzillasaurus slaughtering U.S. soldiers on Lagos Island.  Tensions were high between Japan and the United States at the time due to Japan’s economic strength and some American news outlets ran stories about the film.

Toho had Godzilla vs. King Ghidorah dubbed into English in Hong Kong and the film was released to VHS and DVD in North America in 1998 by Columbia TriStar Home Video.  Both the VHS and DVD offer an English dubbed full screen version of the film that cuts off the end credits, which featured video of Godzilla under the sea.  To make matters worse, the DVD is a double-sided disc with Godzilla vs. Mothra (1992), making it difficult to handle and easy to get dirty or damaged. 

In 2014, Godzilla vs. King Ghidorah was released to Blu-ray in a double-feature set with Godzilla vs Mothra (1992) by Sony Pictures Home Entertainment.  Fortunately, both films get separate discs this time around, and are presented in widescreen with the original Japanese audio and English dub as audio options, though the end credits are still truncated.  All North American releases of Godzilla vs King Ghidorah are currently out of print.

Monster Mondays: Godzilla vs. Biollante (1989)

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In 1984, some of Godzilla’s cells are discovered in the wreckage of Tokyo and stolen by terrorist SSS9 (Manjot Bedi) from the Middle Eastern nation of Saradia.  With the help of Dr. Genichiro Shiragami (Kōji Takahashi), the Saradian government tries to develop desert-hardy crops, but Dr. Shiragami’s lab is destroyed in a terrorist attack, killing his daugter, Erika (Yasuko Sawaguchi).

Five years later, Dr. Shiragami has returned to Japan.  In an attempt to keep Erika alive, he has put her DNA into a rose.  The Japanese government requests Dr. Shiragami’s help to use Godzilla DNA to develop Anti-Nuclear Energy Bacteria (ANEB), bacteria which can consume radioactive material.  Dr. Shiragami does so, but also puts Godzilla’s DNA into the rose containing Erika’s DNA to try to make her immortal.  The end result, however, is a giant though peaceful rose-like monster growing in Lake Ashino, which Dr. Shiragami names Biollante.

American company Bio-Major plants explosives on Mount Mihara and threatens to release Godzilla if the Japanese government doesn’t hand over the ANEB.  During the handover, SSS9 kills the Bio-Major operative and steals the ANEB, resulting in Godzilla being released from Mount Mihara.

The JSDF sends the Super X2 to battle Godzilla at sea, but Godzilla badly damages the craft.  Godzilla lands in Japan and heads straight to Biollante.  The two engage in a short battle in which Biollante is struck by Godzilla’s atomic breath and dissolves into spores that float away.

The Japanese government manages to track down and retrieve the ANEB.  The JSDF infects Godzilla with the ANEB in Osaka, but sacrifice the Super X2 in the process.  Despite that, Godzilla shows no symptoms of infection, even after several hours.  It is thought maybe Godzilla’s body temperature is too low for the bacteria to work effectively, so the military launches an attack on the monster to raise his temperature. 

Suddenly spores descend from the sky and Biollante appears, more hideous and mutated than before.  The two monsters battle, but Godzilla soon has to back out due to the effects of the ANEB.  Godzilla collapses into the sea, and Biollante dissolves into spores again, releasing Erika’s trapped soul.  SSS9 fatally shoots Dr. Shiragami, but is also killed as he tries to escape.  The cold water of the ocean cools Godzilla, who regains his strength, and the monster swims out to sea.

On January 7, 1989, Emperor Hirohito passed away, bringing the Showa era of Japanese history to an end.  His son, Akihito, acceded to the Chrysanthemum Throne, launching the Heisei era on January 8, 1989.  Though The Return of Godzilla (1984) is often considered the first film in the Heisei Godzilla series due to its tight connection with the rest of the films in that continuity, Godzilla vs. Biollante is actually the first Godzilla film released in the Heisei era, hitting Japanese theatres on December 16, 1989.

Kazuki Omori was chosen to direct Godzilla vs. Biollante and Koichi Kawakita took over as special effects director.  Omori would have a hand in directing and/or writing several of the Heisei Godzilla series films, and Kawakita would remain as special effects director on every one of them going forward, as well as Rebirth of Mothra (1996) and Rebirth of Mothra II (1997).

Actress Megumi Odaka also joined the Godzilla series for the first time with Godzilla vs Biollante, playing the role of psychic Miki Saegusa.  Miki Saegusa is able to use her psychic powers to detect and even communicate with the monsters, allowing for greater interaction between the human characters and their giant co-stars.  Megumi Odaka would reprise the role in every subsequent film in the Heisei Godzilla series.

Godzilla was given a makeover, with a more mammalian face and two rows of teeth instead of just one.  Though it would be slightly tweaked over the next few years, Toho would not stray far from this design until Godzilla 2000: Millennium (1999).  Inside the Godzilla suit was Kenpachiro Satsuma, who had played Godzilla in the previous movie, and he would portray Godzilla for the rest of the Heisei series.

Like Terror of Mechagodzilla (1975) before it, Godzilla vs. Biollante’s story is the result of a contest held by Toho.  The winner was Shinichiro Kobayashi, a dentist and screenwriter, and though many of his ideas made it into the final film, Omori heavily revised the initial story submitted by Kobayashi before filming began.

Thematically, Godzilla vs. Biollante addresses fears around the expanding capabilities of biotechnology.  During the 1980s, it was clear biotechnology was rapidly developing and offered the power to alter, design, or clone living things.  While there was optimism about the potential future uses of biotechnology, there was also a lot of anxiety.  This anxiety is where Godzilla vs. Biollante focuses most of its attention, with Biollante being the unintended result of fusing the DNA of Erika, a rose, and Godzilla.  

The Anti-Nuclear Energy Bacteria is another way concerns about biotechnology are addressed in the film.  At one point in the movie, a character suggests such a bacteria could make nuclear weapons less dangerous and change the world order should it fall into the wrong hands.  The message of the movie seems to be that our use of biotechnology could have negative unintended consequences, a message echoed in Michael Crichton’s novel Jurassic Park, which was released the year after Godzilla vs. Biollante and adapted to film by Steven Spielberg in 1993.

Toho had Godzilla vs. Biollante dubbed into English in Hong Kong.  Miramax aquired the North American distribution rights and the film was released on VHS in 1992.  This release was Toho’s English dubbed international version, in widescreen and completely uncut with the on-screen titles changed to English.  The film was also later released on Laser Disc.

As the VHS era came to a close, Godzilla vs. Biollante disappeared from store shelves in North America.  In 2012, Miramax finally released the film on DVD and Blu-ray in North America for the first time through Echo Bridge Home Entertainment.  In 2014, Miramax again released the film on DVD and Blu-ray through Lionsgate.  All North American Godzilla vs. Biollante releases are currently out of print.

Monster Mondays: The Return of Godzilla (1984)

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By Ben Dower

Reporter Goro Maki (Ken Tanaka) stumbles across a missing fishing vessel, the Yahata-Maru, adrift at sea.  The lone survivor is Hiroshi Okamura (Shin Takuma), who claims he saw Godzilla.  The government orders the news of Godzilla and Hiroshi’s rescue to be kept a secret to avoid public panic.  

Knowing the news will likely have to be made public at some point, Goro heads to the lab of Professor Makoto Hayashida (Yosuke Natsuki).  As they discuss Godzilla, Goro finds out Hiroshi’s sister, Naoko Okamura (Yasuko Sawaguchi), works for Professor Hayashida.  Goro tracks down Naoko after meeting Professor Hayashida and tells her that Hiroshi is alive.

A Soviet nuclear submarine is attacked and sunk off the coast of Japan.  The Soviet Union blames the United States, but the U.S. denies involvement.  As international tensions rise and a nuclear war becomes increasingly likely, the Japanese government has no choice but to publicly reveal the culprit: Godzilla.

Godzilla attacks the Ihama nuclear plant and then follows a flock of birds back into the sea.  Knowing dinosaurs and birds are closely related, Professor Hayashida comes up with a plan to use the frequency of bird calls to lure Godzilla into Mount Mihara, a volcano on Oshima Island.  The United States and Soviet Union try to pressure Prime Minister Seiki Mitamura (Keiju Kobayashi) into allowing them to use nuclear weapons on Godzilla if the monster comes ashore in Japan, but the Prime Minister stands firm against them.  

Godzilla is seen in Tokyo Bay and the JSDF is deployed.  As Godzilla battles the JSDF at the shore, he damages a Soviet ship that had the nuclear launch controls on it for the aborted plan to nuke Godzilla.  This triggers the launch sequence and a nuclear missile is fired from a satellite toward Toyko.

The Super X, a top-secret Japanese arial combat vehicle, is sent to fight Godzilla using cadmium bombs, and the cadmium weapons succeed in knocking Godzilla unconscious.  The Americans launch a counter missile and destroy the Soviet missile high above Tokyo.  The EMP from the nuclear blast knocks out electronics in Tokyo, crippling the Super X, and energy from the explosion above reawakens Godzilla.

Professor Hayashida and Hiroshi arrive at Oshima Island and begin the operation to lead Godzilla into the volcano.  Godzilla follows the bird sound frequency to the island and falls into the crater of the volcano, disappearing into the magma below.

Several attempts were made to continue the Godzilla franchise after Terror of Mechagodzilla (1975), including an attempt at making an American Godzilla film in 3D, but nothing materialized until Toho’s The Return of Godzilla in 1984.  Toho decided to make The Return of Godzilla a direct sequel to Godzilla (1954).  This allowed the studio to easily shift Godzilla away from the anthropomorphized hero he had become in the late 1960s and early 1970s, and return him to a metaphor for real-world horrors.

Rather than have Godzilla just be a metaphor for nuclear weapons as in the first film, producer Tomoyuki Tanaka and screenwriter Shuichi Nagahara imbed the monster in the Cold War tensions of the time.  There is a scene where the Soviet and U.S. ambassadors pressure Prime Minister Mitamura to allow them to nuke Godzilla in Tokyo, portraying Japan’s feeling as a small nation caught between two rival super powers.  This scene is expanded on later as the Japanese Cabinet debates whether or not to allow the plan to go ahead.

The idea to have Godzilla feed on nuclear materials is especially brilliant, giving the monster a dangerous symbiotic relationship with our proliferating use of nuclear energy.  Godzilla’s attack on the Ihama nuclear power plant would prove almost prophetic just two years later in 1986 with the Chernobyl disaster, and then again in 2011 with the Fukushima disaster.

The Return of Godzilla was released in Japanese theatres on December 15, 1984 and Toho had the film dubbed into English in Hong Kong.  On August 23, 1985, New World Pictures released a heavily altered version of the film to North American theatres under the title of Godzilla 1985 with an American-produced English dub and new American-shot scenes.  Raymond Burr was hired to reprise his role of reporter Steve Martin from Godzilla, King of the Monsters!, the 1956 American version of Godzilla (1954).  Initially New World Pictures intended to edit The Return of Godzilla into a comedy, but Raymond Burr refused to do that, believing the anti-nuclear message of Godzilla was important.

One interesting political change to the film in the American version is how the Soviet nuclear missile is launched.  In the Japanese original, Godzilla slams a Soviet ship against a dock, accidently triggering the launch.  A Soviet officer tries to stop the missile from launching, but is killed in the process.  In the American version, the scenes are edited so that the Soviet officer is made to be launching it deliberately, complete with a new shot of a finger pressing the launch button inserted into the movie.

Godzilla 1985 was widely available during the 1990s on VHS, usually including the animated short Bambi Meets Godzilla (1969) along with it.  Around the turn of the millennium, a rights entanglement caused the film to disappear from home video in North America.  In 2016, the original Japanese version of The Return of Godzilla finally got a DVD and Blu-ray release from Kraken Releasing.  This release also contained the Toho-produced English dub as an alternate audio option, but unfortunately Godzilla 1985 was not included because of copyright issues with some of the American changes.  The Kraken Releasing discs are out of print and both The Return of Godzilla and Godzilla 1985 have not been released on North American home video again.

Monster Mondays: Terror of Mechagodzilla (1975)

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A submarine searching for the remains of Mechagodzilla is attacked and destroyed by a dinosaur.  Marine biologist Akira Ichinose (Katsuhiko Sasaki) and INTERPOL agent Jiro Murakoshi (Katsumasa Uchida) go to the house of the reclusive Dr. Shinzo Mafune (Akihiko Hirata), a scientist who once claimed to have discovered a dinosaur in the sea many years ago and was laughed out of academic circles.  When they arrive at Dr. Mafune’s house, his daughter Katsura Mafune (Tomoko Ai) tells them Dr. Mafune is dead and that she burned all his notes.

In reality, Dr. Mafune has reached a deal with the alien invaders from the Third Planet of the Black Hole.  The aliens had once saved Katsura after a fatal lab accident by turning her into a cyborg.  Now they are rebuilding Mechagodzilla and hope to control the dinosaur Dr. Mafune discovered, called Titanosaurus, to help in their effort to conquer Earth.  While helping the Third Planet of the Black Hole aliens with Mechagodzilla, Dr. Mafune remarks that Mechagodzilla is inferior to Titanosaurus because Titanosaurus has a real brain.

Meanwhile, Katsura strikes up a relationship with Akira Ichinose, giving him Dr. Mafune’s notes on Titanosaurus which she did not burn.  He tells her of a plan to send a research submarine to search for Titanosaurus.  She informs the aliens and her father, who then send Titanosaurus to attack the submarine.  Before Titanosaurus can destroy the sub, however, the crew accidently discovers the dinosaur is sensitive to supersonic waves.

A supersonic wave oscillator is constructed incase of an attack by the aliens using Titanosaurus.  Dr. Mafune unleashes Titanosaurus without the permission of the aliens and the supersonic wave oscillator is destroyed by Katsura.  Godzilla arrives and confronts Titanosaurus, and Katsura is shot by the authorities as she flees the area.  Dr. Mafune releases control of Titanosaurus, who heads back to the sea, leaving a confused Godzilla behind.

The aliens once again save Katsura, but as they rebuild her they implant a controller for Mechagodzilla inside her, based on Dr. Mafune’s advice that the robot requires a real brain to be most effective.  The aliens order Mechagodzilla and Titanosaurus to attack Tokyo, leading to mass destruction and death as they push their way into the city.  While efforts are underway to quickly repair the supersonic wave oscillator, Godzilla arrives in Japan again to confront Mechagodzilla and Titanosaurus.

Terror of Mechagodzilla marks the end of the first cycle of Godzilla films, called the Showa Godzilla series by fans.  Japan divides history by each emperor’s reign, with Emperor Hirohito’s reign called the Showa Era (1926-1989), Emperor Akihito’s reign called the Heisei Era (1989-2019), and Emperor Naruhito’s reign called the Reiwa Era (2019-Present).  The films from Godzilla (1954) to The Return of Godzilla (1984) were all made in the Showa Era of Japanese history, but as The Return of Godzilla launched a distinct new continuity in which the next six films were released in the Heisei Era, it acts as the start of the Heisei Godzilla series.

After the release of Godzilla vs. Mechagodzilla (1974), Toho held a contest for people to submit stories for the next Godzilla film, and the winner was a woman named Yukiko Takayama.  Though the story she originally sent in was altered somewhat prior to filming, largely due to budget constraints, her original core concept was retained.

There are two key characters at the heart of Terror of Mechagodzilla, and they are Katsura and Titanosaurus.  Tomoko Ai does a wonderful job portraying Katsura, a young woman caught between wanting to pursue her own dream of living a normal life with Akira Ichinose, and her loyalty to her father and his goal of vengence on humanity for destroying his career.  The fact she is a cyborg, a combination of flesh and machine, is a nice reflection of the team up between Mechagodzilla and Titanosaurus, and the idea of implanting Mechagodzilla’s controller inside her raises the stakes nicely in the final moments of the film when it becomes necessary to destroy her to stop the robot.

Titanosaurus is somewhat of a throwback to earlier Toho monsters, like Anguirus and King Kong, in that he is a giant animal without any superpowers.  As the 1970s progressed, Godzilla’s foes generally came with a long list of outlandish weapons, but Titanosaurus fights using close-range hand-to-hand combat.  His design feels natural and is very well suited to his ocean environment.  Titanosaurus’ roar consists of a loud elephantine trumpeting sound, and he often snorts like a horse, creating a diverse and life-like feel to his vocalization.  In Yukiko Takayama’s original story, there were going to be two creatures called Titans that eventually merge, but this was changed for the final film to just Titanosaurus.

Returning to the director’s chair one final time is Ishiro Honda.  Honda had directed seven of the previous fourteen Godzilla films, including Godzilla (1954), as well as much of Toho’s other key monster output during the Showa Era including Rodan (1956), Mothra (1961), Matango (1963), and War of the Gargantuas (1966).  Honda’s return to the series is a welcome one, bringing with it the darker tone of earlier giant monster movies.  After Terror of Mechagodzilla, Honda would shift his career to helping his close friend Akira Kurosawa with his film projects.

Terror of Mechagodzilla was released in Japanese theatres on March 15, 1975.  Toho had the film dubbed into English in Hong Kong and Bob Conn Enterprises theatrically released an edited down version renamed The Terror of Godzilla in North America in the summer of 1978.  A nearly uncut version of the film, under the title Terror of Mechagodzilla, was released to television in the fall of 1978 and had a prologue added on that was composed of footage from a few previous Godzilla films.

Throughout the VHS era and into the early DVD era, only the heavily edited U.S. theatrical version was released to home video, albeit with its title corrected to Terror of Mechagodzilla.  In 2008, Classic Media released both the original Japanese version and extended North American TV version on DVD.  All of these earlier releases of the film are now out of print.  The original Japanese version of Terror of Mechagodzilla, with Toho’s English dub as an alternate audio option, is currently available as part of The Criterion Collection’s Godzilla: The Showa-Era Films, 1954-1975 Blu-ray set.

Monster Mondays: Godzilla vs. Mechagodzilla (1974)

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Nami Kunigami (Barbara Lynn), an Azumi priestess in Okinawa, has a vision that a giant monster will come and bring destruction.  Shortly after that, Masahiko Shimizu (Kazuya Aoyama) finds some mysterious metal while exploring a cave.

Archaeologist Saeko Kanagusuku (Reiko Tajima) meets Keisuke Shimizu (Masaaki Daimon), Masahiko’s brother, at another cave where ancient artifacts have been discovered.  There is a statue of the Azumis’ monster protector King Caesar and a prophesy warning that a monster will soon come to destroy the world, but two other monsters will rise up against it.

Professor Hideto Miyajima (Akihiko Hirata) identifies the metal found by Masahiko as space titanium.  Saeko is attacked by an intruder who wants the statue, but the intruder is driven away by Keisuke.

Godzilla appears at Mount Fuji and begins a rampage across Japan, but Anguirus arrives and attacks him, something that is unusual since Godzilla and Anguirus are friends.  Godzilla defeats Anguirus, sending the spiky monster fleeing for his life.

As Godzilla is attacking an industrial area, a second Godzilla arrives.  The second Godzilla blasts the first with his atomic ray, and the first Godzilla is revealed to be Mechagodzilla wearing a disguise.  Godzilla’s and Mechagodzilla’s energy rays collide, causing an explosion that knocks an injured Godzilla into the sea and damages Mechagodzilla.

It is soon discovered that Mechagodzilla is controlled by alien invaders from the Third Planet of the Black Hole.  Professor Miyajima, his daughter Ikuko (Hiromi Matsushita), and Masahiko are captured by the aliens and Professor Miyajima is forced to repair Mechagodzilla.  Keisuke and Saeko transport the statue back to Okinawa by ship so they can awaken King Caesar to fight Mechagodzilla, but are attacked again by an alien trying to steal the statue.  The alien’s attack is unsuccessful and he is fatally shot by INTERPOL agent Nanbara (Shin Kishida).

Eventually, the aliens launch Mechagodzilla again but the statue is used to awaken King Caesar.  King Caesar confronts Mechagodzilla and fights bravely, but isn’t strong enough to overcome the robot.  Just as it seems all is lost, Godzilla appears and joins forces with King Caesar against Mechagodzilla.

Godzilla vs. Mechagodzilla is an improvement over the previous two Godzilla films.  Stock footage seems to be limited to a few still images in Nami’s vision and a brief car explosion.  The plot is very fast paced, with the King Caesar statue acting as MacGuffin and much of the film’s action is built on attempts to keep or steal it.  The Third Planet of the Black Hole aliens are ape-like and disguise themselves as humans.  When killed, their disguise melts away revealing their true form underneath.  The film almost feels like a fusion of James Bond and Planet of the Apes with Godzilla, and it is a fun mix that keeps the viewer engaged in both the monster and human action.

Despite this, Godzilla vs. Mechagodzilla still shows the impact of a tight budget in its special effects sequences.  Nami’s vision consists of images involving Ghidorah rather than Mechagodzilla and is composed of stills taken from other movies.  Also, a rather silly and cheap looking second Godzilla costume is used for some scenes, usually the disguised Mechagodzilla.

Godzilla vs. Mechagodzilla doesn’t really have much to say, but it does touch on some major cultural and historic issues regarding its Okinawa setting.  The Ryukyu Islands used to be under the control of the Ryukyu Kingdom and were their own nation.  At that time, the people of the Ryukyu Islands had their own distinct culture and languages.  The Satsuma Domain in Japan brought the Ryukyuan kings under their control in 1609 and the Ryukyu Islands were eventually annexed by Japan in 1879, turned into Okinawa Prefecture, and the Ryukuan people were assimilated into Japanese culture and language. 

When Mechagodzilla first appears in Japan disguised as Godzilla, Nami’s grandfather Tengan Kunigami (Masao Imafuku) prays that he will destroy the people of Japan for trying to conquer the Azumi people. This brief moment in the film hints at the history of Okinawa and how it went from independent nation to becoming part of Japan.

Also tying into the Okinawan setting of the film is King Caesar, who is based on the Shisa, stone statues that are common in Okinawa.  Unlike Mechagodzilla, who is loaded with weapons, King Caesar is only able to reflect energy beams back at his attacker with his eyes.  This has the effect of making King Caesar feel greatly outmatched by Mechagodzilla, which makes sense given the prophecy early in the film that two monsters will be needed to stop Mechagodzilla.  This is somewhat undermined, however, in that Godzilla is pretty much able to finish off Mechagodzilla on his own.

Godzilla vs. Mechagodzilla was released in Japanese theatres on March 21, 1974.  Toho had the film dubbed into English in Hong Kong and Cinema Shares released Godzilla vs. Mechagodzilla theatrically in North America in 1977.  They initially released the film as Godzilla vs. the Bionic Monster, but a threat of legal action from Universal Television over the title, due to their own The Bionic Woman television program, caused Cinema Shares to change the name of the film to Godzilla vs. the Cosmic Monster.  A few edits were made to the film for its North American release to remove some of the violence and swearing.

Toho’s uncut and dubbed international version of Godzilla vs Mechagodzilla with onscreen titles changed to English became the standard version released in North America during the VHS era.  In 2004, Columbia TriStar Home Entertainment released Toho’s international version of Godzilla vs Mechagodzilla on DVD, and viewers could choose to watch it with the original Japanese audio or Toho’s English dub.  This release is now out of print.  The original Japanese version of Godzilla vs. Mechagodzilla, with Toho’s English dub as an alternate audio option, is currently available as part of The Criterion Collection’s Godzilla: The Showa-Era Films, 1954-1975 Blu-ray set.

Monster Mondays: Godzilla vs. Megalon (1973)

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Nuclear testing close to the Aleutians has had a major geological impact on the Pacific region, including on Monster Island.  Also feeling the effects of nuclear testing is the undersea kingdom of Seatopia, which decides to release their god, a giant insect monster Megalon, to punish the surface dwellers for the destruction caused to them.

Inventor Goro Ibuki (Katsuhiko Sasaki) has created Jet Jaguar, an advanced humoid robot.  The Seatopians take control of Jet Jaguar and use it to lead Megalon around Japan.  Megalon is eventually taken to Tokyo, where he begins destroying the city.  Goro manages to regain control of Jet Jaguar and sends him to Monster Island to get Godzilla.  In response, the Seatopians contact M Space Hunter Nebula and ask them to send Gigan to help in their battle against the surface people.  

Jet Jaguar reaches Monster Island and informs Godzilla about Megalon.  Jet Jaguar then flies back to Japan ahead of Godzilla and locates the insect monster.  Goro finds he has lost control of Jet Jaguar, who suddenly grows to giant monster size and engages Megalon in combat of his own free will.  While Jet Jaguar and Megalon are fighting, Gigan descends from space and joins the fight.  Just when it seems like Megalon and Gigan will destroy Jet Jaguar, Godzilla arrives and a tag-team monster battle ensues.

Godzilla vs. Megalon is my pick for weakest Japanese Godzilla film.  Its story feels simplistic, the production feels rushed, the film is padded with stock footage, and its giant creatures are some of the most anthropomorphized ever in a Godzilla film.  And yet, I still can’t say I dislike the movie, or that it isn’t a fun watch.  Godzilla vs. Megalon remains a very enjoyable film despite its issues.

A new Godzilla suit was constructed for this film, reportedly built in only a week.  In keeping with his more anthropomorphized character, the design was made a bit cuter than previous Godzilla suits, with big eyes and puffy dorsal fins.  It is a far departure from the nightmarish nuclear horror that the character started as in Godzilla (1954), but I have to say I really like this design.  This suit would also be used in Toho’s superhero television show Zone Fighter (1973) during Godzilla’s guest appearances in the show.  The next two Godzilla films, Godzilla vs. Mechagodzilla (1974) and Terror of Mechagodzilla (1975), would also feature this Godzilla suit, albeit with some alterations that make him look less cute.

Like Hedorah and Gigan before him, Megalon is among the more outlandish foes Godzilla has faced.  Despite being a giant beetle-like insect, it only has four limbs, and its arms end in drill bits that rotate in a physics-defying way to allow the monster to rapidly burrow underground.  Still, Megalon can look very impressive when shot from the correct angle, and the way he is able to hide underground and spring out on his enemies is a fun battle tactic that is well executed by the special effects crew.

But it is Jet Jaguar, the size-shifting artifically intelligent robot with a grill-grin across his face, who is the real star of the movie.  Not only does he have his own theme song, but Jet Jaguar is at the heart of the plot, first being hijacked by the Seatopians to lead Megalon on its rampage of destruction across Japan, and then being taken back under the control of his inventor to get Godzilla.  In the final act of the film, Jet Jaguar suddenly becomes artificially intelligent, choosing on his own to grow to giant monster size and go into battle against Megalon while Godzilla is still making his way to Japan.  Despite the lack of logic behind Jet Jaguar’s actions and abilities in the film, the character has proved enduring, appearing in video games, toy releases, and the anime series Godzilla Singular Point (2021).

Though it is mostly light entertainment, Godzilla vs. Megalon is clearly attempting to say something about the negative effects of nuclear testing.  The nuclear testing in the film creates geologic disruption across the Pacific region, causing earthquakes on Monster Island and in Japan.  It also impacts Seatopia, with Seatopian Emperor Antonio (Robert Dunham) saying that a whole sector of the undersea continent was destroyed.  Unfortunately any attempt to criticize nuclear testing is somewhat undermined by the fact that Godzilla, a creature that is also the result of nuclear testing, thwart’s Seatopia’s retaliation against the surface people.  Also, Seatopia strangely chooses to attack Japan instead of the nations which actually conducted nuclear testing in the Pacific, like the United States or France.

Godzilla vs. Megalon was released in Japanese theatres on March 17, 1973.  Toho had the film dubbed into English in Hong Kong and Cinema Shares released Godzilla vs. Megalon theatrically in North America in 1976.  A few edits were made to the film for its North American release, though seemingly after the initial theatrical release but while it was still showing.  Godzilla vs. Megalon was everywhere on home video during the VHS era, though only in edited down dubbed versions rather than uncut.

Godzilla vs. Megalon did not see an official DVD or Blu-ray release in North America until Media Blasters released the original Japanese version of the film in both formats through their Tokyo Shock division, same as Destroy All Monsters(1968).  This 2014 release also had Toho’s English dub as an audio option.  Also like the aforementioned Destroy All Monsters release, some copies of the film ended up on the market with extra content that had not been approved by Toho. This release is now out of print.  The original Japanese version of Godzilla vs. Megalon, with Toho’s English dub as an alternate audio option, is currently available as part of The Criterion Collection’s Godzilla: The Showa-Era Films, 1954-1975 Blu-ray set.

Monster Mondays: Godzilla vs. Gigan (1972)

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Manga artist Gengo Kotaka (Hiroshi Ishikawa) is having trouble getting work, so his girlfriend Tomoko Tomoe (Yuriko Hishimi) suggests that he apply at World Children’s Land, a theme park that is under construction.  World Children’s Land is to be monster-themed, and the company wants to use Gengo’s monster ideas.

Gengo gets the job but, while walking to work one day, a woman fleeing from the building bumps into him.  She drops a tape, but gets up and runs away without coming back for it.  The woman, Machiko Shima (Tomoko Umeda), and her friend Shosako Kosugi (Minoru Takashima) find Gengo on his way home from work and tell him they are investigating World Children’s Land because her brother, Takashi Shima (Kunio Murai), went missing while working there.  They listen to the tape, but it is just strange beeping sounds.

After some sleuthing around, they discover that the people running World Children’s Land are cockroach aliens from M Space Hunter Nebula and are holding Takashi Shima captive.  The M Space Hunter Nebula aliens intend to conquer the Earth using the monsters King Ghidorah and Gigan as weapons against humanity.  The invasion begins, with Gigan and Ghidorah destroying a large part of Tokyo.  Soon, Godzilla and Anguirus arrive in Tokyo and a tag-team battle between the monsters begins to decide the fate of the world.

With the turbulence in the Japanese film industry continuing, the impact on the Godzilla series was becoming more evident. Godzilla’s outings were getting sillier and the tighting budgets were having an obvious impact on the quality of the films.  Godzilla vs. Gigan makes use of a lot of stock footage from Toho’s previous giant monster movies.  Likewise, almost the entire score consists of recycled music written by Akira Ifukube for Toho’s earlier monster films and the Mitsubishi Pavilion at Expo ‘70, which was held in Osaka.  The only new composition for the film is the “Godzilla March”, a song that plays as the film wraps up.

The main Godzilla suit used in the film is the one made for Destroy All Monsters (1968) and, after having been the primary Godzilla suit in three previous films, it is showing serious signs of wear and tear.  Thankfully a new Godzilla suit would be built for Godzilla vs. Megalon (1973) and it would star in the final three Godzilla films of the 1970s.  

Sadly, Godzilla vs. Gigan would be Haruo Nakajima’s final performance as Godzilla.  Nakajima had been playing the character and other Toho monsters, such as Baragon and Gaira, since 1954.  The man in the Gigan suit opposite Nakajima, Kenpachiro Satsuma (credited as Kengo Nakayama), would take up the role as the main Godzilla actor from The Return of Godzilla (1984) to Godzilla vs. Destoroyah (1995).

Like Godzilla vs. Hedorah (1971), there is an environmental message to this film, but it’s pretty minimal.  The cockroach aliens tell our main characters that they come from a planet that was once like Earth, but the dominant species destroyed it with pollution.  They then say Earth is heading toward the same fate.  There is also a jab thrown at humanity as a whole when the aliens say humans make great “receptacles” to hide their true cockroach form within.

Despite the silly plot, Godzilla vs. Gigan is very enjoyable if you are able to turn your brain off and let it do the driving. For the first time there is major monster gore in a Godzilla movie.  Gigan uses his stomach implanted buzz saw to cut Godzilla’s arm and Anguirus’ face, and also bashes Godzilla’s forehead in with his sickle arm.  Also, the monster action takes off at around the 49 minute mark, just a little over halfway through the film, and doesn’t let up for very long until the movie ends.

Cinema Shares released Godzilla vs. Gigan theatrically in North America in 1977 as Godzilla on Monster Island.  For this release, Cinema Shares just used the Toho provided dub recorded in Hong Kong and cut a swear word from a line of dialogue.  It also seems some monster gore was cut from the theatrical release as well, though details on how extensively the film was edited are hard to come by.

In 2004, Columbia TriStar Home Entertainment released Toho’s international version of Godzilla vs Gigan on DVD.  This version had the onscreen titles changed to English, and viewers could choose to watch it with the original Japanese audio or Toho’s English dub.  The international version with the same two audio options was released on DVD and Blu-ray by Kraken Releasing in 2014.  Both the Columbia TriStar Home Entertainment and Kraken Releasing releases are out of print.  Only the original Japanese version of Godzilla vs. Gigan is currently available, and it is as part of The Criterion Collection’s Godzilla: The Showa-Era Films, 1954-1975 Blu-ray set featuring the first 15 Godzilla movies.