Mosura tai Gojira |
Japan • 1964 • 89m •
   • Directed by: Ishirô Honda. • Starring: Akira Takarada, Yuriko Hoshi, Hiroshi Koizumi, Yû Fujiki, Kenji Sahara, Emi Itô, Yumi Itô, Yoshifumi Tajima, Jun Tazaki, Kenzô Tabu, Yoshio Kosugi, Akira Tani, Susumu Fujita. • Music by: Akira Ifukube.      A hurricane blows Mothra's egg off Infant Island and causes it to drift to Japan. Banzo Torhata sees an opportunity to make money off the egg but Mothra's twin priestesses show up and plead with him to return the egg or else the larva will hatch and cause great damage in search of food. Torahata refuses and tries to kidnap the fairies. They then go to reporters Ichiro Sakai and Junko Nakanishi to try to persuade Torahata to return the egg. Torahata still refuses and the girls leave with the adult Mothra. In the meantime Godzilla reawakens and begins another rampage. Japan's only hope is for Mothra to return and not only save Japan, but her egg as well.
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Review:
The message is that for one, greed never prevails. The anti-nuclear tone is still there, after all a Geiger counter alerts the characters to Godzilla's location right before he awakes. But it takes a back seat for another powerful message; that being the need for all nations to unite and stop being against one another, the movement towards a brotherhood of men. Honda always had a beautiful story to tell, and this is one of his best. Akira Takarada and Jun Tazaki star as well, as well as Hiroshi Koizumi. So many great actors in one film, including Yuriko Hoshi, who stars in the 2000 film "Godzilla vs. Megaguirus". The occasional comedic scene actually blends in but is not shown through the monsters. Godzilla's role in the film is very similar to his role in the first film, an unstoppable terror who walks the earth to remind humans of the mistake of "playing with the fire of the gods" as one character calls it.
Godzilla looked even better than he did in the last film and he really defines what the King of the Monsters is all about: maniacal and brutal yet symbolic destruction. His eyes are powerful and imposing and the spikes on his head are a nice touch. This is my favorite version for sure. There isn't a single touch of campiness in his movements or attacks, the best part of it all. The Monster King has another grand entrance and Ifukube's music really embodies his rampage. One theme, where he is attacking Nagoya, is sad and touching while another, when he first emerges, is dark and terrifying. Mothra, both adult and larva, look incredible and gave completely realistic movements throughout the film. The web effect is very nicely done and the adult throws a few neat moves in the epic fight.
When the two monsters battle, Tsubaraya makes sure the SFX give a presentable and creative show. The Mothra marionette is massive and moves as if it were a living creature. There are even shots where she appears as if she's actually breathing. The attention to detail in the film is monumental. And the many battles with the military are unique among G-films, especially against the artificial lightning generators. For once Godzilla is hurt, actually brought down to the ground, but of course not stopped.
And for once in a lifetime the American version doesn't go overboard and is pretty much left alone.I actually like the dubbing for the U.S.
Review by gigan-92 from the Internet Movie Database.
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