Mothra (1961): adapted by Shin'ichi Sekizawa from the novel by Shin'ichiro Nakamura, Takehiko Fukunaga, and Yoshie Hotta; directed by Ishiro Honda; starringFuranki Sakai (Bulldog), Hiroshi Koizumi (Dr. Chujo), Kyoko Kagawa (Photographer), Yumi and Emi Ito (Twin Fairies), and Jerry Ito (Nelson):
The giant Japanese monster movie for people who also enjoy musicals. Mothra only awakens when an evil, um, night-club owner absconds from Mothra Island with the two literally little, singing women who, um, are the centre of the island's normal-sized-human religious life? I don't know.
So anyway, Mothra hatches when the women are spirited away. A plucky Japanese reporter nicknamed Bulldog, his plucky camera-woman, and his plucky government pal work tirelessly to free the little women and get them back to Mothra Island. Too late. Young Mothra swims to Japan, cocoons herself, and emerges as the Mothra we all know and love.
Mothra gets to lay waste to Japan and seemingly American ''Rolisica' and its 'New Kirk City,' where the evil night-club owner takes the women. I feel like Japan is acting out some closeted aggression towards the United States here. In larval form, Mothra's special power is shooting goo at things. In adult form, her main power is generating windstorms by flapping her wings. Won't someone get those little women back to their island? Perhaps the first post-colonial Toho Studios giant-monster movie. Recommended.
Godzilla, King of the Monsters (1956): written by Shigeru Kayama, Takeo Murata, Ishiro Honda, and Al Ward; directed by Ishiro Honda and Terry Morse; starring Raymond Burr (Steve Martin), Takashi Shimura (Dr. Yamaane), Momoko Kochi (Emiko), Akira Takarada (Ogata), Akihiko Hirata (Dr. Serizawa), and Fuyuki Murakami (Dr. Tabata): Not the Japanese cut of Godzilla (well, Gojira) but the American version, a big hit in the States that helped fuel the giant monster boom of the 1950's and 1960's.
This version basically tells the same story as the original Japanese film, but with Raymond Burr interpolated into the movie as narrator and lone Caucasian (well, his editor gets a brief appearance too). Burr plays Steve Martin (!!!!), an American journalist on vacation in Japan when Gojira...errr....Godzilla emerges from the sea to wreak havoc.
Steve Martin is the only American journalist in Japan at this time, or at least it sure seems so. And what a great job he does! In the daring tradition of frontline reporters, he's pretty much everywhere Godzilla strikes, albeit never in the same shot.
He's also friends with all the major characters of the original cut. We know because they spend a lot of time talking to him, but only in the same shot when they're photographed from behind.
Anyway, I can't say as the frame story improves the movie. The characterization of the Japanese characters gets whittled down to almost nothing because STEVE MARTIN must tell us what's going on. If only they could have tricked Godzilla into putting on.... THE CRUEL SHOES.
The sequences showing the destruction of cities, people, and trains still hold a curious and elemental power. The original movie-makers weren't squeamish about showing people engulfed in flame, or doomed mothers and children about to be crushed, burned, or boiled to death.
The 'Godzilla Attacks' theme is one helluva piece of music, too. I wish the whole movie were scored to that unnerving, propulsive, jittery string-based symphony of destruction and dread! Thank you, composer Akira Ifukube!
It is interesting to evaluate the two major English-language cuts of Godzilla/Gojira together. The non-Burr version is better, scarier, and sadder. Still, reporter Steve Martin has a lot of gumption! And this American version is remarkably free of racism -- what we are presented with are simply Japanese citizens faced with an immeasurable horror. Recommended.
