Category: Godzilla vs. Mechagodzilla

Godzilla vs. Mechagodzilla (1993, Okawara Takao)

Godzilla vs. Mechagodzilla is outrageous spectacle. The film has the perfect combination of story, director and special effects. The film allows its giant monsters limited personalities, feasible motivations. It even manages to raise questions of morality as this version’s Mechagodzilla is piloted by the anti-Godzilla task force. They’re blowing up just as much as the giant monsters, they’re torturing the monsters. It’s simultaneously heavy and not.

Director Okawara gets to that weightlessness through some disarming, yet empowering moves–it’s a serious movie, but it’s also not a serious movie so don’t dwell–you can acknowledge, but don’t dwell. The result is a Godzilla movie where the viewer has an intense investment in the fight scene. Okawara then proceeds to play with every expectation. He draws things out–those disarming yet empowering moves–showing the viewer what to expect.

The movie rewards the viewer for paying attention, for patience. It’s often delightful, with something for everyone–including an adorable “baby” Godzilla. Mimura Wataru’s script really pulls all these threads together into something cohesive and affecting. He gives the characters just enough depth the actors can imply even further layers. It doesn’t hurt Okawara excels at the saccharine flirtation between leads Takashima Masahiro and Sano Ryoko.

And Odaka Megumi finally does get something to do this Godzilla installment. She gets a significant personal subplot and everything. Odaka nails it, of course. She makes her unlikely character (telepathic Godzilla hunting consultant) the most human part of the film. She, just like the viewer, is jaded by Godzilla movies.

Excellent editing from Yoneda Miho, excellent photography from Sekiguchi Yoshinori. The effects in Mechagodzilla are outstanding. A lot of thought goes into everything, like how Okawara gradually prepares the viewer for miniature sequences. Mechagodzilla is a welcoming Godzilla movie. It’s enthusiastic about its genre and itself.

Nice score from Ifukube Akira. It’s just a nice, solid Godzilla movie.

Godzilla vs. Mechagodzilla (1974, Fukuda Jun)

I want to be more enthusiastic about Godzilla vs. Mechagodzilla. It has a number of good moments, often involving giant monsters, which is impressive. Godzilla facing off against a mechanical Godzilla (not to mention a flesh-covered cyborg–nothing dead will go), it’s a great visual. Director Fukuda milks it and he milks it well. The film sails into the third act, but the finish is more a stalling out than an ending. It’s too bad, because so much of the film’s a success.

The human stuff–two brothers who get involved with an alien plot to destroy the planet and the giant dog monster protector of Okinawa, complete with love interests and mentors–is solid. Everyone works at their part, even when they have nothing to do. Daimon Masaaki spends the entire fight scene acting with his eyebrows. None of his emoting matches what his character is watching, but it doesn’t matter. The dedication is endearing.

So it’s even more frustrating where Mechagodzilla finally breaks down is in resolving all that human stuff. The final fight is a pyrotechnic marvel–the whole film’s a pyrotechnic marvel–but the light show is a poor substitute for an ending to the film. Fukuda doesn’t have a finish.

Lots of good work from the crew, particularly Ikeda Michiko’s editing. He does these snappy montages and creates a far amount of tension in a short amount of time, just with the actors’ expressions. Satô Masaru’s music is necessary for those montages to work. The score keeps a certain pace to the film.

Godzilla vs. Mechagodzilla is a well-produced, well-acted Godzilla movie. But it’s too slight on story, too slight on characters. Fukuda doesn’t balance the human story and the monster battle and it sinks the film just when it needs to be excelling.