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Enter the Toho Cinematic Universe: GHIDORAH, THE THREE-HEADED MONSTER (1964)
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- Опубликовано: 6 авг 2024
- The MCU wasn't the first time a group of characters, all introduced in previous movies, learned to band together in defense of the Earth, nor is it the first time a franchise has been accused of going in too silly a direction. Sure, the Universal Monsters did it first, but over in Japan, a certain radioactive dinosaur did it too.
If you're looking for a "review" in the traditional sense, then let me just say I love this movie. This video, however, is a "review" in the literal sense (using the Miriam-Webster definition "a retrospective view or survey"), in that I'm going over the history of the film and its place in cinema history.
In other words, please stop commenting on how my videos aren't what you consider "reviews."
#ghidorah #gidora #godzilla
00:00 Intro: Enter the Cinematic Universe
02:03 Synopsis
02:48 Production Background
06:03 Shameless Self-Promotion
06:30 Casting
07:27 Creating the Monsters
10:22 Release & Legacy
11:28 Opinion & Analysis
14:42 Outro
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This stuff was hugely popular among my friends when I was a child. The films were shown of a weekday during the 6 week holidays. The streets, woodland and playing fields emptied as kids raced home on their bicycles to watch the next film. This was great for my dog and me. We had the whole world to ourselves. Glorious sunlight and days that would never end. For a couple of hours at least.
Never thought of these team-ups as a "Cinematic Universe", but I have to admit the idea has merit. As a kid, I didn't much care as long as giant monsters were brawling and making merry mayhem!
Strange to say, one of my still-vivid memories of my childhood was seeing this film during it's original release. I was seven years old, and I still recall how amazed I was with the initial appearance of Ghidorah. I was blown away by how fantastic it all looked. I carried this sense of amazement with me until I finally watched the film a second time when I was in my 40s. My childhood memory was crushed when I realized how terrible the effect actually was. However, I cut myself some slack by acknowledging my young age and impressionability in 1967, as well as the general state of the cinematic art of that time. Still, I was sad that my memory of my initial amazement didn't live up to the reality of where the industry was, special effects-wise, when I watched Ghidorah as an adult. Let me just say that I watched Ghidorah a few weeks before the release of Jurrasic Park. 😂
The one I have a nostalgic affection for is the follow-up, "Godzilla vs. Monster Zero" aka "Invasion of Astro-Monster" (surprise: Monster Zero/Astro-Monster is just Ghidorah again). Love the goofy science-fiction plot.
Such joyful silliness, dear to my childhood and now. From the original Godzilla and its pathos to the classic adorability that followed, pure classics. They can throw insane amounts of cash at the attempts to reboot and modernize these icons, they can only fail to capture the magic that was. Thank you for both an amazing video, as always and a wonderful stroll down memory lane.
When I was growing up, one of the local stations had an afternoon strip where they would show a week of movies that were connected in one fashion or other. There would be a Universal Monster week, a Hammer Monster week, a Planet of the Apes week, a Beach Party week (and I must note that nobody has taken the time to note the Frankie And Annette Cinematic Universe, though I certainly understand that they would not really fit in in an Unapologetic Geek video, despite the presence of Vincent Price, Basil Rathbone, and Boris Karloff), and, of course, a Godzilla week. So thank you for noting that Cinematic Universes are nothing new.
Like several others in the comments, I grew up with these, so my love for the silly ones is as unabiding as for the serious ones.
As always, thanks for the cinema history lesson
I grew up on the campy Godzilla. It would have been more awesome as a serious movie, but I still watch it over and over.
I think this is one of the best films ever made.
There.
I said it.
And truth be told, Redbeard is also up on that list.
But this here still takes the cake
I actually got to see this one in a local theater (which specializes in such screenings!) not long ago!
Hi there Unapologetic Geek. Love your channel and I've been reading some books by John Lemay, (Writing Japanese Monsters, Japanese Monsters Unmade Volumes 1, 2, and 3), where he goes into the early production histories of these kaiju films, including this one. The early script for this film, Princess Salno was not in it at all and the story revolved around Shindo trying to take down a drug trafficking ring. Shindo arrests one of the gang members, Goro Aikawa (who would later become Malness and was to be played by Yoshio Tsuchiya but scheduling conflicts prevented him from participating) who escapes, but the man is later possessed by a Venusian spirit.
The scene with the “Space Disk Club” is in this version but instead of Naoko covering it, her editor is there instead. The Goro Aikawa character is also there for some reason. As they watch the meteor tower, Goro experiences a miraculous event, falling off the roof and waking up miles away at Kurobe Dam! Professor Murai, out to find the meteorite that crashed there, discovers Goro, now convinced that he is a Venusian prophet. This draft of the script noted that Murai was Naoko’s lover, something only joked about in the finished film. Naturally, no one believes that Goro is a Venusian, Everyone except the “Space Disk Club,” who take his wild claims to heart. It would also seem that Goro remembers who he is, as opposed to Princess Salno who has no memory of being a princess or why she has fled to Japan. As in the finished film, Goro predicts Rodan’s awakening from Mt. Aso and Godzilla’s appearance at sea. However, instead of Godzilla destroying a cruise ship like in the film, he blows up a ship illegally transporting drugs at sea. Goro’s exploitation of King Ghidorah was also more detailed in this draft, explaining that Ghidorah had destroyed multiple planets in the past. Goro then explains that Ghidorah has been searching for a new world to destroy since it had wiped out Venous
In this early draft, there is a subplot about the Cold War involving an extremist group known as the World Federation that wants to nuke King Ghidorah on Japanese soil until Goro, still possessed by the Venusian spirit says that while this may kill the monster, it will mean the end of life on Earth. During this portion of the story, King Ghidorah would attack New York City where it would destroy the Statue of Liberty, as pre-production art of the beast flying over Manhattan exits. Supposedly this idea remained right into the final draft. This encourages the U.S. to push for a nuclear strike on the monster. As King Ghidorah returns to Japan, it would next destroy newly-completed Tokyo Monorail System. After another push from the U.S. base in Okinawa to use nuclear weapons, Goro makes one final plea. He tells the delegates that on Venus all they had to fight with was science but the the Earth could utilize the combined might of Godzilla, Rodan, and Mothra.
Halting the nuclear weapons attack is contingent upon Mothra convincing Godzilla and Rodan to cooperate. The battle plays out much like in the finished film, but the epilogue was quiet different. After Ghidorah leaves Earth, there were to be shots of newspaper articles celebrating the occasion which read “King Ghidorah Escapes to Space!” and “The Fear of the Dead Star Leaves!” As soon as this problem resolves, tension at the “15th Parallel at the Sarzan Peninsula” was to heat up again immediately, implying the world was back on the brink of self-created nuclear annihilation once again. And even though Godzilla and Rodan have just saved the world, the World Federation makes it clear they will take up countermeasures against the two monsters as soon as possible. As the story’s end, the final shot was to be Godzilla and Rodan shrouded in mist at the foot of Mt. Fuji, their futures uncertain.
If you are planning to do more video's about kaiju films, those books could help in your research.
Nice! I'll look into them.
I hope you'll like them. The info I gave you is from one of the books.
I suppose it's possible Godzilla's "hero turn" was influenced by Son of Kong 30 years earlier.
At any rate, it's challenging to maintain decent box office results with a franchise, let alone one
with a villain protagonist. The law of diminishing returns on slasher franchises decades later
would be proof of that. The "hero turn" gave them so much more story flexibility, especially allowing
for the kind of variety only a rogue's gallery can provide. A "horror" Godzilla is simply too limited.
They just couldn't have him crush Tokyo every movie and expect it to be viable.
The only thing going through the roof faster than Godzilla would be their insurance rates...
Also, is it even possible to have guys in rubber suits recreating scenes from the Batley Townwomen's Guild
without it becoming a major camp adventure in any case? They made the correct call.
I'm not particularly a Godzilla fan, but those camp Godzilla films from my youth will always get an artistic
and critical "free pass" from me. By gosh, they were fun.
Great Review as always Eric.
Love David Kalat’s commentary. Also, really liked the inclusion of the Megalon clip when talking about the “entertaining” G-films. Megalon is quite good-bad.
Kalat does many great commentaries of the G films!
The Monsterverse before the Monsterverse. 🐉🦖
The puppets were a stylistic choice, not a budgetary one.
I heard they made the change because they learned children liked Godzilla. The standard Godzilla eats Tokyo may have gotten boring by 1970.
Great 😊
these movies are half legit good filmmaking and half hilarious bullshit, I love them and I still don't understand why, for me even the 2019 movie was kinda entertaining, especially Mothra and her music
streaming heap when?
Streaming Heap has been having behind the scenes difficulties, but we are planning to come back next week with a review of the full season 2 of halo
awesome, thanks
The Bond movies are another example of a franchise that became increasingly campy and goofy as time went on (just compare a movie from the Sean Connery era like Dr. No to a movie from the Roger Moore era like Moonraker). Speaking of universes, Universal is going to use the Dark Universe for its Epic Universe theme park, so the flop of the Mummy movie with Tom Cruise didn't deal a fatal blow to the concept.
The superhero era has been a disaster
ofcourse, you know, all you've done by saying 'Godzilla Cinematic Universe' is put ideas in Disney's heads for more things to buy and glom into itself in Akira fashion until we get Toho incororated into Godzilla-across the Gaudy-verse! (Sony Pictureds LTD, all rights reserved (assuming Sony isn't part of Disney U.S.A. all rights reserved)
Godzilla Raids Again (aka Gigantis) has a history more interesting than the film itself. So, skip it if you don’t want to fall asleep thru it, but do it for completion’s sake.
I've been thinking about it, but you're right; the story behind the movie is more interesting than the movie itself.
@@TheUnapologeticGeek might be my least favorite Showa G- film.
The later time travel Ghidorah movie was better
I'm amused by modern fans who take the Godzilla universe way too seriously, IMO. I tend to think the campy Godzilla works better overall, than serious Godzilla, the latter output being pretty uneven over the decades.
King Ghidorah was a favorite monster when I was a kid, but I think Invasion of Astro-Monster (aka Godzilla vs. Monster Zero in the US) works a little better, with more spaceship/alien action, and pretty impressive effects for the time.