Ghidorah Makes His Film Debut in the First Smackdown!

Ghidorah (center) battling Mothra and Godzilla.

When I first saw Ghidorah, the Three-Headed Monster at the Winston Theatre in 1965, it was a different movie. The title monster's name was Ghidrah (no "o"), the dialogue was dubbed, and the movie was viewed through the eyes of a squirming youngster. Five decades later, I watched a subtitled Ghidorah, the Three-Headed Monster...and enjoyed it more than the first time.

Akiko Wakabayashi as the princess.

The plot was certainly more complex than I remembered. Assassins want to kill Princess Selina Salno of Selgina before she can visit neighboring Japan. Moments before her plane explodes, she is warned by a flashing light in the night sky. She walks to the exit door and--with no parachute--jumps out of the plane just before it bursts into flames. When we next see her, she claims to be a princess from Venus who has come to Earth to warn it of impending disaster. She has no memory of her life in Selgina.

Meanwhile, monsters Godzilla and Rodan have re-emerged to fight one another...and destroy a few cities in the process. Unknown to them, a meteorite "hatches" to reveal a flying, three-headed dragon hellbent on destroying the Earth. The Venusian princess confirms that this creature, Ghidorah, wiped out all life on Venus and must be stopped. Fortunately, it just happens that the Shobijin, the twin fairies from Infant Island, are visiting Japan. They send for Mothra in the hope that she can convince Godzilla and Rodan to team up to defeat Ghidorah.

Mothra--in her larva state.

One's understanding and appreciation of Ghidorah, the Three-Headed Monster depends on whether one has seen the previous kaiju films, especially Mothra (1961). I can imagine novice viewers getting a little confused when the tiny Shobijin start singing their Mothra song!

The first forty minutes focus mostly on Selina's transformation from an Earthly princess to a Venusian one. It's not without interest, but the plot picks up considerably when Godzilla makes his first appearance.

The special effects possess a quaint charm in this day of elaborate CGI. Even in the 1960s, as a wee lad, I could tell the difference between an actor traipsing around in a monster suit and the impressive stop-motion animation creatures of Ray Harryhausen. The miniature sets, though, still look impressive--though one needs to appreciate them quickly before they're crushed as collateral damage amid the monster battles.

Ghidorah's three heads.

As for for the gold-colored Ghidorah, I think he's one of special effects specialist Eiji Tsuburaya's most inventive creatures with each of his three heads capable of spewing forth a "gravity beam." He proved to be a popular villain and returned the following year in Invasion of Astro-Monster (known as Monster Zero in the U.S.). In the original kaiju films that spanned 1954-75 (known as the Showa Era), Ghidorah was a villain. His origin story changed in post-Showa films and he was sometimes portrayed as a hero.

The Shobijin summon Mothra.

Ghidorah, the Three-Headed Monster marks the third and final appearance of twins Emi Itō and Yumi Itō. They first appeared in Mothra as the Infant Island fairies who can summon Mothra and resurfaced in Mothra vs. Godzilla (aka Godzilla vs. the Thing) in 1964. They're typically called Shobijin these days, though they are referred by other names, such as the Alilenas, depending on the movie and translation. In real life, the twins had a successful recording career as The Peanuts for several years. Emi died in 2012 and Yumi in 2016.

Monster Zero...or Why Ghidorah is the Rodney Dangerfield of Japanese Monsters

Poor Ghidorah. He's got three heads, two tails, can fly, and spew "magnetic force beams." This modern-day "dragon" should have been one of the most feared and respected Japanese monsters of the 1960s. And yet, consider this: His name was misspelled as "Ghidrah" when his debut film--Ghidrah, the Three-Headed Monster--was released in the U.S. in 1964. In the sequel, which didn't appear in the U.S. until five years after it was shown in Japan, he was called Monster Zero in the title. And, unlike Godzilla, Rodan, and Mothra, he never got his own stand-alone movie.

All of which brings us to Monster Zero, which appears on TCM tonight. The original title is Kaijū Daisensō, which translates as Great Monster War. It's also known as Invasion of Astro-Monster and Godzilla vs. Monster Zero. But I'm calling it Monster Zero, because that was the title when I saw it as a kid in 1970 on a double-feature with War of the Gargantuas.

The Xiliens remind me of the rock group Devo.

The plot gets off to a quick start when Japanese scientists discover a new planet beyond Jupiter. When two astronauts (Nick Adams and Akira Takarada) are sent to Planet X, they discover an alien race called the Xiliens. They reveal that their planet's inhabitants are under constant attack from Ghidorah. They want to "borrow" (my words) Godzilla and Rodan to defeat Ghidorah. In exchange, they will provide Earth with a cure for all diseases. If this deal sounds too good to be true, then you are a wise and astute negotiator. The Xiliens' real plan is to gain control of all three monsters and turn the Earth into a Planet X colony.

Gozdilla in "blue bubble."

Monster Zero is a surprisingly entertaining monsterama that features colorful special effects from Japanese legend Eiji Tsuburaya. I thought the highlight was the scene in which Godzilla and Rodan were encased in blue bubbles--not unlike Glinda's pink bubble in The Wizard of Oz. But you can also marvel at Godzilla's "victory dance" when he thinks he has beaten Ghidorah and admire how Godzilla and Rodan team up creatively to get an upper hand against their three-headed opponent. (Let's be realistic: Other than causing damaging winds by flapping his wings, Rodan's fighting skills are pretty limited.)

Monster Zero also features an unintentionally amusing performance from Nick Adams (fortunately, the rest of the cast plays it straight). Unlike the original Godzilla (Gojira), in which Raymond Burr's scenes were filmed later and inserted into the movie, Nick Adams appears alongside the Japanese performers. While it's true that he has some ridiculous dialogue (spouting "You stinkin' rats!" like Cagney), Adams doesn't even seem to be trying.

Adams in The Rebel.

Perhaps, he had all but given up on his once promising career by this point. He began acting in the 1950s and eventually earned supporting roles in prestigious films like Mister Roberts and Picnic. His work led to a well-received TV series called The Rebel, in which he played a former Confederate soldier who had various adventures in the West. After a two-year run, he returned to movies and received an Academy Award nomination for Best Supporting Actor as a murder defendant in Twilight of Honor (1963). His career sputtered after that, however, and he went to Japan to star in Frankenstein Conquers the World (1964) and Monster Zero. Nick Adams died in 1968 at age 36 of drug-related causes. His death has been called a suicide, an accident, and even a possible murder.

For more on Japanese monster films, better known as Kaijueiga cinema, check out our interview with Miguel Rodriguez.

Miguel Rodriguez of Monster Island Resort Chats with the Cafe About Kaijueiga Cinema

Miguel Rodriguez hosts the "online radio show that goes bump in the night!" at Monster Island Resort. You can also follow him on Twitter as @MnstrIsleResort. Today, Miguel talks with Rick about his passion for Kaijueiga films.

Rick: I suspect many Cafe readers are unfamiliar with the term "Kaijueiga." What does it mean and what is its origin?

Miguel: In Japanese, that would be loosely translated as “monster film,” “Kaiju” essentially meaning “monster” and “eiga”essentially meaning “film.” In the case of Godzilla and his ilk, there is also the term “Daikaijueiga,” which means “Giant monster film.”

Rick: I've heard about the different "eras" of Kaijueiga films. Can you define them for a novice like me?

Miguel: The names of the eras actually come from the reigning emperors of Japan, even if the years don’t completely fit. The Showa Era, or the reign of Emperor Hirohito, is used to describe the first 16 Godzilla films from Gojira in 1954 to Terror of MechaGodzilla in 1975. These are the films most Americans seem to remember when they think about Godzilla, since many of them were brought to the USA, care of American International Pictures. After the somber and metaphorical original film, the rest of this series increasingly became marketed to children.

Hirohito’s son Akihito succeeded the throne in 1989, thus beginning the Heisei Era of Japan. Although the first of the reboot Godzilla movies began in 1984, they are referred to as the Heisei Era for purposes of convenience, and only one of these seven films was released before 1989 anyway. The original 1954 Gojira is always the first film, but this series continues from there, completely ignoring the rest of the Showa Era. The Heisei Era has the most continuity, with recurring characters and references to events in previous films. This era began with Godzilla 1984 and ended with Godzilla Vs. Destroyah.

Finally, after the disastrous American Godzilla, the Millenium Series reboot began with Godzilla 2000and ended (so far) with Godzilla Final Wars in 2004. These six films (with only a couple of exceptions) reboot the series from the first film with almost every new release. Other than Godzilla Final Wars, this is probably the least tongue-in-cheek of the Godzilla Eras. Now, there is talk of a new American Godzilla film (cue me quaking in my boots).

Rick: If I wanted to see one representative film from each era, what would you recommend?

Miguel: The 1954 Gojira, in its true uncut Japanese form, is a must for any era. After that, I would say Mothra Vs. Godzilla for the Showa Era, Godzilla Vs. King Ghidorah for the Heisei Era, and Godzilla, Mothra, King Ghidorah: Giant Monsters All-Out Attack for the Millenium Era.

Rick: What was your first introduction to Kaijueiga films?

Miguel: My dad took me to see Godzilla 1985 (as it was called in the US) when it was theatrically released. I’ve been hooked ever since, getting my fix as a kid from daytime reruns and library rentals. Of course, this means growing up with butchered American versions dubbed in English. When I was old enough to get my first job, I started hunting down rare VHS copies of the films. Believe it or not, the Heisei movies are still some of the hardest to find!

Rick: What are your three favorite Kaijueiga films and why?



Biollante.

Miguel: I will leave off the original Gojira because that goes without saying. I actually mentioned my favorites from each era in the above question, so I will give special mentions here. Destroy All Monsters (1968) is a must-see for any fans of DaikaijuEiga. They brought out almost every monster in the gallery for this one. It’s also where I get the name for my podcast The Monster Island Resort! Godzilla Against MechaGodzilla (1974) was one of the first I saw on television. I thought it was so exciting, and I still remember watching it fondly. It has some really cool monster battle moments! It is firmly in the Godzilla-is-a-superhero camp of films, and should be watched like one would watch the 60s Batman TV show. Finally, I will mention Godzilla Vs. Biollante (1989), which was an attempt to introduce an unfamiliar monster in the Heisei Era. I really love this monster, but unfortunately it was a box office disappointment so they rehashed familiar monsters for most of the series.

Thank you so much for the interview. I obviously love talking about giant monsters from Japan!

Godzilla (or Gojira): The Reigning King of the Monsters

In the ocean waters of Tokyo, Japan, a couple of boats mysteriously disappear with few survivors. Two rescue ships likewise do not return. Some villagers are quick to attribute their misfortune to Gojira, monster of the sea, and when a hurricane destroys homes and ends lives, reports claim that a large animal is responsible for the destruction. The day after the hurricane, paleontologist Professor Yamane (Takashi Shimura) finds footprints with a radioactive signature and the body of the long-extinct trilobite. The professor theorizes that an atomic explosion may have upset the habitat of a creature from the Jurassic period, a theory proven correct when Gojira comes ashore and attacks the city. Yamane wishes to study the unknown creature, which seems to absorb radiation, but citizens and officials alike are looking for ways to kill Gojira.

Gojira (1954) -- better known as Godzilla -- was directed by Ishiro Honda, who also helmed several of the Godzilla sequels, as well as other films of the kaiju (roughly translated as “monster”) genre, including Rodan (1956), The War of the Gargantuas (1966), and Mothra (1961), the latter a kaiju nearly as popular as Godzilla and featured in numerous series entries and her own films. (“Kaiju” is the name of the genre, though Godzilla and Mothra are more specifically daikaiju: “giant monsters.”) The creatures in Honda’s films are different from the spider in Tarantula (1955) and the giant ants in Them! (1954), animals made monstrous by atomic radiation. In the case of Gojira, the titular beast is provoked by nuclear warfare, with the insinuation that he was previously content in his subaquatic existence. Professor Yamane represents the sympathy viewers may feel for Gojira, much like the monster in James Whale’s Bride of Frankenstein (1935). Insects that have grown to astronomical size are monsters, but Gojira is an animal merely seen as a monster by the people who fear him. In the 1954 movie, everyone is terrified of Gojira before many of them have actually seen the creature do anything.

With the suggestion in the film that Godzilla/Gojira has been awakened, so to speak, by an atomic explosion, one can clearly see a connection to World War II and Hiroshima. However, the tragedy of the Daigo Fukuryu Maru (Lucky Dragon 5), a Japanese fishing boat, is most often cited as the inspiration for Godzilla and the kaiju films. In 1954, the U.S. tested a hydrogen bomb, and the nuclear fallout from the detonation was so severe that the crewmen of the Daigo Fukuryu Maru suffered radiation poisoning, one of the men dying months later. The film opens with a fishing boat attacked by Gojira, unseen and signified by a glow on the water’s surface and explosive results.

Gojira initially received a very limited U.S. release in its original form. In 1956, it was released as Godzilla, King of the Monsters! It was heavily cut and inserted sequences with an American protagonist, reporter Steve Martin (Raymond Burr). The film opens with the aftermath of Godzilla’s assault, and a flashback with a voice-over from Steve provides most of the story. Burr interacts with new characters as well as characters from Gojira, such as Yamane’s daughter, Emiko (Momoko Kochi), via doubles and help from the English dubbing. Unfortunately, many of the excised scenes include further development of Yamane’s desire to study Godzilla and the love triangle among Emiko, Ogata (Akira Takarada) and Dr. Serizawa (Akihiko Hirata). The additional sequences were so extensive that Honda had to share directing credit with Terry Morse, but despite the new footage, King of the Monsters! still managed to be 16 minutes shorter than Gojira.

Godzilla, King of the Monsters! is generally considered a wholly different film from Gojira, the original proving far superior. However, it was the truncated U.S. version that played overseas and made Godzilla an international star. The edited version was a box office success and performed well in other countries, even Japan. Gojira was a merging of the Japanese words, gorira (“gorilla”) and kujira (“whale”), as the film’s star features traits from both animals. Some fans argue that “Gojira” is the proper anglicized rendering of the creature’s name and that the American name was possibly a mistranslation, while others claim that “Godzilla” was suggested for the U.S. film version by the Gojira studio, Toho. Whatever the case, the creature became known as Godzilla across the globe, and Toho has trademarked and copyrighted the worldwide moniker.

Actor Takashi Shimura had starred in numerous films from famed Japanese auteur, Akira Kurosawa, including Rashomon (1950), Seven Samurai (1954) and Yojimbo (1961). Director and kaiju storyteller Honda likewise worked as an assistant director for Kurosawa in films such as Stray Dog (1949), Kagemusha (1980) and Ran (1985), the former two movies also featuring Shimura.

It’s a popular misconception that Godzilla breathes fire. As his power is essentially derived from radiation, the creature is in actuality exhaling what’s been called atomic or radioactive breath. Many times, before Godzilla releases his atomic breath, his dorsal fins will glow. This causes explosions and buildings and vehicles to catch fire, leaving the city in ruins and often in flames. However, in the 1978-79 animated series, a Japanese/American co-production and broadcast in both countries, Godzilla did indeed emit fire (possibly to simplify his power, as the show was aimed at young children).

Godzilla’s influence is indisputable. It’s difficult for films of the giant monster variety, such as Cloverfield (2008), to not draw comparisons to the famous kaiju, and place any person, child or adult, in front of a model-sized city, and one will witness a quick transformation into a roaring beast stomping its hefty feet to crush the tiny buildings. Ishiro Honda’s original 1954 movie is immensely entertaining, a superb debut for a creature who deserved his own series. If possible, viewers should seek the Japanese version, Gojira, in lieu of Godzilla, King of the Monsters!, but they should also appreciate the U.S. edit, if for nothing else than introducing the world to the colossal film star. Godzilla may tower over us all, but he easily fits inside our hearts.