Mothra bedroht die Welt

After a typhoon, four shipwreck survivors are founded on Infant Island. This site had been used by Rolisica for atomic testing but the men show no ill effects. They recount that previously unknown natives had protected them by feeding them a special juice. A joint expedition is sent and strange things are discovered including two miniature women. The natives are massacred and the two fairies are kidnapped. The giant moth creature Mothra is hatched by the natives.

The colors are bright. The story is strange. Mothra doesn't appear until halfway through the movie. The tiny singers are the strangest cinematic creations and that's in the same movie as Mothra. There is a lot of miniature and green screen work. This is a classic Japanese monster movie.

I think what makes this movie special is not the "giant insect" aspect but the mysticism involved. Godzilla is a legend in the original at least but Mothra is actually a deity--and a hands-on deity at that. Inlikethe other creatures in this bestiary, Monthra is beloved of those who live with it and is protected by it, often by direct intercession.

Unlike the other monsters, Mothra can die, and has done so. But it continues to protect its people by reproducing the old fashioned way--it lays eggs. IT is also intelligent and intuitive, and its nature is NOT aggressive or violent. It's almost Buddhist in nature.

The only other time they tried to work this kind of mysticism into these movies was with King Cesar--a giant cocker spaniel with contacts. The beast was just too goofy to be taken seriously.

Mothra is a great addition to the canon.

Among Toho's repertoire of gargantuan and highly-destructive kaiju, who would have ever thought that a giant moth would become one of their most endearing characters? In the years that would come, Mothra would make an appearance in seventeen films, including a bunch of Godzilla films. In the beginning, though, the lepidopteran made its debut in this old-fashioned monster flick.

1961's Mothra runs pretty evenly, allowing the story to breathe adequately before dishing out some modest mass destruction. The film's first acts, with scientists exploring Infant Island, remind me greatly of Skull Island from King Kong; the manner in which they use the fairies as a sideshow is not too far off from Kong either, only instead of unleashing a giant monkey's wrath, the fairies sing and summon a giant larva. It's weird stuff, but the film plays everything out with a straight face. This film ultimately sets the pattern for future incarnations of Mothra (you seriously can't have Mothra without the singing fairies, the larva, or without specific phases of attacks). As the original feature, however, the only formula this film adheres to is that of the classic monster picture, with a bit of adventure thrown in, and it's neat that way.

The story's pretty much outlined above; it is a well-structured plot with a cast of alright (and sometimes goofy) characters. With all the fairies and monsters on display, I always felt that Mothra was a grade more unbelievable than most other monster movies, but thanks to the film's earnest tone, it works as a fine and dandy fantasy (and it's pretty neat to see such fantasy being opposed by modern and ultramodern weaponry). The story touches upon a few themes concerning capitalism and greed, but is never overbearing.

This film uses solid, quality photography and editing. Acting is good from the original cast (but might be marred heavily by the English dubbing if you chose to watch it). Writing gets the job done pretty well. This production shows its age, but still uses fine-looking sets, props, and costumes. Special effects are a bit rough, but for its time, they are smashing. Music is not bad either.

No matter how silly or fantastic it gets, I have a soft spot for Mothra, especially in seeing her future clashes with Godzilla and other monsters. The first and most original Mothra film presents the basics of Mothra-lore, which in turn echoes parts of the original King Kong, and would stand proudly next to classic monster flicks like Godzilla. Fans of the genre should give this original film a rent.

4/5 (Entertainment: Good | Story: Pretty Good | Film: Good)

A greedy businessman captures two little(and I mean little) fairies from a remote, thought-to-be deserted island, only to showcase them to public much like Carl Denham does with King Kong. Of course Nelson Clark's scale is miniature. The Japanese people represented by some scientists and a chubby newspaper reporter and his sidekick photographer try to rescue the girls and return them to their home before Mothra, a giant caterpillar then moth, comes to Tokyo to retrieve them, leaving devastation in its wake. Inshiro Honda directed this marvelous film, and his directorial touch is very evident. The film has many beautiful color backgrounds, some great music(love the song the Ito sisters sing), solid acting from all, and some pretty nice miniature sets. The "monster" itself really is good, despite its destruction of the Japanese countryside, part of Tokyo, and New Kirk City in Roscilica(Beats me where the names here came from). A film very unlike its Godzilla counterparts in spirit.

MOSURA (1961, released in the USA as MOTHRA) is like no other monster movie. It's colorful. Most of it's settings are bathed in storybook like colors, has a pleasent, happy ending where the monster lives!

A greedy showman/explorer Clark Nelson (Jerry Ito) finds twin fairies on an island off Japan. He displays them on the Tokyo stage, where they sing what sounds like a lullaby. It is actually a telepathic distress call to their god and protector, Mothra, a giant caterpillar. Mothra comes to Tokyo, searching for the girls and Nelson, destroying most of the city in it's path. The chase goes from Tokyo to Newkirk City (I guess this is suppose to be a little real life hamlet just south of Yonkers!) What I really love about MOTHRA is that it has many things most other monster movies don't. The hero is a comical, older, tubby reporter, a sort of Japanese Lou Costello. The monster is actually pretty. In the Japanese version, there is some wonderful slapstick and odd humor. THese elements make this film so unique. Director Inoshiro Honda was best friends with more famous and more respected Japanese director Akira Kurosawa. Kurosawa loved Honda's monster movies and according to rumor, yearned to make one himself.