Godzilla contra el terror de los mares

This is actually on of my favourite Godzilla films. While on one hand it has one of the worst enemy monsters, Ebira (although it also has Mothra, but he only appears at the end and doesn't really do anything) it also has a neat story. It's not as cool as the original, but I think it sure as hell beats the cheezy alien stories which are so ridiculous and unbelievable that even their cheeze value is threatened. As well, most Godzilla movies spend *way* too much time and focus on the monsters fighting and rampaging (Godzilla vs. Gigan is a perfect example of this), but this one had more of a plot. The takeover didn't seem as implausible and it was more tongue in cheek. It's also one of the best dub-jobs I've *ever* seen in a Godzilla movie (or any of the other similar ones).

Overall: this is one of the more fun Godzilla films. It's still silly, but in an enjoyable way. It's not ruined by being overly stupid and it's cheeze factor is definitely amusing. 6/10.

This is a most unusual Godzilla flick. To be exact a low budget affair with no big city to destroy with Godzilla doing his battle on an island. The story line is a little James Bond-ish, but we know Godzilla is the reason we are watching. The story line is of no real concern as long as Godzilla does his thing.

A group of young men take out on a sailboat in attempts to find a long lost brother shipwrecked and thought lost at sea. The would be rescue party ends up shipwrecked themselves on an island that is guarded by Ebirah, a giant mutant lobster-like creature, thus GODZILLA vs THE SEA MONSTER(USA title).Also on the island is a militia base that is producing nuclear bombs to overtake the world with. Godzilla is awakened from his nap in a cave to take on the sea monster and destroy the evil soldiers and their bomb factory.

My favorite scene is where Godzilla and Ebirah appear to be playing ping pong with a boulder during their showdown. Actually this is one of Godzilla's easiest foes to whip. Maybe to help in cutting production costs.

The low budget was due to the fact that at the time TV viewers were lowering movie theater attendance. This did not seem to effect the popularity of this particular Godzilla outing.

This is the second Godzilla movie to this point that wasn't directed by Ishiro Honda (first being Godzilla Raids Again), and was directed by Jun Fukuda. Fukuda chose Masaru Sato to compose the music instead of Akira Ifukube, and overall contributes to the lighter touch. Shinichi Sekizawa's screenplay continues on the trend of humanizing the monsters, and Ebira's pose before the battle is a caricature of the then popular professional wrestler Toyonobori, and Godzilla rubbing his index finger on his nose is a caricature of Yuzo Kayama's character in Wakadaisho series which usually played at same time as the Godzilla movies as a double feature. The cinematography is noticeably brighter and the characters are also bit more easy going than Honda's version of Godzilla movies.

Ryota (Tetsu Watanabe) who lost his brother in the South Pacific in a fishing boat accident believes in the prediction made by a spiritual medium in Mt. Osore that his brother is still alive. He comes out to Tokyo to look for a way to get to his brother. There he meets few college students and later a thief named Yoshimura (Akira Takarada) in a sailboat they've snuck into. While everyone's asleep, Ryota sets sail to the south pacific to search for his brother. In a stormy sea the sailboat runs aground on an island occupied by a gang who calls themselves the "Red Bamboo". Red Bamboo is kidnapping the residents of Infant Island (Mothra Island) as slave labor to further their cause. Dayo (Kumi Mizuno) a girl from Infant Island escapes into the jungle and meets Ryota and Yoshimura's crew. There they hide in a cave to escape Red Bamboo's pursuit. Unbeknownst to them, that cave contained a hibernating Godzilla. Yoshimura comes up with a novel plan to wake Godzilla and turn it against the Red Bamboo.

In this movie, the fairies that talks to Mothra also changed from The Peanuts (Emi and Yumi Ito) to another twins Pair Bambi (Yuko and Yoko Okada - born 4/19/1944 Nagoya Japan). They were already 15 year veteran in the show business when they stared in this movie. Originally, Noriko Takahashi was to play the part of Dayo, but fell ill to appendicitis so was changed to Kumi Mizuno at the last minute. Mizuno who was 29 at the time played the role written for a 19 year old girl. Takahashi 6 month earlier played a similar role in Tsuburaya Production's Ultra Q series as a native girl who lost her brother to a giant octopus.

In the mid to late sixties, Godzilla movie started to slide to a lighter stories. This movie took the formula one step further from the previous Godzilla move the "Monster Zero", and continues the humanization of Godzilla and the monsters. Jun Fukuda's directing isn't up to par with Honda's and the props look cheezy by comparison which took away from the story, but most likely the movie was intended for kids and this was part of their production plan. The good in this movie was Akira Takarada and Kumi Mizuno that brought character to acting. Overall the movie succeeded because these two characters kept the focus. Good entertainment from the '60s Toho studio.

Almost all Kaiju flicks involve two story lines, the story of the little guys and the story of the monsters. This is one of them where the story of the little guys is what really matters. A distinctly B movie, half-espionage and half-island-action, about a guy's search for his brother and getting caught up with a gang of various other guys and a beautiful native to stave off an organization's evil deeds in the South pacific. Pretty scenery. Pretty natives. Some fair jokes and some good 1960's style cheese action. Even Ebirah, a jumbo jumbo shrimp who guards the island, more or less, works well enough as a background piece. It is when the big piece of seafood tries to take center stage that things start slowing down.

By the time Godzilla shows up, the movie suffers from the monsters. Not only does the original Japanese soundtrack have a habit of playing just about the most inappropriate music for all of his scenes (look, jets are coming, let's play surf rock...he's smashing a base, let's play slow horror mood music); but there is the distinct problem the director has in getting the transition from Godzilla as a monster to a potential hero down right. Too often, Godzilla's actions make no sense. He seems to like people in one scene. In the next, he is randomly destroying things again.

The movies final problem is the Kaiju fights sort of repeat themselves. Whether it be the two monsters throwing rocks back and forth more than once, or the exact same "flip" later on, it does seem a little out of place.

Of all the Japanese monster films that came out from the mid Fifties to the mid Seventies, Godzilla Versus The Sea Monster is the only one that seems to have taken a political stand on anything. The Japanese for obvious reasons are big on nuclear disarmament. This film involves Godzilla and two other giant monsters involved with the Red Bamboo who are a group conducting nuclear experiments on a deserted south sea island. Of course there was no such a group as the Red Bamboo, but the power across the Sea of Japan did have a Red Guard who were pretty active in those days. I think that was another political statement that Godzilla Versus The Sea Monster was making.

Anyway some 20 somethings who were involved in a dance marathon which opened the film, commandeer a boat that was to be the getaway vehicle of a bank robber to search for the brother of one of them who set sail southeast and was not heard from.

It's there that a storm washes them ashore on the island of the Red Bamboo. These dastardly folks are not only conducting nuclear experiments, they're making heavy water to use as nuclear fuel, but are using slave labor. The slaves are being taken from the island that Mothra resides, but he's sleeping and the natives are doing their best to arouse their friend and protector.

To discourage escape in the meantime, the island is guarded by Ebirah a giant lobster monster. The Red Bamboo controls him by means of the nectar of some exotic tropical fruit that acts as a tranquilizer.

When our heroes arrive, they discover that Godzilla is in some kind of coma asleep on the island. Needing an ally they look to get him awake to start doing his thing. Of course all three monsters battle it out in the end.

This particular all star monster spectacular is a cut above the others for its political statement wrapped up in the dopey way these films play. But I have to admit a soft spot in my heart for them.